Shooting the War

Let the repaired piece cool down completely and then soak it in water to remove the gummed strips. There will be some spots of adhesive along the join squeezed out when the jour was made and deliberately not wiped away. Rub the spots very carefully with glass paper and break them down before removing them with a scalpel or a razor blade. This cleaning is quite a delicate operation and if done without abrasion may result in lifting little chips of china or
glaze.
If the crack was also c’., Red and Aralditc with colouring was used, tidy the filled chips with fine glass paper, and over-paint or glaze if necessary.
Moulding aped Modelling whole pieces of a pot or a
figure are missing, the gap can be filled by rebuilding the piece with epoxy resin composition filler. But it isn’t quite so simple as that! Perfectly satisfactory pieces for plates, vases, bowls, statuettes etc. can be moulded or modelled and simply stuck into place provided the piece is not going into domestic use, but such mends are not strong
g enough
to withstand hard wear for very long unless they are sup- ported by metal cores or pins. It is easy to mould or model a jug handle without a core, but unlikely that it will last very long if the jug is used. If the new handle has a core it will be very strong indeed. The making of cores and pins is described in a later section, and here I shall talk about moulding and modelling without supports. The techniques involved are almost identical when supports are incorporated. The job requires only a few cheap tools until the moment when you get involved in metal work and drilling for supports. And many people, once they reach this stage, just take the work to an expert restorer rather than buy drills and bits etc.
Before mending a piece such as a bowl or plate or vase, without using a core, scratch or file the broken edges so that the new piece of moulding will lock into the edge as it sets. The danger is that your new pieces may not adhere too well to the smooth and thin edge of a break without some kind of roughness in which to get a grip, as the problems of adhesion are not quite the same as those of sticking two edges, of porcelain or pottery together.
Next, a backing is necessary. This means a surface up against which you can press the filler to remake the piece. If the object is a flat plate, with : flat surface, the same gummed strip as is used for binding can just be stuck on the outside surface of the piece completely covering the broken area. As it dries it stretches tight and makes a good smooth surface up against which to press the filler. This gummed paper cannot be used on a curved surface because it pulls taut and flat across the curve as it dries. Therefore the mould will
wihave to be made with a flexible material which will take a curve. Plasticine does the job well, but it never sets hard and can be pushed out of shape rather easily. Wedge plasticine before use—this is a potter’s term meaning quite simply banging it until it has no air bubbles in it. A mallet or a wooden rolling pin make good bashers for plasticine.
If you use plasticine for the mould and Araldite for the filler you will have to get some cellulose acetate to use as a parting agent as the two react upon each other and must be separated by coating the surface of the plasticine which will come into contact with die filler.
There are other moulding materials. The dental impression compound Paribar is more expensive, but is quite excellent for the work, and is worth the extra money for it can be used again and again, needs no parting agent, and has other uses. Paribar is softened in hot water before use and resets fairly hard but is flexible enough to be extricated from quite deeply cut castings.
Making Moulds. Imagine that you have to replace a curved piece with a fluted surface, from the edge of a bowl. The whole of the edge of the bowl is fluted in the same way so you take an impression of a matching piece of the pattern oil a sound section of the edge. ‘Wet the surface of the bowl and press a slab of plasticine (about half an inch thick) on to a section just a little larger than the missing piece. Carry the plasticine up over the rim of the bowl so that it will be marked but don’t bend it too far round the rim if there is any ridge or it may be difficult to remove the plasticine without bending it. Press the plasticine well and truly until you are satisfied that you have made a perfect impression. Lift it carefully off and place it over the hole on the outside of the bowl in exactly the right place so that the pattern is continuous. Press it lightly so that the broken edges of the china mark the plasticine, then remove the plasticise, and paint the area inside the edge marks with cellulose acetate parting agent, then replace it over the hole. It will stick to the dry china round the edges of the break. Bend over the top sections of plasticine away from the hole, round the rim of the bowl to keep die mould in place. A few strips of Sellotape across it and on to the china will help. Don’t use gummed strip, for this will dry out and flatten the mould. The Scllotapc may give slightly but will help to avoid the disaster of the mould coming off the pot in the middle of die filling operation which follows.
