The most highly valued fireclays are derived from the Coal Measures. Among the chief localities are the neighbourhood of Stourbridge in Worcestershire and Stannington near Sheffield, which supply most of the materials for crucibles used in steel and brass melting, and the pots for glass houses; Newcastle-on-Tyne and Glenboig near Glasgow, where heavy blast furnace and other firebricks, gas retorts, &c., are made in large quantities. Coarse-grained but very strong firebricks are also made of the waste of china clay works.In Belgium the clay raised at Andenne is very largely used for making retorts for zinc furnaces. The principal French fireclays are derived from the Tertiary strata in the south, and more nearly resemble porcelain clays than those of the Coal Measures. They give wares of remarkably fine texture and surface, combined with high refractory character.In Germany, Ips and Passau on the Danube, and Gross Almerode in Hesse, are the best known localities producing fireclay goods, the crucibles from the last-mentioned place, known as Hessian crucibles, going all over the world. These, though not showing a great resistance to extreme heat, are very slightly affected by sudden alternations in heating, as they may be plunged cold into a strongly heated furnace without cracking, a treatment to which French and Stourbridge pots cannot be subjected with safety.
The most highly valued fireclays are derived from the Coal Measures. Among the chief localities are the neighbourhood of Stourbridge in Worcestershire and Stannington near Sheffield, which supply most of the materials for crucibles used in steel and brass melting, and the pots for glass houses; Newcastle-on-Tyne and Glenboig near Glasgow, where heavy blast furnace and other firebricks, gas retorts, &c., are made in large quantities. Coarse-grained but very strong firebricks are also made of the waste of china clay works.
In Belgium the clay raised at Andenne is very largely used for making retorts for zinc furnaces. The principal French fireclays are derived from the Tertiary strata in the south, and more nearly resemble porcelain clays than those of the Coal Measures. They give wares of remarkably fine texture and surface, combined with high refractory character.
In Germany, Ips and Passau on the Danube, and Gross Almerode in Hesse, are the best known localities producing fireclay goods, the crucibles from the last-mentioned place, known as Hessian crucibles, going all over the world. These, though not showing a great resistance to extreme heat, are very slightly affected by sudden alternations in heating, as they may be plunged cold into a strongly heated furnace without cracking, a treatment to which French and Stourbridge pots cannot be subjected with safety.
Plumbago or graphite is largely used in the production of crucibles, not in the pure state but in admixture with fireclay; the proportion of the former varies with the quality from 25 to nearly 50%. These are the most enduring of all crucibles, the best lasting out 70 or 80 meltings in brass foundries, about 50 with bronze, and 8 to 10 in steel-melting.
Silica is used in furnace-building in the forms of sand, ganister, a finely ground sandstone from the Coal Measures of Yorkshire, and the analogous substance known as Dinas clay, which is really nearly pure silica, containing at most about 2½% of bases. Dinas clay is found at various places in the Vale of Neath in South Wales, in the form of a loose disintegrated sandstone, which is crushed between rollers, mixed with about 1% of lime, and moulded into bricks that are fired in kilns at a very high temperature. These bricks are specially used for the roof, fire arches, and other parts subjected to intense heat in reverberatory steel-melting furnaces, and, although infusible under ordinary conditions, are often fairly melted by the heat without fluxing or corrosion after a certain amount of exposure. Ganister, a slightly plastic siliceous sand, is similarly used for the lining of Bessemer steel converters; it is found in the neighbourhood of Sheffield.
Alumina as a refractory material is chiefly used in the form of bauxite, but its applications are somewhat special. It has been found to stand well for the linings of rotatory puddling furnaces, where, under long-continued heating, it changes into a substance as hard and infusible as natural emery. In theParis Exhibition of 1878 bricks very hard and dense in character, said to be of pure alumina, were exhibited by Muller & Co. of Paris, as well as bricks of magnesia, the latter being specially remarkable for their great weight. They are intended for use at the extreme temperatures obtainable in steel furnaces, or for the melting of platinum before the oxy-hydrogen blowpipe. For the latter purpose, however, lime is generally used; but as this substance has only small stability, it is usually bedded in a casing of firebrick. Oxide of chromium and chrome iron ore have been proposed as refractory crucible materials. The former may be used as a bed for melting platinum in the same way as lime or magnesia, without affecting the quality of the metal.
Ferric oxide, though not strictly infusible, is largely used as a protecting lining for furnaces in which malleable iron is made, a portion of the ore being reduced and recovered in the process. In an oxidizing atmosphere it is indifferent to silica, and therefore siliceous bricks containing a considerable proportion of ferric oxide, when used in flues of boilers, brewers’ coppers, &c. and similar situations, are perfectly fire-resisting so long as the heated gas contains a large proportion of unconsumed air. The red firebricks known as Windsor bricks, which are practically similar in composition to soft red sandstone, are of this character.
The electric furnace has led to the discovery of several important materials, which have been employed as furnace linings. Carborundum (q.v.) was applied by Engels in 1899, firebricks being washed with carborundum paste and then baked. Siloxicon, a compound of carbon, silicon and oxygen, formed from carbon and silica in the electric furnace, was patented by E.G. Acheson in 1903. It is very refractory, and is applied by mixing with water and some bond, such as sodium silicate or gas-tar. An amorphous, soft silicon carbide, also formed in the electric furnace, was patented by B. Talbot in 1899. For basic linings, magnesia crystallized in the electric furnace is being extensively used, replacing dolomite to some extent (see E. Kilburn Scott, “Refractory Materials for Furnace Linings,”Faraday Soc., 1906, p. 289).
