Bronze and brass are both fairly heavy, nonmagnetic metals. If the bell is attracted to a magnet, it definitely not brass or bronze. It is probably mild steel or iron instead. If your bell is non-magnetic, but very light, it is probably aluminum, zinc, or other lightweight metal. Sound test. The sound test is probably the best way to distinguish bronze from brass and other non-magnetic metals -- short of a full chemical analysis -- but it takes careful experience to accurately identify bronze from other metals by sound.
Lightly tap the outside of the bell with a pencil, coin, or other small, hard item. Bronze will have a clear, loud, silvery sound that has a distinctive ringing quality. The sound should persist for several seconds before dying off to a fainter tone and then to silence.
Brass and other metals have a softer, duller tone that dies off more quickly. Chemical properties. The only positive way to identify the metals in an alloy with chemical tests such as spectrographic analysis. Unfortunately, this is not a practical or affordable way for most people to determine whether a horse bell is brass, bronze, or other alloy.
Plating is the process of putting a thin layer of metal onto an object by a chemical reaction, by a mechanical process, or by using an electrical current. Gold and silver were the first metals used for plating. Mechanical plating. Gold was mechanically plated onto silver as early as the mid s when Bartholommeus Anglicus warned that the presence of dust, moisture and wind would prevent gold plate from bonding properly to its silver base object.
The gold amalgam was then bonded onto silver. The mercury was removed by heating the plated object until the mercury evaporated. In the early s, silver was plated onto objects in several ways. Sheets of silver were fused onto a heated metal object with hammer blows French plating or by fastening the sheets onto the object with tin solder "close" plating. The original Sheffield silverplate made from through the late s was created by fusing a thin layer of molten sterling silver onto a copper underlayer.
Chemical plating. The main process for chemical plating in the s and s was "water gilding" in which a very thin "flash" layer of gold was chemically bonded to inexpensive objects. An Italian researcher first used an electrical current in the early s to plate precious metals onto objects. It is interesting to note that both copper and tin on their own are relatively soft metals that would deform quite easily on striking.
However, when combined in an alloy, a bell with greater strength and elasticity can be created. This is crucial for increasing vibrations resonance and reducing cracks when the bell is forcefully struck. The alloy is also more resistant to weathering and oxidation. Throughout history and continuing today, foundries will melt down and reuse remnants or pieces from old bells in new castings for more economic bell making, as both copper and tin can be rather costly. This practice is also a way of continuing the legacy of bells that have come before.
Some foundries with bigger purses add silver or gold into the bronze alloy, particularly those following the Russian bellmaking tradition. For instance, over 1, lbs. Silver and gold are said to impart a distinctive sonority to a bell, but it likely comes from a more indulgent practice. Clapper that strikes the bell metal can be made in various sizes and weights it is also made from bell metal and can strike the bell at speeds of up to kilometers per hour. Bells that are used in Russian churches have few other ingredients in their metal, most notably silver.
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