Paribar can be used in exactly the same way to make a mould especially where there is a deeply indented pattern in the china. The Paribar goes hard, but it can be softened with swabs of boiling water and removed from die filler section without breaking it when the job is done. No parting agent is needed so that the Paribar can be put directly on to the break and left there.
Filler Composition and Filling. Now to mix up sonic filler (see Fillers and Cements). Araldite two-tube epoxy resin is first mixed together and then titanium dioxide (or other whitener) is added until the mixture has a nice doughy consistency. This mixture is a bit sticky and clings to tools and fingers. Keep a little dish of the powder handy, and another dish of Methylated spirits. Dip your fingers in the powder, and the tools in the Meths from time to time, and you won’t get so stuck up. When dried out this filler looks exactly like biscuit, or unglazed baked china and takes overpainting very well. It also sticks directly to the edges of the break and you should have no trouble in making a perfect join. It isn’t the easiest of jobs to make and handle this filler, but the result is so good that it is worth practicing to get the mixture of the right colour and consistency.
Kaolin mixed with Araldite in the same way makes a very stiff, not quite so sticky, more translucent and buff coloured filler, but it has the disadvantage of not sticking quite so well to the edges of broken china as does the first mixture.
Isopon polyester resin filler is a paste which is mixed with a hardener. It is excellent for filling big holes as it dries quickly, but this means also that you must be able to work quickly. When using Isopon make all inside mould of the break as well, and having filled the mould, put the second inside mould oil to the filler from the inside to get a smooth interior surface, pressing it down well. Isopon requires no parting agents. Although it will stick to itself so that it call be built up in layers, it will not stick to china, so when the moulds arc removed, the new Isopon piece will come away and will have to be stuck in just like an ordinary broken piece. It can be rubbed and filed to finish it off It cannot be used as an adhesive.
Bondapaste is another excellent filler which hardens quickly and does not have to be baked, nor does it require powder additions to make it opaque. It does not dry white, but this is immaterial if you are going to overpaint it any-way. It can be used as an adhesive or cement and when used as a filler it stays in place without further adhesives. It can be filed, carved and abraded within a quarter of an hour of use, so is a very time-saving material, once one is experienced enough to shape it quickly.
The exact consistency of any filler is difficult to describe and can only be discovered by trial and error. If it is too hard it will push the plasticise out of place as you press it into the mould. If it is too runny it will tend to run into the lower part of the mould in whichever place you are holding it, and will not make a piece of even thickness. If the mould is made of Paribar then a stiffer nix of filler can be used.
The mixture is worked into the aperture with a round ended tool. Boxwood potter’s modelling tools are excellent but many things make good modelling tools. Some workers like to prop the pot up as they work, others hold the pot in one hand so that the break with its mould is cupped and held in position while the filler is worked in. Great care must be taken to make sure that the filler goes into all the corners and crevices right up to the edges, with no air bubbles trapped underneath. Smooth the inside surface with the tool and with thumbs and fingers until it is as like the surrounding inside surface as your eye can judge. Setthe pot aside for an hour, if the filler is Araldite, by which time it will have set to a rubbery consistency and can be worked further if necessary. If a quicker setting filler has been used, once it has set hard it can be carved, filed and abraded until it is absolutely perfect, and it is then ready for overpainting.
To speed up the setting of a mend done with Araldite, bake the pot for half an hour at zoo deg. F. If there are any small cracks or pits in the surface fill them with a thin mixture of filler, using a water-colour brush.
Chips. The mending of chips, big and small, which do not go right through a piece, involves work which is halfway between the filling of apertures as described above, and modelling
which is described in the next section.
Quite simply, you make up a mixture of any of the above mentioned fillers into a fairly stiff mixture and press it into the previously cleaned and dried area of the chip and smooth it until it looks right. Don’t get air bubbles under the filling. Wheel chips—large chips on the edge of a piece—should first have a thin layer of adhesive, to help bind the filler in place. The art of filling chips is to get a good blend along the edges and to get the filling neither too proud nor too shallow, and in getting the composition in so that no air bubbles remain behind to raise it in due course. If you suspect that a little air is trapped, prick the filler with a pin and press it down again and fill tip the pin hole.