Furnace Construction.—In the construction of furnaces provision has to be made for the unequal expansion of the different parts under the effect of heat. This is especially necessary in the case of reverberatory furnaces, which are essentially weak structures, and therefore require to be bound together by complicated systems of tie rods and uprights or buck staves. The latter are very commonly made of old flat bottom rails, laid with the flat of the flange against the wall. Puddling furnaces are usually entirely cased with iron plates, and blast furnaces with hoops round each course of the stack, or in those of thinner constructions the firebrick work is entirely enclosed in a wrought iron casing or jacket. Such parts as may be subjected to extreme heat and the fretting action of molten material, as the tuyere and slag breasts of blast furnaces, and the fire bridges and bed plates of reverberatory furnaces, are often made in cast iron with double walls, a current of water or air being kept circulating through the intermediate space. In this way the metal, owing to its high conductivity and low specific heat as compared to that of water, is kept at a temperature far below its melting point if the water is renewed quickly enough. It is of course necessary in such cases that the circulation shall be perfectly free, in order to prevent the accumulation of steam under pressure in the interior of the casting. This method has received considerable extension, notably in furnace-smelting of iron ores containing manganese, where the entire hearth is often completely water-cased, and in some lead furnaces where no firebrick lining is used, the lower part of the furnace stack being a mere double iron box cooled by water sufficiently to keep a coating of slag adhering to the inner shell which prevents the metal from being acted upon.Mechanical Furnaces.—The introduction and withdrawal of the charges in fusion furnaces is effected by gravitation, the solid masses of raw ore, fuel and flux being thrown in at the top, and flowing out of the furnace at the taphole or slag run at the bottom. Vertical kilns, such as those used for burning limestone, are worked in a similar manner—the raw stone going in at the top, and the burnt product falling through holes in the bottom when allowed to do so. With reverberatory calciners, however, where the work is done upon a horizontal bed, a considerable amount of hand labour is expended in raking out the charge when finished, and in drawing slags from fusion furnaces; and more particularly in the puddling process of refining iron the amount of manual exertion required is very much greater. To diminish the item of expenditure on this head, various kinds of mechanical furnaces have been adopted, all of which can be classified under three heads of gravitating furnaces, mechanical stirrers and revolving furnaces.1. Ingravitating furnacesthe bed is laid at a slope just within the angle of repose of the charge, which is introduced at the upper end, and is pushed down the slope by fresh material, when necessary, in the contrary direction to the flame which enters at the lower end. Gerstenhofer’s pyrites burner is a furnace of this class. It has a tall vertical chamber heated from below, and traversed by numerous narrow horizontal cross bars at different heights. The ore in fine powder is fed in at the top, through a hopper, in a regular thin stream, by a pair of rollers, and in falling lodges on the flats of the bars, forming a talus upon each of the height corresponding to the angle of rest of the material, which is, however, at short intervals removed to lower levels by the arrival of fresh ore from above. In this way a very large surface is exposed to the heat, and the ore, if containing sufficient sulphur to maintain the combustion, is perfectly burned when it arrives at the bottom; if, however, it is imperfectly sized or damp, or if it contains much earthy matter, the result is not very satisfactory. There are many other furnaces in which the same principle is utilized.2.Mechanical stirrersconstitute a second division of mechanical furnaces, in which the labour of rabbling or stirring the charges is performed by combinations of levers and wheel-work taking motion from a rotating shaft, and more or less perfectly imitating the action of hand labour. They are almost entirely confined to puddling furnaces.3.Revolving furnaces, the third and most important division of mechanical furnaces, are of two kinds. The first of these resemble an ordinary reverberatory furnace by having a flat bed which, however, has the form of a circular disk mounted on a central shaft, and receives a slow movement of rotation from a water-wheel or other motor, so that every part of the surface is brought successively under the action of the fire, the charge being stirred and ultimately removed by passing under a series of fixed scraper arms placed above the surface at various points. Brunton’s calciner, used in the “burning” of the pyritic minerals associated with tin ore, is a familiar example of this type. The hearth may either rotate on an inclined axis, so that the path of its surface is oblique to that of the flame, or the working part may be a hollow cylinder, between the fireplace and flue, with its axis horizontal or nearly so, whose inner surface represents the working bed, mounted upon friction rollers, and receiving motion from a special steam-engine by means of a central belt of spur gearing. Furnaces of the second kind were first used in alkali works for the conversion of sulphate into carbonate of sodium in the process known as black ash fusion, but have since been applied to other processes. As calciners they are used in tin mines and for the chlorination of silver ores. Mechanical furnaces are figured in the articleAlkali Manufacture.Use of Heated Air.—The calorific intensity of fuel is found to be very considerably enhanced, if the combustion be effected with air previously heated to any temperature between that of boiling water and a dull red heat, the same effect being observed both with solid and gaseous fuel. The latter, especially when brought to the burning point at a high temperature, produces a heat that can be resisted by the most refractory substances only, such as silica, alumina and magnesia. This is attained in the regenerative furnace of Siemens, detailed consideration of which belongs more properly to the subject of iron.Economy of Waste Heat.