It shows a number of things. One is that you can do casting with a comparatively small and simple hearth, with bellows feeding a tuyere. This is not of course news to many people, but it does also indicate the sort of improvements in technology that took place over the following 500 years as furnaces got bigger and bigger. Yet they could make some sophisticated and high quality items on such a small fire.
The hearth is clay lined, on stones, very simple to make, and only about 6 inches long.
He mentions some of his experiences, 15 minutes to melt a crucible of bronze is about right, I’ve done it in that time on my small setup. There is a photo of a double hearth, with one suggested for the melting, and one for heating moulds. I usually do both in the same hearth, which if it is large can mean losing a mould in the charcoal. Otherwise I just put a firebrick at the bottom at the far end of the oblong hearth, and thus less charcoal builds up there with less air getting at it, which ensures a lower temperature there, ideal for moulds.
He spends some time on the moulds, going over the advantages of lost wax casting.
It seems the crucibles were made from sand tempered clay, which is always good, but you could only get one or two meltings from each one, which I say is because it is hard to get the right sort of clay, he points out that the crucible turns glassy when used. If you use a whiter high alumina clay then it doesn’t get so glassy, but a high iron one glasses up very quickly. He then says that he uses sand tempered stoneware clay, as far as I can see stoneware clays are for higher temperature firing, and thus are more heat resistant, so of course that is what to use.
Interestingly potters have evolved their own separate nomenclature that is not directly based on scientific analysis, so they say stoneware or earthenware or describe a clay by it’s type of firing and colour.
Now, one of the interesting things is that he says the mould (made from clay, sand and horse dung) should be completely burnt through, with no organic matter left. This is partly to ensure that there is no unreacted lime within the mould, from the clay. Yet he says that this is in contrast to the historic moulds, which are often poorly burnt, oxidised red on the outside and black through the middle, which can make the casting hard to do. The reasons he suggests for successful casting are that they used zinc copper alloys which were better at getting into the moulds through being less viscous and having a lower temp.
Importantly he notes that the clay mould conduct heat slowly, so you have time to take it out the fire and pour into it without rushing, which is a good point. This also permits the manufacture of finely details pieces, because the metal stays liquid enough to get into all the corners.
Clearly I have a lot of practise left to do because my castings don’t turn out the way his do. The secret is in the mould.