Blacksmith in 1960: The artist-blacksmith revival

The trade that made every other trade's tools — from Hittite iron and guild forges to the artist-blacksmiths who brought the anvil back in the twenty-first century. The blacksmith works the "black metal" — iron, named for the dark oxide scale that forms on its surface in the fire, as opposed to the whitesmith's bright tin. For most of recorded history the smith made every other trade's tools: the carpenter's chisels, the farmer's ploughshare, the surgeon's knives, the soldier's blade. London's blacksmiths' guild, recorded since 1299, took the point as its motto: "By hammer and hand all arts do stand." Nearly every iron-using culture forged a god to match — Hephaestus in Greece, Ogun in West Africa, Ilmarinen in Finland.

The route in has barely changed since the Iron Age: stand next to someone who knows, and hit a great deal of hot metal. No licence is needed in most countries, though Germany runs a regulated apprenticeship and master exam, Japan licenses its swordsmiths through a five-year live-in apprenticeship, and Britain regulates the neighbouring trade of farriery by law. What changed is the market: the Industrial Revolution took the production work — nails, chain, horseshoes, hardware — and left the smith the custom, artistic and restoration work machines still cannot do.

This page follows the trade from Hittite Anatolia through wootz steel, Ulfberht swords and Masamune's Kamakura forge to the village smithy's collapse after 1908 and the artist-blacksmith revival that began in the 1970s. It covers how people actually learn the craft today across four continents, what a forging day does to the body, the know-how smiths pass down at the anvil, who reached the top of the trade across seven centuries, and how much of the work automation already took — and what it left behind.