—In every system of artificial heating, the amount of heat usefully applied is but a small proportion of that developed by combustion. Even under the most advantageous application, that of evaporation of water in a steam boiler where the gases of the fire have to travel through a great length of flues bounded by thin iron surfaces of great heat-absorbing capacity, the temperature of the current at the chimney is generally much above that required to maintain an active draught in the fireplace; and other tubes containing water, often in considerable numbers, forming the so-called fuel economizers, may often be interposed between the boiler and the chimney with marked advantage as regards saving of fuel. In reverberatory and air furnaces used in the different operations of iron manufacture, where an extremely high temperature has to be maintained in spaces of comparatively small extent, such as the beds of puddling, welding and steel-melting furnaces, the temperature of the exhaust gases is exceedingly high, and if allowed to pass directly into the chimney they appear as a great body of flame at the top. It is now general to save a portion of this heat by passing the flame through flues of steam boilers, air-heating apparatus, or both—so that the steam required for the necessary operations of the forge and heated blast for the furnace itself may be obtained without further expenditure of fuel. The most perfect method of utilizing the waste heat hitherto applied is that of the Siemens regenerator, in which the spent gases are made to travel through chambers, known as regenerators or recuperators of heat, containing a quantity of thin firebricks piled into a cellular mass so as to offer a very large heat-absorbing surface, whereby their temperature is very considerably reduced, and they arrive at the chimney at a heat not exceeding 300 or 400 degrees. As soon as the bricks have become red hot, the current is diverted to an adjacent chamber or pair of chambers, and the acquired heat is removed by a current of cool gas or air passing towards the furnace, where it arrives at a temperature sufficiently high to ensure the greatest possible heating effect in combustion.In iron-smelting blast furnaces the waste gases are of considerable fuel value, and may render important services if properly applied. Owing to the conditions of the work, which require the maintenance of a sensibly reducing atmosphere, they contain a very notable proportion of carbonic oxide, and are drawn off by large wrought iron tubes near the top of the furnace and conveyed by branch pipes to the different boilers and air-heating apparatus, which are now entirely heated by the combustion of such gases, or mixed with air and exploded in gas engines. Formerly they were allowed to burn to waste at the mouth of a short chimney place above the furnace top, forming a huge body of flame, which was one of the most striking features of the Black Country landscape at night.Laboratory and Portable Furnaces.—Small air-furnaces with hot plates or sand bath flues were formerly much employed in chemical laboratories, as well as small blast furnaces for crucibles heated with charcoal or coke. The use of such furnaces has very considerably diminished, owing to the general introduction of coal-gas for heating purposes in laboratories, which has been rendered possible by the invention of the Bunsen burner, in which the mixture of air and gas giving the least luminous but most powerfully heating flame is effected automatically by the effluent gas. These burners, or modifications of them, have also been applied to muffle furnaces, which are convenient when only a few assays have to be made—the furnace being a mere clay shell and soon brought to a working temperature; but the fuel is too expensive to allow of their being used habitually or on a large scale. Petroleum, or rather the heavy oils obtained in tar refineries, having an equal or superior heating power to coal-gas, may also be used in laboratories for producing high temperatures. The oil is introduced in a thin stream upon a series of inclined and channelled bars, where it is almost immediately volatilized and burnt by air flowing in through parallel orifices. Furnaces of this kind may be used for melting cast iron or bronze in small quantities, and were employed by H. Sainte Claire Deville in experiments in the metallurgy of the platinum group of metals.Sefstrom’s blast furnace, used in Sweden for the assay of iron ores, is a convenient form of portable furnace applied to melting in crucibles. It consists of a sheet-iron cylinder about 8 or 9 in. in diameter, within which is fixed one of smaller size lined with fireclay. The space between the two cylinders serves as a heater and distributor for the blast, which is introduced through the nozzle at the bottom, and enters the furnace through a series of several small tuyeres arranged round the inner lining. Charcoal is the fuel used, and the crucibles stand upon the bottom of the clay lining. When a large body of fuel is required, the cylinder can be lengthened by an iron hoop which fits over the top ring. Deville’s portable blast furnace is very similar in principle to the above, but the body of the furnace is formed of a single cast iron cylinder lined with fireclay, closed below by a cast iron plate perforated by a ring of small holes—a hemispherical basin below forming the air-heating chamber.
Furnace Construction.—In the construction of furnaces provision has to be made for the unequal expansion of the different parts under the effect of heat. This is especially necessary in the case of reverberatory furnaces, which are essentially weak structures, and therefore require to be bound together by complicated systems of tie rods and uprights or buck staves. The latter are very commonly made of old flat bottom rails, laid with the flat of the flange against the wall. Puddling furnaces are usually entirely cased with iron plates, and blast furnaces with hoops round each course of the stack, or in those of thinner constructions the firebrick work is entirely enclosed in a wrought iron casing or jacket. Such parts as may be subjected to extreme heat and the fretting action of molten material, as the tuyere and slag breasts of blast furnaces, and the fire bridges and bed plates of reverberatory furnaces, are often made in cast iron with double walls, a current of water or air being kept circulating through the intermediate space. In this way the metal, owing to its high conductivity and low specific heat as compared to that of water, is kept at a temperature far below its melting point if the water is renewed quickly enough. It is of course necessary in such cases that the circulation shall be perfectly free, in order to prevent the accumulation of steam under pressure in the interior of the casting. This method has received considerable extension, notably in furnace-smelting of iron ores containing manganese, where the entire hearth is often completely water-cased, and in some lead furnaces where no firebrick lining is used, the lower part of the furnace stack being a mere double iron box cooled by water sufficiently to keep a coating of slag adhering to the inner shell which prevents the metal from being acted upon.
Mechanical Furnaces.—The introduction and withdrawal of the charges in fusion furnaces is effected by gravitation, the solid masses of raw ore, fuel and flux being thrown in at the top, and flowing out of the furnace at the taphole or slag run at the bottom. Vertical kilns, such as those used for burning limestone, are worked in a similar manner—the raw stone going in at the top, and the burnt product falling through holes in the bottom when allowed to do so. With reverberatory calciners, however, where the work is done upon a horizontal bed, a considerable amount of hand labour is expended in raking out the charge when finished, and in drawing slags from fusion furnaces; and more particularly in the puddling process of refining iron the amount of manual exertion required is very much greater. To diminish the item of expenditure on this head, various kinds of mechanical furnaces have been adopted, all of which can be classified under three heads of gravitating furnaces, mechanical stirrers and revolving furnaces.
