GEORGIUS AGRICOLA t. DE RE METALLICA. TRANSLATED FROM THE FIRST LATIN EDITION OF with. Biographical Introduction, Annotations and. De Re Metallica By: Georgius Agricola Originally published in , Agricola’s De ReM etallica was the first book on mining to be based on field research. Editorial Reviews. About the Author. A Presidential Classic The original edition of De Re Metallica (On the Nature of Metals, or Minerals) by Georg Bauer, writing.
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Some of these are man-powered and some powered by up to four horses or by waterwheels. With this introduction Agricola shows how innovative his work really is. It is clear however that those mining techniques were going through a stormy development in Western Europe in the Middle Ages.
Assay techniques for base metals such as tin are described as well as techniques for alloys such as silver tin. Finally he explains that gold is not generated in the beds of streams and ahricola and east-west streams are not more productive than others inherently. Only centuries after Agricola were science and technology so far progressed that they could be valuable for each other. This is a kind of introduction.
Wikimedia Commons has media related to De re metallica. There is a section on how the mine can be divided into shares. But the plates, perhaps more than anything else, have insured Agricola’s continued importance.
It is ge to date…. Finally glass making is covered. Joachimsthal is famous for its silver mines and the origin of the word ” Thaler ” and, ultimately, ” dollar. Their knowledge was in part probably still dating ggeorgius to that in classical antiquity.
De re metallica – Wikipedia
This is achieved by adding large amounts of lead at a temperature just above the melting point of lead. He is not clear about making glass from the raw ingredients but clearer about remelting glass to make objects. That later scholars could make that step, however, was also due to the fact, rs they all were put on a new track by Agricola.
Gold and silver are parted using an aqua which is probably nitric acid.
De Re Metallica full text & illustrated. Agricola. Hoover.
Gems are found in some mines, but rarely have their own veins, lodestone is found in iron mines and emery in silver mines. When a vein below ground is to be exploited a shaft is begun and a wooden shed with a windlass is placed above it.
As said Agricola also discusses other mining and quarrying products than metal. In the time of Agricola it had already become one of the most important mining centers of Europe. Discover some of the most interesting and trending topics of Alternatively the ore can be smelted in a triangular crucible, and then have lead mixed with it when it is added to the cupel. The design of furnaces is first explained. This book describes smelting, which Agricola describes as perfecting the metal by fire.
The translation is notable not only for its clarity of language, but for the extensive footnotes, which detail the classical references to mining and metals.
De re metallica
Though that is only possible through a meatllica tradition of centuries. This book describes separating silver from copper or iron. This process will need to be repeated several times. Agricola also describes a compass to determine the direction of veins and mentions that some writers claim that veins lying in certain directions are richer, although he provides counter-examples.
De Re Metallica – Agricola, Hoover
Agricola apparently gained their trust, partly of course because they knew him as a doctor. The numerous woodcuts and detailed descriptions of machinery made georgiius a practical reference for those wishing to replicate the latest in mining technology.
Science would never have arisen if the scholars only continued with beautiful philosophical theories without making their hands dirty. The shifts of the miners are fixed.
Finally detailed arithmetical examples show the calculations needed to give the yield from the assay.
The roads must be good and the area healthy. Then cupellationcruciblesscorifiers and muffle furnaces are described. This book consists of the arguments used against the art and Agricola’s counter arguments.