PSI - Issue 28

Jesús Toribio et al. / Procedia Structural Integrity 28 (2020) 2410–2415 Jesús Toribio / Procedia Structural Integrity 00 (2020) 000–000

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2. Cold drawn pearlitic steel 2.1. In the framework of Maurits Cornelis Escher and Johann Sebastian Bach

Considering the fact that the cold drawn pearlitic steel is a hierarchically structured material (HSM) in pearlite colonies and lamellae (Toribio, 2017a), a link can be established with the multi-scale (or multi-level) structure of the painting by Maurits Cornelis Escher and the music by Johann Sebastian Bach (Fig. 2).

Fig. 2. Day and night by Maurits Cornelis Escher (left) and portrait of Johann Sebastian Bach (right).

2.2. Following the wake of Fray Luis de León On the basis of the lamellar structure of the cold drawn pearlitic steel (consisting of Fe & Fe 3 C plates) one remembers the beautiful verses of Fray Luis de León, major Spanish poet and Professor at the University of Salamanca: “ y entrambas a porfía mezclan una dulcísima armonía ”, indicating that the fight (the mixture) between voices ( the counterpoint ) generates the sweetest harmony in music, in the same manner as the mixture between ferrite and cementite lamellae produces a very noble material (pearlite steel), that can be considered, therefore, a Fray Luis de León (FLL) based material , cf. Fig. 1. 2.3. From Raffaello Sanzio to Vincent van Gogh In the matter of microstructure evolution with cold drawing and microstructural integrity, the effect of cementite lamellae curling appearing in the transverse metallographic sections of heavily cold-drawn pearlitic steels resembles the appearance of the sky in the painting of Vincent van Gogh, so that it could be called van Gogh sky (VGS) or, more properly, van Gogh texture (VGT), as explained by Toribio (2017a), and it is represented by the two van Gogh paintings of Fig. 3. On the other hand, in the case of slightly cold-drawn pearlitic steels , their microstructure of ferrite/cementite lamellae is quasi-planar and the metallographic sections are constituted by straight lines that can be associated with the Renaissance Perspective of the painter Raffaello Sanzio, and it could be denoted as Raphael Painting Perspective or Renaissance Painting Perspective (RPP), this linear structure including the straight lines of perspective towards the vanishing point, as shown in Fig.4.