1. Ingravitating furnacesthe bed is laid at a slope just within the angle of repose of the charge, which is introduced at the upper end, and is pushed down the slope by fresh material, when necessary, in the contrary direction to the flame which enters at the lower end. Gerstenhofer’s pyrites burner is a furnace of this class. It has a tall vertical chamber heated from below, and traversed by numerous narrow horizontal cross bars at different heights. The ore in fine powder is fed in at the top, through a hopper, in a regular thin stream, by a pair of rollers, and in falling lodges on the flats of the bars, forming a talus upon each of the height corresponding to the angle of rest of the material, which is, however, at short intervals removed to lower levels by the arrival of fresh ore from above. In this way a very large surface is exposed to the heat, and the ore, if containing sufficient sulphur to maintain the combustion, is perfectly burned when it arrives at the bottom; if, however, it is imperfectly sized or damp, or if it contains much earthy matter, the result is not very satisfactory. There are many other furnaces in which the same principle is utilized.
2.Mechanical stirrersconstitute a second division of mechanical furnaces, in which the labour of rabbling or stirring the charges is performed by combinations of levers and wheel-work taking motion from a rotating shaft, and more or less perfectly imitating the action of hand labour. They are almost entirely confined to puddling furnaces.
3.Revolving furnaces, the third and most important division of mechanical furnaces, are of two kinds. The first of these resemble an ordinary reverberatory furnace by having a flat bed which, however, has the form of a circular disk mounted on a central shaft, and receives a slow movement of rotation from a water-wheel or other motor, so that every part of the surface is brought successively under the action of the fire, the charge being stirred and ultimately removed by passing under a series of fixed scraper arms placed above the surface at various points. Brunton’s calciner, used in the “burning” of the pyritic minerals associated with tin ore, is a familiar example of this type. The hearth may either rotate on an inclined axis, so that the path of its surface is oblique to that of the flame, or the working part may be a hollow cylinder, between the fireplace and flue, with its axis horizontal or nearly so, whose inner surface represents the working bed, mounted upon friction rollers, and receiving motion from a special steam-engine by means of a central belt of spur gearing. Furnaces of the second kind were first used in alkali works for the conversion of sulphate into carbonate of sodium in the process known as black ash fusion, but have since been applied to other processes. As calciners they are used in tin mines and for the chlorination of silver ores. Mechanical furnaces are figured in the articleAlkali Manufacture.
Use of Heated Air.—The calorific intensity of fuel is found to be very considerably enhanced, if the combustion be effected with air previously heated to any temperature between that of boiling water and a dull red heat, the same effect being observed both with solid and gaseous fuel. The latter, especially when brought to the burning point at a high temperature, produces a heat that can be resisted by the most refractory substances only, such as silica, alumina and magnesia. This is attained in the regenerative furnace of Siemens, detailed consideration of which belongs more properly to the subject of iron.
Economy of Waste Heat.—In every system of artificial heating, the amount of heat usefully applied is but a small proportion of that developed by combustion. Even under the most advantageous application, that of evaporation of water in a steam boiler where the gases of the fire have to travel through a great length of flues bounded by thin iron surfaces of great heat-absorbing capacity, the temperature of the current at the chimney is generally much above that required to maintain an active draught in the fireplace; and other tubes containing water, often in considerable numbers, forming the so-called fuel economizers, may often be interposed between the boiler and the chimney with marked advantage as regards saving of fuel. In reverberatory and air furnaces used in the different operations of iron manufacture, where an extremely high temperature has to be maintained in spaces of comparatively small extent, such as the beds of puddling, welding and steel-melting furnaces, the temperature of the exhaust gases is exceedingly high, and if allowed to pass directly into the chimney they appear as a great body of flame at the top. It is now general to save a portion of this heat by passing the flame through flues of steam boilers, air-heating apparatus, or both—so that the steam required for the necessary operations of the forge and heated blast for the furnace itself may be obtained without further expenditure of fuel. The most perfect method of utilizing the waste heat hitherto applied is that of the Siemens regenerator, in which the spent gases are made to travel through chambers, known as regenerators or recuperators of heat, containing a quantity of thin firebricks piled into a cellular mass so as to offer a very large heat-absorbing surface, whereby their temperature is very considerably reduced, and they arrive at the chimney at a heat not exceeding 300 or 400 degrees. As soon as the bricks have become red hot, the current is diverted to an adjacent chamber or pair of chambers, and the acquired heat is removed by a current of cool gas or air passing towards the furnace, where it arrives at a temperature sufficiently high to ensure the greatest possible heating effect in combustion.
In iron-smelting blast furnaces the waste gases are of considerable fuel value, and may render important services if properly applied. Owing to the conditions of the work, which require the maintenance of a sensibly reducing atmosphere, they contain a very notable proportion of carbonic oxide, and are drawn off by large wrought iron tubes near the top of the furnace and conveyed by branch pipes to the different boilers and air-heating apparatus, which are now entirely heated by the combustion of such gases, or mixed with air and exploded in gas engines. Formerly they were allowed to burn to waste at the mouth of a short chimney place above the furnace top, forming a huge body of flame, which was one of the most striking features of the Black Country landscape at night.
Laboratory and Portable Furnaces.—Small air-furnaces with hot plates or sand bath flues were formerly much employed in chemical laboratories, as well as small blast furnaces for crucibles heated with charcoal or coke. The use of such furnaces has very considerably diminished, owing to the general introduction of coal-gas for heating purposes in laboratories, which has been rendered possible by the invention of the Bunsen burner, in which the mixture of air and gas giving the least luminous but most powerfully heating flame is effected automatically by the effluent gas. These burners, or modifications of them, have also been applied to muffle furnaces, which are convenient when only a few assays have to be made—the furnace being a mere clay shell and soon brought to a working temperature; but the fuel is too expensive to allow of their being used habitually or on a large scale. Petroleum, or rather the heavy oils obtained in tar refineries, having an equal or superior heating power to coal-gas, may also be used in laboratories for producing high temperatures. The oil is introduced in a thin stream upon a series of inclined and channelled bars, where it is almost immediately volatilized and burnt by air flowing in through parallel orifices. Furnaces of this kind may be used for melting cast iron or bronze in small quantities, and were employed by H. Sainte Claire Deville in experiments in the metallurgy of the platinum group of metals.