Allow the filler to dry out over a hot radiator and then, when it is hard, rub it down with glass paper until you are satisfied that the chip, after overpainting, will be indistinguishable. Pick up the piece and squint at it at eye level in all possible planes, and rely on the sensitive tips of your fingers run across the mend to detect any irregularities. If even at this late stage the chip is not properly filled, more composition can be added for it will stick to itself, and the process repeated until you are satisfied.
Modelling. When neither straightforward sticking, nor press moulding can be used to mend an object, try modelling. It is impossible to make a mould for a missing piece which is not a repetition of another part of the object, as described previously. The missing piece just has to be built up from scratch and the result depends on the artistic ability of the restorer. Large modelled sections will have to have metal supports—dowels, or pins, or strips—and the techniques will be described later on. I am still concerned with the techniques which do not include drilling.
When a part of a plate, or a vase, or perhaps a lid knob must be remodelled, take a piece of rather doughy filler composition and roll it either flat for a flat section, or into a ball for a knob, or into a sausage for a handle, in an approximate size and shape for the job. Then press it firmly to the edge of the broken part, and model it with Boxwood tools, fingers and any suitable home made tools that you may fancy. Whenever epoxy resin mixtures are being used, dip the tools in methylated spirit to avoid sticking.
Modelling becomes really interesting when a porcelain object such as a figure or perhaps a vase festooned with flowers and leaves has pieces chipped out or broken off and lost. To remake flowers and leaves is not at all difficult. Any woman who has ever made an apple pie with a decorated crust knows the technique. The pastry, in this case filler composition in a nice doughy mixture, is rolled out to the thickness of the petal or leaf required and then pieces are cut out of it in the flat. A small sharp knife or scalpel can be used as a cutter, shapes having been first marked out with a darning needle or a fine graver. Or, if the leaf or petal pattern is to be repetitive, a cutter can be made out of strip brass or copper foil, beret to make the appropriate shapes. Make a template or pattern out of plywood, using a fretsaw (see Fig. 8). Tack this pattern to your work bench with a central nail and then hammer a copper foil strip round it with a small hammer until it is exactly the same shape. If the template is pinned with a central nail it can be pivoted round as the cutter is being made so that all pieces can be reached.
The cutting of different species of flowers, daisies, roses, apple blossom etc. is hard to describe exactly. It is a matter of careful observation of thepetals which are to be matched, and of measurements with calipers and dividers, if your eye is not good enough. Petals are cut out in flat shapes and bent over slightly at the edges, and rolled into concave shapes etc. Once your petals and leaves arc made they are then fixed to each other and to the main piece, and there is no great difficulty about this unless the anchorage point is very small indeed, especially if you arc using a good adhesive filler composition such as Araldite and titanium dioxide. it is often possible to add an extra leaf, or to put in
small
a smasupport of composition disguised in some way as part of the decoration, which will hold the modelled part in place. Most people have a collection of tools for modelling which they have made specially to get into different corners ; sewing needles, bent knitting needles, scalpels, spatulas, rifflers, spikes and blades of all kinds, even old hacksaw blades, conic in usefid.
When pieces of an object are missing for which no pressed mould can be made, it is still possible to make a mould out of plasticise which approximates pretty closely the missing piece, and to put this on to the whole in such a way that the aperture can be filled with composition in exactly the same way as a pressed mould is filled. Then the new piece must be rubbed and shaped to final perfection after the setting or baking process has been completed; but
this can be a slow job.
There are problems when it comes to modelling difficult things like faces; it rather depends upon how clever you are, but there is yet one more way, which involves modelling. It is a much more complex and tricky job, but it can save such a lot of time and trouble in the long run, -aid once again may enable you to get away with it without resorting to pinning and dowelling.
Make a model, in plasticine, of the missing part. Actually this is easy if you have a talent for modelling, terribly difficult if you haven’t. Say for instance that half a leg and a foot are missing from a figurine. Using calipers and dividers, measure the other leg and foot exactly, so that at any rate lie won’t have a size six left boot and a size ten right boot. Then model a plasticine leg to the right diniensions and in the kind of position in which it looks as if it ought to be, and keep trying your model in the space until it satisfies you. Plasticine doesn’t harden so take as long as you like over making the model.
