Agriculture Reference
In-Depth Information
knife will tend to smear or smooth the surface of the cut, so giving a somewhat
polished effect. Nodules of harder clay are cut, leaving evidence of their presence,
but burnt into the brick once it is fired. Timing of the cutting varied, giving rise
to a different size to the finished brick due to the amounts of shrinkage still to be
experienced. This can be up to 8-10%. Again, a careful check, particularly of the
marking out marks, will confirm the state of wetness of the brick.
These final remarks highlight the then particular problem of cutting mould-
ings with green clay. On-going drying and shrinkage of the clay would mean
that, unless the hewer cut all the mouldings within a day or two of each other,
there would be noticeable differences in the subsequent fired mouldings; as
well as accompanying minor distortion in firing. Also, in the longer term, the
resultant thin and smooth/polished surface of the green-cut face often has a
tendency, with weathering, to peel away, leaving a rough core exposed, aesthet-
ically disfiguring and opening the brick to decay; something that does not hap-
pen with post-fired cut work.
The rather intriguing ornate brick gateway in the garden of Stutton Hall
(Suffolk) (
c.
1553) is illustrated in two photographic plates by Lloyd (1925, 312-
13). The garden-side elevation is executed, from the cornice level down, with
Renaissance detailing (as opposed to the Gothic parts) rendered to resemble
stone. This stucco was carefully removed about 30 years ago exposing the Tudor
brickwork, providing a valuable insight into how the above-mentioned methods
(cut before or after firing) could be employed together on a decorative ele-
ment (Fig. 11).
Study of the moulding to the voussoirs (not cut to radiate with the standard
size mortar joints thus being 'v-shaped') of the semi-circular arch reveals how
their ovolo profile was green-cut. The tell-tale signs of slight dragging of the
surface inclusions and the smooth/polished appearance, with accompanying
shrinkage cracks, that subsequently occurred during the remaining period of
drying prior to firing are clearly evident. Many of these voussoirs also exhibit
the characteristic signs of veneer de-lamination, as described above (Fig. 12).
The double-engaged fluted pilasters with entasis on either side of the arch
are detailed with base and neck moulds, capitals, corona and drip, and a ter-
minal cornice, again set with standard-sized joints. All have been both green
or post-fired cut and rubbed to shape, or possibly a combination of both tech-
niques. Clearly, the more intricate mouldings display the classic signs of cut
and abraded inclusions. The pilasters are most revealing, as the evidence indi-
cates that they were laid out to bond position and then cut to their correct
entasis at the green-clay stage. The un-rubbed ends of each respective brick
to the sides of the pilasters still have the original scribed numbers for the cor-
rect order of erection. Roman numerals were used because it is easier to scribe
straight rather than curved lines and less likely to be misunderstood. These are
consistent with having been executed on the green bricks.