Sefstrom’s blast furnace, used in Sweden for the assay of iron ores, is a convenient form of portable furnace applied to melting in crucibles. It consists of a sheet-iron cylinder about 8 or 9 in. in diameter, within which is fixed one of smaller size lined with fireclay. The space between the two cylinders serves as a heater and distributor for the blast, which is introduced through the nozzle at the bottom, and enters the furnace through a series of several small tuyeres arranged round the inner lining. Charcoal is the fuel used, and the crucibles stand upon the bottom of the clay lining. When a large body of fuel is required, the cylinder can be lengthened by an iron hoop which fits over the top ring. Deville’s portable blast furnace is very similar in principle to the above, but the body of the furnace is formed of a single cast iron cylinder lined with fireclay, closed below by a cast iron plate perforated by a ring of small holes—a hemispherical basin below forming the air-heating chamber.
FURNEAUX, TOBIAS(1735-1781), English navigator, was born at Swilly near Plymouth on the 21st of August 1735. He entered the royal navy, and was employed on the French and African coasts and in the West Indies during the latter part of the Seven Years’ War (1760-1763). He served as second lieutenant of the “Dolphin” under Captain Samuel Wallis on the latter’s voyage round the globe (August 1766-May 1768); was made a commander in November 1771; and commanded the “Adventure” which accompanied Captain Cook (in the “Resolution”) in Cook’s second voyage. On this expedition Furneaux was twice separated from his leader (February 8-May 19, 1773; October 22, 1773-July 14, 1774, the date of his return to England). On the former occasion he explored a great part of the south and east coasts of Tasmania, and made the earliest British chart of the same. Most of his names here survive; Cook, visiting this shore-line on his third voyage, confirmed Furneaux’s account and delineation of it (with certain minor criticisms and emendations), and named after him the islands in Banks Straits, opening into Bass’s Straits, and the group now known as the Low Archipelago. After the “Adventure” was finally separated from the “Resolution” off New Zealand in October 1773, Furneaux returned home alone, bringing with him Omai of Ulaietea. This first South Sea Islander seen in the British Isles returned to his home with Cook in 1776-1777. Furneaux was made a captain in 1775, and commanded the “Syren” in the British attack of the 28th of June 1776 upon Charleston, South Carolina. His successful efforts to introduce domestic animals and potatoes into the South Sea Islands are worthy of note. He died at Swilly on the 19th of September 1781.
See Hawkesworth’sNarrative of Wallis’ Voyage; Captain Cook’sNarrative of his Second Voyage; also T. Furneaux’s life by Rev. Henry Furneaux in theDictionary of National Biography.
See Hawkesworth’sNarrative of Wallis’ Voyage; Captain Cook’sNarrative of his Second Voyage; also T. Furneaux’s life by Rev. Henry Furneaux in theDictionary of National Biography.
FURNES(Flem.Veurne), an old-fashioned little town amid the dunes near the coast in West Flanders, Belgium, about 26 m. S.W. of Bruges. Pop. (1904) 6099. It is the centre of a considerable area extending to the French frontier, and its market is an important one for the disposal of corn, stock, hops and dairy produce. During the Norman raids Furnes was destroyed, and the present town was built by Baldwin Bras de Fer, first count of Flanders, about the year 870. At the height of the prosperity of the Flemish communes in the 14th century there were dependent on the barony of Furnes not fewer than fifty-two rich villages, but these have all disappeared, partly no doubt as the consequence of repeated French invasions down to the end of the 18th century, but chiefly through the encroachment of the sea followed by the accumulation of sand along the whole of this portion of the coast. Furnes contains many curious old houses and the church of St Walburga, which is a fine survival of the 13th century with some older portions. The old church and buildings, grouped round the Grand Place, which is the scene of the weekly market, present a quaint picture which is perhaps not to be equalled in the country. Near Furnes on the seashore is the fashionable bathing place called La Panne.
Furnes one day a year becomes a centre of attraction to all the people of Flanders. This is the last Sunday in July, when the fête of Calvary and the Crucifixion is celebrated. Of all popular festivities in Belgium this is the nearest approach to the old Passion Play. The whole story of Christ is told with great precision by means of succeeding groups which typify the different phases of the subject. The people of Furnes pose as Roman soldiers or Jewish priests, as the apostles or mere spectators, while the women put on long black veils so that they may figure in the procession as the just women.
FURNESS, HORACE HOWARD(1833- ), American Shakespearian scholar, was born in Philadelphia on the 2nd of November 1833, being the son of William Henry Furness (1802-1896) minister of the First Unitarian church in that city, a powerful preacher and writer. He graduated at Harvard in 1854, and was admitted to the bar in 1859, but soon devoted himself to the study of Shakespeare. He accumulated a collection of illustrative material of great richness and extent, and brought out in 1871 the first volume of a new Variorum edition, designed to represent and summarize the conclusions of the best authorities in all languages—textual, critical and annotative. The volumes appeared as follows:Romeo and Juliet(1871);Macbeth(1873) (revised edition, 1903);Hamlet(2 vols., 1877);King Lear(1880);Othello(1886);The Merchant of Venice(1888);As You Like It(1890);The Tempest(1892);A Midsummer Night’s Dream(1895);The Winter’s Tale(1898);Much Ado about Nothing(1899);Twelfth Night(1901);Love’s Labour’s Lost(1904). The edition has been generally accepted as a thorough and scholarly piece of work; its chief fault is that, beginning withOthello(1858), the editor used the First Folio text as his basis, while in others he makes the text of the Cambridge (Globe) editors his foundation. His wife, Helen Kate Furness (1837-1883), compiledA Concordance to the Poems of Shakespeare(1872).