Having made your plasticine model, a mould must be made from it and a cast or pressing taken from the mould. The finished cast can simply be stuck into position (or dowelled or pinned if necessary).
Take a sheet of glass, and a large lump of plasticise. Roll the plasticise out into a very thick strip and lay it on edge on the glass (see Fig. 9) in a square or a circle plenty big enough to hold the model, horizontally. Then fix the model, horizontally, halfway up one side of the container that you have just made. A peg carefully inserted into the end of the model and pushed out through the container side should hold it into position. Then prepare some plaster of Paris. Into another container which can be handled easily and has a pouring lip, put enough water to half fill the mould container, and sift plaster of Paris powder into it until the mixture is the consistency of thick cream, stirring with the hand to break up lumps. Then pour the plaster of Paris mixture into the mould until it is halfway up the model. Leave the whole thing to set. Then cut two wide grooves or shallow holes out of the plaster.
sure that it is really well drenched and that no tiny part has escaped swabbing. This acts as a parting agent between the two halves of the plaster mould. Make another mix of plaster as before and pour this nito the mould until the model is well covered. When this has set, remove the plasticine case and case the two sections of the casting apart. Take out the original plasticine model and you should have a perfect mould in two halves. This mould will have two locking pieces where you cut the grooves or shallow holes so that when the two halves are put together again they will locate exactly, and at the end where the model was attached to the side wall of the plasticine container, there will be a hole.
Now you have a mould which can be used to make a casting or pressing of your original model. Smear a film of silicone grease all over the pattern sections of the mould to prevent the filler sticking to the plaster of Paris, and then make up enough filler composition to fill the two halves of the mould. This filler should be soft enough to flow freely into the mould sections. When the two sections are filled, bring them together and bind them tightly with wire. Ram the composition well home, through the hole. Leave the mould, with the hole at the top, for two hours to set, and then, if you are using epoxy resin, bake it for half an hour at 2oo deg F.
Undo the wire binding and take off the plaster. If you have not used a parting agent, the plaster can be cut out and broken away and the last of it scrubbed off the model. Stick or dowel the finished model to the whole, having
made sure that the edges fit perfectly by filing and abrading. bradin,
Any discrepancy in fit which is too big to be put right by filing, can be filled with some filler composition.
Moulds can also be made from pieces of porcelain similar to the piece you are trying to replace, and then pressings made from these can be carved, filed, abraded, and built up to fit exactly.
Instead of plaster of Paris, rubberised solution such as Qualitex can be poured around your model. The advantage of using this material is that the mould is flexible and will come off difficult undercut models without damaging them. Rubberised solutions, therefore, are best for making moulds from models which must not be damaged in any way. The technique is much the same as that described above. A plasticine container is built up round half the part to be copied, and the solution is poured in.
The process is repeated on the other half and you then have the complete mould in two sections. Details vary with each job.
Faces on statuettes are very alike, and differ only iun detail of hair and headdress. There is no reason why, if you collect figures, you should not make a series of moulds or masks from any statuettes that come your way, and so build up a stock of faces iii reserve for the day when they may be needed.
Incidentally, the principles of making casts, moulds, pressings etc. are generally similar for work in all kinds of materials, and many restorers of objects other than china, such as old guns and pistols, make their own metal castings. It is a skill which has so many applications, not only for restoration but for creation. Modem materials make exciting castings and pressings, and it is an art well worth studying for its own sake.

