The increased mechanization of all forms of manufacture understandably affected the character and use of ironwork. As the cost of cast iron came down, its use increased. Because wrought iron is produced by hand by beating red-hot iron on an anvil, not much change was possible through increased mechanization, whereas the casting of molten iron lent itself to improved equipment and techniques. The lowered cost of duplicating ornamental cast-iron components and the introduction of structural steel parts expanded the usage of ironwork to the modest building, whereas it had been generally confined to public or monumental structures. Foundries in the U.S. established a flourishing business in pierced cast-iron panels, modelled after Louisiana porch trellises.
Compared with prior periods, the last half of the 19th century will scarcely be commemorated as introducing enduring or beautiful ironwork forms. It was not until the first quarter of the 20th century that a master craftsman-designer gave impetus to a new conception of design forms and textures. Edgar Brandt of Paris broadened the scope of decorative usage by the rich inventiveness of his compositions and by an entirely original approach that resulted in a wrought-iron texture that is akin to beaten silver. Examples of his work at the Exposition des Arts Décoratifs Modernes at Paris in 1925 had an immediate effect upon ironwork designed and executed in the U.S. during the great building boom that lasted until about 1930. During this period, both wrought and cast iron enjoyed an unprecedented period of popularity not only in the form of bank screens, entrance doors, and grilles in public buildings but as decorative grilles and gates in private homes. In many cases the craftsmanship equalled that of representative examples of the Gothic or Renaissance periods in Europe.
One of the most gifted and dedicated iron craftsmen in the U.S., Samuel Yellin of Philadelphia, raised the standards of wrought-iron craftsmanship to its apex during the 1920s. He not only trained an atelier of craftsmen for the first time in the U.S., but by his efforts wrought iron was recognized as capable of enriching even the most monumental building. Yellin's influence, however, was ended by the Depression of the early 1930s. As building activity declined after 1930, so did the use of ironwork; and it did not increase with the revival of building after World War II. (G.K.Ge.)