FURNESS, a district of Lancashire, England, separated from the major portion of the county by Morecambe Bay. It is bounded S.E. by this inlet of the Irish Sea, S.W. by the sea, W. by the Duddon estuary and Cumberland, and N. and E. by Westmorland. Its area is about 250 sq. m. It forms the greater part of the North Lonsdale parliamentary division of Lancashire, and contains the parliamentary borough of Barrow-in-Furness. The surface is almost entirely hilly. The northern half is included in the celebrated Lake District, and contains such eminences as the Old Man of Coniston and Wetherlam. Apart from the Duddon, which forms part of the western boundary, the principal rivers are the Leven and Crake, flowing southward into a common estuary in Morecambe Bay. The Leven drains Windermere and the Crake Coniston Lake. The usage of the term “Lake District,” however, tends to limit the name of Furness in common thought to the district south of the Lakes, where several of the place-names are suffixed with that of the district, as Barrow-in-Farness, Dalton-in-Furness, Broughton-in-Furness. Betweenthe Duddon and Morecambe Bay lies Walney Island, 8 m. in length, and in the shallow strait between it and the mainland are several smaller islands. That part of Furness which forms a peninsula between the Leven estuary and Morecambe Bay, and the Duddon estuary, is rich in hematite iron ore, which has been worked from very early times. It was known and smelted by British and Romans, and by the monks of Furness Abbey and Conishead Priory, both in the district. It was owing to the existence of this ore that the town of Barrow grew up in the 19th century; at first as a port from which the ore was exported to South Wales, while later furnaces were established on the spot, and acquired additional importance on the introduction of the Bessemer process, which requires a non-phosphoric ore such as is found here. The hematite is also worked at Ulverston, Askam, Dalton and elsewhere, but the furnaces now depend in part upon ore imported from Spain. The supposed extension of the ore under the sands of the Duddon estuary led to the construction of a sea wall to facilitate the working. The district is served by the main line of the Furness railway, from Carnforth (junction with the London & North-Western railway), passing the pleasant watering-place of Grange, and approximately following the coast by Ulverston, Dalton and Barrow, with branches to Lake Side, Windermere, and to Coniston.
Apart from its industrial importance and scenic attractions, Furness has an especial interest on account of its famous abbey. The ruins of this, beautifully situated in a wooded valley, are extensive, and mainly of fine transitionalFurness Abbey.Norman and Early English date, acquiring additional picturesqueness from the warm colour of the red sandstone of which they are built. The abbey of Furness, otherwise Furdenesia or the furthernese(promontory), which was dedicated to St Mary, was founded in 1127 by a small body of monks belonging to the Benedictine order of Savigny. In 1124 they had settled at Tulketh, near Preston, but migrated in 1127 to Furness under the auspices of Stephen, count of Boulogne, afterwards king, at that time lord of the liberty of Furness. In 1148 the brotherhood joined the Cistercian order. Stephen granted to the monks the lordship of Furness, and his charter was confirmed by Henry I., Henry II. and subsequent kings. The abbot’s power throughout the lordship was almost absolute; he had a market and fair at Dalton, was free from service to the county and wapentake, and held a sheriff’s tourn. By a succession of gifts the abbey became one of the richest in England and was the largest Cistercian foundation in the kingdom. At the Dissolution its revenues amounted to between £750 and £800 a year, exclusive of meadows, pastures, fisheries, mines, mills and salt works, and the wealth of the monks enabled them to practise a regal hospitality. The abbot was one of the twenty Cistercian abbots summoned to the parliament of 1264, but was not cited after 1330, as he did not hold of the kingin capite per baroniam. The abbey founded several offshoot houses, one of the most important being Rushen Abbey in the Isle of Man. In 1535 the royal commissioners visited the abbey and reported four of its inmates, including the abbot, for incontinence. In 1536 the abbot was charged with complicity in the Pilgrimage of Grace, and on the 7th of April 1537, under compulsion, surrendered the abbey to the king. A few monks were granted pensions, and the abbot was endowed with the profits of the rectory of Dalton, valued at £33, 6s. 8d. per annum. In 1540 the estates and revenues were annexed by act of parliament to the Duchy of Lancaster. About James I.’s reign the site and territories were alienated to the Prestons of Preston-Patrick, from whom they descended to the dukes of Devonshire.
Conishead Priory, near Ulverston, an Augustinian foundation of the reign of Henry II., has left no remains, but of the priory of Cartmel (1188) the fine church is still in use. It is a cruciform structure of transitional Norman and later dates, its central tower having the upper storey set diagonally upon the lower. The chancel contains some superb Jacobean carved oak screens, with stalls of earlier date.
FURNISS, HARRY(1854- ), British caricaturist and illustrator, was born at Wexford, Ireland, of English and Scottish parents. He was educated in Dublin, and in his schooldays edited aSchoolboy’s Punchin close imitation of the original. He came to London when he was nineteen, and began to draw for the illustrated papers, being for some years a regular contributor to theIllustrated London News. His first drawing inPunchappeared in 1880, and he joined its staff in 1884. He illustrated Lucy’s “Diary of Toby, M.P.,” inPunch, where his political caricatures became a popular feature. Among his other successes were a series of “Puzzle Heads,” and his annual “Royal Academy guy’d.” InRoyal Academy Antics(1890) he published a volume of caricatures of the work of leading artists. He resigned from the staff ofPunchin 1894, produced for a short time a weekly comic paperLika Joko, and in 1898 began a humorous monthly,Fair Game; but these were short-lived. Among the numerous books he illustrated were James Payn’sTalk of the Town, Lewis Carroll’sSylvie and Bruno, Gilbert à Beckett’sComic Blackstone, G.E. Farrow’sWallypug Book, and his own novel,Poverty Bay(1905).Our Joe, his great Fight(1903), was a collection of original cartoons. His volume of reminiscences,Confessions of a Caricaturist(1901), was followed byHarry Furniss at Home(1904). In 1905 he publishedHow to draw in Pen and Ink, and produced the first number ofHarry Furniss’s Christmas Annual.