Tags: abrasion, advantage, application, Araldite, Bondapaste, bowls, broken edges, cannot, cheap tools, colouring, consistency, copper, cream, crevices, deco, decoration, delicate operation, doughy, drill, epoxy, epoxy resin, experience, foil, half an hour, hammer, home, inch, Interest, Isopon, jug handle, knife, Lock, measure, mends, mixture, old gun, old guns, overpaint, painting, part, pattern, petal, pins, pistols, pivot, plastic, porcelain, powder, principle, problem, raoul lachenal pottery collectors, rare antique chippendale furniture, rare antique claw leg dining room tables for sale, rare antique imperial furniture, rare antique silver cigarette case with masonic symbols, rare antique slave cradle, rare antique wooden horse new york, rare brown antique china by clarice cliff, rare chippendale chairs, rare italian 1910 ceramic figurine, rareantique telescopes, razor blade, rear art deco furniture for sale, reasonable chinoiserie armoire ireland, reclaimed wood worktable dining table london, recognizing goldscheider ceramic marks, rectangle dining table c1730 cabriole carved legs pad , rectangler drop leaf tables antigue black, rectangular antique walnut gateleg tables us, rectangular drop leaf tables, rectangular oak antique dining room table with large le, red fabric on rosewood chairs, red lacquer scroll table, red lion furniture, reeded brass foot tripod dining table, refectory tables, regency berliin silver candlesticks c1800, regency britain, regency chaise longue, regency cupboard, regency furniture legs, regency gilt lotus console, regency ironstone japanese vase, regency ironstone pottery, regency pedestal sideboard, regency pembroke table, regency revival drop leaf sutherland table, regency side commode, regency wine sideboard, regency writing cabinet, reign period marks, rejected furniture display cabinet, renaissance bufffet table antique, renaissance revival tea table, rene laliquelamp sketch, rennie mackintosh furniture display cabinet, rent, resin composition, restorer, round, thickness, vases, wall, water

ARMS AND ARMOUR
Guns and Pistols
Old firearms arc popular collector’s items, and no olde oake beame type of pub or cafe worth its salt feels fully decorated without weapons on its walls, so good ones are expensive; nevertheless one sometimes comes across old guns and pistols in junk shops and these can be in pretty bad condition. It is usually possible to mend and clean these things and make them look very decorative; by spending money they can be restored to near perfection, and you can even fire them if you dare. For really careful restoration, try to find a picture of a gun like yours or a similar actual weapon in a museum, which you can copy.
As a first step make sure that any gun you buy is not loaded. It is not ridiculous to suggest that an old pistol which has been knocking about for years could be loaded, for it has happened, and even ancient gunpowder will explode violently. Gently insert a wooden rod or dowel into the muzzle and when it will go no further make a pencil mark. Withdraw the rod and lay it alongside the barrel with the pencil mark by the muzzle and the point at which the barrel is blocked can be exactly gauged. The powder must be carefully removed. If you have a shotgun
hi
the cleaning rod wch goes with will it wiprobably have a cap on the end which unscrews to reveal a screw tip. Screw this gently into the charge in the old gun and remove it like a cork. Failing a cleaning rod, an ordinary screw welded to a piece of stiff wire would do just as well. After this the barrel should be washed out with warm water and thoroughly dried.
Unless the gun is really terribly rusted, or contrariwise is in excellent condition, it is probably best to strip it down into its component parts, just as one would when cleaning a modern gun. Normally the lock is removed first by unscrewing it from the stock. First remove the screw which holds the cock (in the flintlock) or hammer (in the percussion lock) and slide off the part. Next unscrew the pivot of the pan cover and the pan cover spring screw and remove tile parts. ‘then unscrew the holding bolts or screws until the lock plates can be removed. (See Fig. i.)
Penetrating oil applied to the screws and left for a while will allow many a stubborn screw to be removed. Do use well-fitting screwdrivers, as if you spoil a screw ]lead by using a wrongly fitting screwdriver it may be impossible to get it out without drilling. The drilling out of screws is extremely tricky and may result in damage to the pistol, so don’t try it unless you must. Expert help may be necessary. One way to loosen obstinate screws is first to place a little lubricating oil round tile head of the screw, and then to touch the head of tine screw for a second or two with the tip of a red-hot poker. This meat causes expansion and contraction to loosen the screw and the oil will penetrate and help with the withdrawal.
