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Gold gab ich zur Wehr, Eisen nahm ich zur Ehr
(I give gold towards our defence effort and I take iron for honour).
Empire Medal blackened cast iron 1916
Material: cast iron blackened
Diameter: 40.50 mm
Weight: 20.25 grams
Hosaeus who had signed (Engraver)
Kaiserreich Eisengussmedaille geschwarzt 1916
Material: Eisenguss geschwarzt
Durchmesser: ca. 40,50 mm
Gewicht: ca. 20,25 Gramm
Signiert Hosaeus
EMPIRICAL STATE MEDALLION
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FYI
Berlin Iron jewellery refers to articles of cast iron jewellery that were made during the early 19th century in Germany.
History
The roots of Berlin Iron Jewellery can be traced back to the establishment of the Konigliche Eisengiesserei bei Berlin or Royal Berlin Foundry in 1804. The Royal Berlin Foundry started with the production of iron goods such as vases, knife stands, candelabra, bowls, plaques and medallions, as well as more commercial articles such as fences, bridges and garden furniture. The first jewellery items, such as long chains with cast links, were produced in 1806. Later, necklaces consisting of medallions and joined with links and wirework mesh were manufactured.
The production of iron jewellery reached its peak between 1813 and 1815, when the Prussian royal family urged all citizens to contribute their gold and silver jewellery towards funding the uprising against Napoleon during the War of Liberation. In return the people were given iron jewellery such as brooches and finger rings, often with the inscription Gold gab ich für Eisen (I gave gold for iron), or Far das Wahl des Vaterlands (For the welfare of our country / motherland), or with a portrait of Frederick William III of Prussia on the back. Until then iron jewellery had only been worn as a symbol of mourning (because of its black colour acquired by treating the castings with linseed cakes) and was worth too little to be alluring, but suddenly it became a symbol of patriotism and loyalty and with its obvious aesthetic appeal, became popular overnight.
The numbers of pieces produced started declining after 1850, but still continued to be manufactured until the end of the century when the fashion ended. It is not widely known, but in 1916 another, similar attempt was made in Germany to promote iron jewellery and to fund the German share in the First World War. This was done by exchanging gold jewellery for an iron medallion inscribed with the words: Gold gab ich zur Wehr, Eisen nahm ich zur Ehr (I give gold towards our defence effort and I take iron for honour). This attempt, however, was not as successful. Today Berlin Iron Jewellery are collector's items and true pieces are usually found in museums or private collections.
Styles
At first the style of the designs, especially during the Napoleonic period, was Neo-Classical, incorporating plenty of fretwork and moulded replicas of cameos.
From 1810 the style changed slightly to a miniature form of Gothic Revival, incorporating the pointed arch and rose widow of the Gothic cathedral, combined with less austere, more naturalistic motifs such as butterflies, trefoils (a plant with three leaflets such as clover) and vine leaves.
The jewellery has a very fine, detailed and lacy appearance, but in spite of its sometimes naïve detail, always seems to appear dark and sombre. Perhaps this is because most of the Berlin Iron Jewellery are lacquered black to prevent the iron from rusting and to enhance its purpose as morbid mourning jewellery. Only a few rare examples were decorated with fine gold, silver settings or polished steel. Some were also set with medallions, imitating the Greek classical scenes on some of the Jasper work made by the famous potter, Josiah Wedgwood (1730–1795), or the portrait medallions of contemporaries made by James Tassie (1735–1799).
Manufacturing
For such intricate detail and thin-sectioned castings to be produced as were done with Berlin Iron Jewellery, a very pure iron which contained up to 0.7% phosphorus was used. This was done to make the iron slightly more fluid than what it would be when normally molten. Although this type of phosphoric cast iron is rather hard and brittle, strength is not the main purpose of the metal when it is used in jewellery. The molten iron was cast into metal chill moulds.
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A call during the 1st War in exchange gold for iron. Wedding rings, brooches, rings and jewelry
(some of the symbolism of the Iron Cross were Echoing) issued to the citizens willing to donate.
Even if the action was voluntary, so a considerable social pressure has been generated, to participate.
The Social Control of involvement was simple: Those who wore the iron jewelry had proved to be a patriot,
who showed a continued gold, lost its reputation.
Not only individuals but also institutions were invited to exchange gold for iron.
This included the ability of clubs, churches and government agencies.
From 1916 a medal was presented as a reward for the supply of jewelry or an exchange of gold for paper money
(which is quickly losing its value) from the Reichsbank to the population.
Some metals were either raw material or the war effort for forex trading as important as gold and silver.
The medals were issued in numerous versions and very large numbers.
They are made of blackened iron, have a weight of 15.4g - 20.4g and have a diameter of 39-41mm.
This medal was designed by Hermann Hosaeus.
Hermann Hosaeus Dresden 1891/92 attended the School of Applied Arts and Crafts School
in 1892-94 Nuremberg with a focus on small sculpture. From 1894-96 he studied at the Munich Academy.
On the Great Berlin Art Exhibition of 1899 he first exhibited some works and was able to sell his first model.
Hosaeus specialized in both monuments, war memorials, in particular,
but was also as a designer of numerous medals at a busy artist.
In 1918 he became a lecturer, from 1933 to 1945 full professor at the Faculty of Civil Engineering
at the Technische Hochschule Berlin-Charlottenburg, TU Berlin today.
In the era of National Socialism Hosaeus was member of the Nazi party.
(THIS PICTURE FOR DISPLAY ONLY)
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