Charles wrote

>if the hole that passes the light is on the outer surface of the ring and
>the hour lines are on the inside, would this not then introduce an error?
>Emerson's diagram indicates the inner and outer diameters to be the same.

> Any thoughts on the effects of ring thickness?


Why not 'countersink' the hole so that it is reduced to an 'edge' at the 
inner surface of the ring?
>
>Regarding physical construction:
 
> Does anyone have any idea how to form a flat strip of brass into a perfectly 
circular ring
>without damaging the engraving on either side of the strip of brass? 

Ideally you could take it to any metal workshop or bench jeweller who has 
bending rolls. If not you can bend it by hand around any hard cylindrical 
object but make sure you anneal the brass first to make it pliable. This 
will avoid localised 'peaks'.   Heat to a dull red on a firebrick and 
allow to cool naturally or (quench in water). The metal will then bend 
easily but will 'work harden' increasingly with any alteration in shape.  
Repeat annealing will soften it again but avoid prolonged heating which 
builds up oxide.

Bend a strip which is longer than you require into a helix (like a short 
coil spring) in order to obtain the correct curve at the ends (almost 
impossible with a strip cut to finished length). The longer the strip the 
easier the bending!  After cutting the surplus ends off the helix can 
then be flattened out into a circle and the joint squared up with a fine 
file held in the gap while the ring is gently squeezed in the hand.  
Silver solder will then make an almost invisible joint after which a 
'pickle' in 10% sulphuric acid and fine abrasives will remove oxide and 
flux.

  The ring will remain soft after annealing/soldering but can be 'work 
hardened' again by careful striking with a wooden/nylon/leather mallet 
when rotated on a polished steel bar.
Any blemishes on the mallet face or the bar may be transferred to the 
brass.

Try it all out on scrap material before working on your engraved material.


Tony Moss

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