Dispiiawlitt,9 a flitalock, arid reassembling (see Fig. r). In order to take the lock to pieces for cleaning or repair the four screws which hold the mainspring, the sear, the scar spring and the bridle, must be half loosened. Then take out the mainspring screw and remove the mainspring. There is a pill at the rear end of the mainspring which engages in the lock plate, and the other end of the mainspring which engages in the toe of the tumbler. Compress the mainspring and it will come away easily. A hand vice is a useful tool for this job. Once tile mainspring is off, the other screws may be removed and die other parts will come off quite easily. Having cleaned all parts with fine files and emery paper or powder, and got rid of all the rust, oil everything well, and cover with Vaseline. Then set about reassembling. lock plate to take the cock on the outside. The scar and the sear spring come next and then the bridle. The square lug on the scar spring fits a slot in the lock plate and holds the spring in position. Compress the mainspring and put it on the lock plate with the holding pin in position, and put the lower end of the spring back over the tumbler toe. Then secure the screw. Without a hand vice, depress the tumbler to the fired position so that the end of the mainspring will go over it. Then put the cock oil and pull it back to the half cocked position so that the tumbler toe comes and compresses the mainspring. The rest of the pieces are put back in the reverse order to removal, the pan cover spring and pan cover going on last.
The barrel of the gun comes off next. This has a metal extension called a tang which runs into the stock. The tang screws are removed, and any retaining bands or pins. Trigger guard, butt cap and ramrod pipes are usually screwed or pinned in place and must be removed with care. If a gun is in bad condition it is likely that the rusty screws and pins are stuck into the wooden stock parts, and too much beef will merely result in breaking off chunks of wood complete with the pins and screws. Gentle tapping and the judicious use of penetrating oil will help. But leave things where they are rather than risk breaking the stock. Expert gunsmiths make their own castings and spare parts, but for those without the necessary tools or ability, castings can be bought, which only need filing to fit. Normans of Framlingham in Suffolk specialise in these parts and have a comprehensive catalogue.
Guns will be more or less rusty, either with ordinary brown rust or that black rust which seems to have eaten right into the metal and looks like black ink stains. When restoring or cleaning any kind of metal, the rule is not to overdo things. Gentle abrasives, gentle cleaners and gentle fingers give the best results. Patience is better than a power tool. Start by applying a mixture of oil and paraffin, or by soaking the metal parts in it. Patent rust removers arc fine if used with care. They should never be left on for a very long time, or they will etch the metal, and will probably dull it, although in this case can always be re- polished. Penetrating oil contains rust remover, so if you have been using this to remove screws, be sure to wipe it all off the metal before leaving the work for any length of time. Clean the inside of the barrel with a wire brush on a rod.
Coll revolver
Draht
ger prawim lock,
Having cleaned off all possible rust, polish die metal work with jeweller’s emery, which is considerably finer than ordinary emery paper and comes in various grades (see Abrasives). Start with a coarse grade and finish with fine grades and you can get a mirror finish. Don’t be too quick to resort to buffing wheels or harsh abrasives; you may make deep scratches or rub off marks or chasings which cannot be replaced. Barrels may have a brown colour which is due to deliberate rusting, so that the barrel would not rust further while the gun was in use. To re-brown a barrel it must first be polished mirror bright and then treated with many successive solutions of a certain acid formula. Gunsmiths guard these formulae closely, and most send their barrels to an acknowledged expert to have the job done. It costs several pounds and would probably not be worth your while, simply to restore a not very valuable piece of junk.
Blue barrels were originally coloured by a heat process. Blueing is equally an expert’s job which takes time and experience, although solutions can be bought which enable the amateur to blue barrels quite effectively.
Clean brass parts, trigger guards, ramrod pipes, butt caps, etc. with ordinary metal polish. If these are missing new ones can be bought (see above) and fitted by filing.
Having achieved the polish and colour you want, the next thing is to maintain it. Be very careful not to handle the metal parts of your gun. after its final polish, as sweaty
fingers leave a deposit which causes spots of rust. (This
applies to ametal work.) A piece of wood carefully
jammed in the muzzle will make a temporary handle while applying a final finish to the gun. Wipe over the metal parts with a very thin layer of oil; or if you don’t like this, try wiping with aduster which is impregnated with silicone—these can be bought for dusting furniture in any hardware store. Some people like to lacquer things on the principle that lacquering reduces cleaning to ‘iaminimum.Un- less lacquer is of extremely good quality, it will darken in time and altogether spoil the look of the job. (See Lacquer.)