FURNITURE(from “furnish,” Fr.fournir), a general term of obscure origin, used to describe the chattels and fittings required to adapt houses and other buildings for use. Wood, ivory, precious stones, bronze, silver and gold have been used from the most ancient times in the construction or for the decoration of furniture. The kinds of objects required for furniture have varied according to the changes of manners and customs, as well as with reference to the materials at the command of the workman, in different climates and countries. Of really ancient furniture there are very few surviving examples, partly by reason of the perishable materials of which it was usually constructed; and partly because, however great may have been the splendour of Egypt, however consummate the taste of Greece, however luxurious the life of Rome, the number of household appliances was very limited. The chair, the couch, the table, the bed, were virtually the entire furniture of early peoples, whatever the degree of their civilization, and so they remained until the close of what are known in European history as the middle ages. During the long empire-strewn centuries which intervened between the lapse of Egypt and the obliteration of Babylon, the extinction of Greece and the dismemberment of Rome and the great awakening of the Renaissance, household comfort developed but little. The Ptolemies were as well lodged as the Plantagenets, and peoples who spent their lives in the open air, going to bed in the early hours of darkness, and rising as soon as it was light, needed but little household furniture.
Indoor life and the growth of sedentary habits exercised a powerful influence upon the development of furniture. From being splendid, or at least massive, and exceedingly sparse and costly, it gradually became light, plentiful and cheap. In the ancient civilizations, as in the periods when our own was slowly growing, household plenishings, save in the rudest and most elementary forms, were the privilege of the great—no person of mean degree could have obtained, or would have dared to use if he could, what is now the commonest object in every house, the chair (q.v.). Sparse examples of the furniture of Egypt, Nineveh, Greece and Rome are to be found in museums; but our chief sources of information are mural and sepulchral paintings and sculptures. The Egyptians used wooden furniture carved and gilded, covered with splendid textiles, and supported upon the legs of wild animals; they employed chests and coffers as receptacles for clothes, valuables and small objects generally. Wild animals and beasts of the chase were carved upon the furniture of Nineveh also; the lion, the bull and the ram were especially characteristic. The Assyrians were magnificent in their household appointments; their tables and couches were inlaid with ivory and precious metals. Cedar and ebony were much used by these great Eastern peoples, and it is probable that they were familiar with rosewood, walnut and teak. Solomon’sbed was of cedar of Lebanon. Greek furniture was essentially Oriental in form; the more sumptuous varieties were of bronze, damascened with gold and silver. The Romans employed Greek artists and workmen and absorbed or adapted many of their mobiliary fashions, especially in chairs and couches. The Roman tables were of splendid marbles or rare woods. In the later ages of the empire, in Rome and afterwards in Constantinople, gold and silver were plentifully used in furniture; such indeed was the abundance of these precious metals that even cooking utensils and common domestic vessels were made of them.
The architectural features so prominent in much of the medieval furniture begin in these Byzantine and late Roman thrones and other seats. These features became paramount as Pointed architecture became general in Europe, and scarcely less so during the Renaissance. Most of the medieval furniture, chests, seats, trays, &c., of Italian make were richly gilt and painted. In northern Europe carved oak was more generally used. State seats in feudal halls were benches with ends carved in tracery, backs panelled or hung with cloths (called cloths of estate), and canopies projecting above. Bedsteads were square frames, the testers of panelled wood, resting on carved posts. Chests of oak carved with panels of tracery, or of Italian cypress (when they could be imported), were used to hold and to carry clothes, tapestries, &c., to distant castles and manor houses; for house furniture, owing to its scarcity and cost, had to be moved from place to place. Copes and other ecclesiastical vestments were kept in chests with ornamental lock plates and iron hinges. The splendour of most feudal houses depended on pictorial tapestries which could be packed and carried from place to place. Wardrobes were rooms fitted for the reception of dresses, as well as for spices and other valuable stores. Excellent carving in relief was executed on caskets, which were of wood or of ivory, with painting and gilding, and decorated with delicate hinge and lock metal-work. The general subjects of sculpture were taken from legends of the saints or from metrical romances. Renaissance art made a great change in architecture, and this change was exemplified in furniture. Cabinets (q.v.) and panelling took the outlines of palaces and temples. In Florence, Rome, Venice, Milan and other capitals of Italy, sumptuous cabinets, tables, chairs, chests, &c., were made to the orders of the native princes. Vasari (Lives of Painters) speaks of scientific diagrams and mathematical problems illustrated in costly materials, by the best artists of the day, on furniture made for the Medici family. The great extent of the rule of Charles V. helped to give a uniform training to artists from various countries resorting to Italy, so that cabinets, &c., which were made in vast numbers in Spain, Flanders and Germany, can hardly be distinguished from those executed in Italy. Francis I. and Henry VIII. encouraged the revived arts in their respective dominions.Pietra dura, or inlay of hard pebbles, agate, lapis lazuli, and other stones, ivory carved and inlaid, carved and gilt wood, marquetry or veneering with thin woods, tortoise-shell, brass, &c., were used in making sumptuous furniture during the first period of the Renaissance. Subjects of carving or relief were generally drawn from the theological and cardinal virtues, from classical mythology, from the seasons, months, &c. Carved altarpieces and woodwork in churches partook of the change in style.
The great period of furniture in almost every country was, however, unquestionably the 18th century. That century saw many extravagances in this, as in other forms of art, but on the whole it saw the richestfloraisonof taste, and the widest sense of invention. This is the more remarkable since the furniture of the 17th century has often been criticized as heavy and coarse. The criticism is only partly justified. Throughout the first three-quarters of the period between the accession of James I. and that of Queen Anne, massiveness and solidity were the distinguishing characteristics of all work. Towards the reign of James II., however, there came in one of the most pleasing and elegant styles ever known in England. Nearly a generation before then Boulle was developing in France the splendid and palatial method of inlay which, although he did not invent it, is inseparably associated with his name. We owe it perhaps to the fact that France, as the neighbour of Italy, was touched more immediately by the Renaissance than England that the reign of heaviness came earlier to an end in that country than on the other side of the Channel. But there is a heaviness which is pleasing as well as one which is forbidding, and much of the furniture made in England any time after the middle of the 17th century was highly attractive. If English furniture of the Stuart period be not sought after to the same extent as that of a hundred years later, it is yet highly prized and exceedingly decorative. Angularity it often still possessed, but generally speaking its elegance of form and richness of upholstering lent it an attraction which not long before had been entirely lacking. Alike in France and in England, the most attractive achievements of the cabinetmaker belong to the 18th century—English Queen Anne and early Georgian work is universally charming; the regency and the reigns of Louis XV. and XVI. formed a period of the greatest artistic splendour. The inspiration of much of the work of the great English school was derived from France, although the gropings after the Chinese taste and the earlier Gothic manner were mainly indigenous. The French styles of the century, which began with excessive flamboyance, closed before the Revolution with a chaste perfection of detail which is perhaps more delightful than anything that has ever been done in furniture. In the achievements of Riesener, David Röntgen, Gouthière, Oeben and Rousseau de la Rottière we have the high-water mark of craftsmanship. The marquetry of the period, although not always beautiful in itself, was executed with extraordinary smoothness and finish; the mounts of gilded bronze, which were the leading characteristic of most of the work of the century, were finished with a minute delicacy of touch which was until then unknown, and has never been rivalled since. If the periods of Francis I. and Henry II., of Louis XIV. and the regency produced much that was sumptuous and even elegant, that of Louis XVI., while men’s minds were as yet undisturbed by violent political convulsions, stands out as, on the whole, the one consummate era in the annals of furniture. Times of great achievement are almost invariably followed directly by those in which no tall thistles grow and in which every little shrub is magnified to the dimensions of a forest tree; and the so-called “empire style” which had begun even while the last monarch of theancien régimestill reigned, lacked alike the graceful conception and the superb execution of the preceding style. Heavy and usually uninspired, it was nurtured in tragedy and perished amid disaster. Yet it is a profoundly interesting style, both by reason of the classical roots from which it sprang and the attempt, which it finally reflected, to establish new ideas in every department of life. Founded upon the wreck of a lingering feudalism it reached back to Rome and Greece, and even to Egypt. If it is rarely charming, it is often impressive by its severity. Mahogany, satinwood and other rich timbers were characteristic of the style of the end of the 18th century; rosewood was most commonly employed for the choicer work of the beginning of the 19th. Bronze mounts were in high favour, although their artistic character varied materially.
Previously to the middle of the 18th century the only cabinetmaker who gained sufficient personal distinction to have had his name preserved was André Charles Boulle; beginning with that period France and England produced many men whose renown is hardly less than that of artists in other media. With Chippendale there arose a marvellously brilliant school of English cabinetmakers, in which the most outstanding names are those of Sheraton, Heppelwhite, Shearer and the Adams. But if the school was splendid it was lamentably short-lived, and the 19th century produced no single name in the least worthy to be placed beside these giants. Whether, in an age of machinery, much room is left for fine individual execution may be doubted, and the manufacture of furniture now, to a great extent, takes place in large factories both in England and on the continent. Owing to the necessary subdivision of labour in these establishments, each piece of furniture passes through numerous distinct workshops. The master and a few artificers formerlysuperintended each piece of work, which, therefore, was never far removed from the designer’s eye. Though accomplished artists are retained by the manufacturers of London, Paris and other capitals, there can no longer be the same relation between the designer and his work. Many operations in these modern factories are carried on by machinery. This, though an economy of labour, entails loss of artistic effect. The chisel and the knife are no longer in such cases guided and controlled by the sensitive touch of the human hand.
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A decided, if not always intelligent, effort to devise a new style in furniture began during the last few years of the 19th century, which gained the name of “l’art nouveau.” Its pioneers professed to be free from all old traditions and to seek inspiration from nature alone. Happily nature is less forbidding than many of these interpretations of it, and much of the “new art” is a remarkable exemplification of the impossibility of altogether ignoring traditional forms. The style was not long in degenerating into extreme extravagance. Perhaps the most striking consequence of this effort has been, especially in England, the revival of the use of oak. Lightly polished, or waxed, the cheap foreign oaks often produce very agreeable results, especially when there is applied to them a simple inlay of boxwood and stained holly, or a modern form of pewter. The simplicity of these English forms is in remarkable contrast to the tortured and ungainly outlines of continental seekers after a conscious and unpleasing “originality.”
Until a very recent period the most famous collections of historic furniture were to be found in such French museums as the Louvre, Cluny and the Garde Meuble. Now, however, they are rivalled, if not surpassed, by the magnificent collections of the Victoria and Albert Museum at South Kensington, and the Wallace collection at Hertford House, London. The latter, in conjunction with the Jones bequest at South Kensington, forms the finest of all gatherings of French furniture of the great periods, notwithstanding that in the Bureau du Roi the Louvre possesses the most magnificent individual example in existence. In America there are a number of admirable collections representative of the graceful and homely “colonial furniture” made in England and the United States during the Queen Anne and Georgian periods.