The wooden stocks or butts are another matter, and often need a lot of repair. The stock may be completely split. Modern impact adhesives, such as Evo-stik, make a strong join very easy, but it is best to make sure that they do fit accurately, as with impact adhesives once the two faces of a
join are put together they must remain if a good join is to be made. If the stock is chipped or if there is a piece missing, you are going to have to find a piece of more or less matching wood to replace it. Clean the old stock first with fine steel wool and linseed oil. Rub away until the dirt and any old varnish has gone, then you will be able to see the graiui and colour of the wood. Finding the right piece of wood may be difficult. A friendly furniture restorer is about the most likely mail to help—you will only need a small piece anyway. Whittle the new wood to fit with a sharp knife and fine sandpaper. If you are an expert wood- carver and have die tools, making a matching piece should be no problem. Remember, having bonded new and old, that it may be necessary to bore small holes for the pins or screws to take the metal parts when the pistol is reassembled and this should be done with care. When the bond is set, rub the whole stock well with linseed before reassembling the gun.
Shallow dents in wooden gun stocks can sometimes be reduced by steaming. Soak a piece of thick cloth in hot water and put it over the dent and then hold a hot iron on the cloth and get up a good head of steam; this swells the wood and reduces the dents a little, but as the wood dries right out they will probably reappear to some degree.
Gunstocks arc often attacked by woodworm and if this has happened, treat the stock with all anti-woodworm dressing such as Rentokil. If the stock is badly honey- combed, inject syntheticresin into the holes with a hypodermic syringe or even soak it in a thin mix to stiffen the whole thing.
Burr walnut (see Woods) is most commonly used for gun stocks and is mainly imported. You would probably have to buy a new stock blank through the trade and shape it to fit, if a whole new stock is required.
Of course if you can get hold of several pistols all more or less alike, you can make up composite restorations using sound parts from each. What you will have at the finish is a fake, not a restoration, but if it is just for decoration, then it doesn’t really matter, and only an expert will be able to tell that it isn’t the genuine article!
The periodical Guns Review contains much interesting information about antique firearms.
Swords
Swords turn up in junk shops in odd lots with old hickory shafted golf clubs, broken walking sticks and elderly umbrellas, and are usually a relic of somebody’s great grandfather’s service in the cavalry. The services still use dress swords and ceremonial swords, and these, being expensive items, get handed on and do not appear in junk shops. Valuable old swords are real collector’s items and you are unlikely to be trying to restore one of these. However, any old sword can look quite fine once it has been cleaned and polished. Knives and daggers and bayonets come into the same category and are perhaps more common in junk shops. Very often the scabbard, particularly if it is an Oriental one, is as attractive as the weapon itself and warrants as much care as the blade.
As with the restoration and cleaning of any kind of metal object, care is needed. Too violent attempts at rust removal may remove interesting marks or engraving or inlay, and half the fun of cleaning up these things is in what may come to light underneath. A sword, like a gun, can be dismantled into its component parts, and if this can be done without breaking the weapon or damaging it, it is far better to take it apart for cleaning. Blades were often made somewhere other than the hilts or sheaths, and the whole assembled by sword-smiths before sale. Parts got broken and were replaced, and a sword or a dagger can be a composite bearing different makers’ marks and still be quite genuine. If you find a sheathed sword in a junk shop, take it carefully out of the sheath holding the whole thing pointed downward. Be especially careful with knives and daggers for an old scabbard can split as you take out the weapon which may still be razor sharp.
To take a sword apart (see Fig. 3) first check the button at the top of the hilt. The tang, or top end of the blade, passes right up through the Ht and the pommel at the top, and is then burred over the button to hold the whole thing together. File off the overlap and slide the blade from the hilt; but it may not come out that easily. Later swords may have a screw-iii button. Grip the blade in a vice, near the top, but make sure the vice is padded, or the sword well wrapped, so that it will not be marked by the vice. Using a piece of hard wood as a punch, tap the base of the pommel upwards away from the grip, working round and round it till it loosens and the hilt begins to slide off the blade; but do be careful not to damage anything. Best leave well alone if there is no movement at all. Penetrating oil may help, if you can get some to run between the tang of the blade and the hilt. If the sword has only a small pommel, tap the hilt round the shells, at the bottom. Once again, be very careful for it is terribly easy to break castings.
Now the blade and the hilt are separate and can be coped with on their merits. If the grip is wooden and covered with leather, it may be split, and you will have to carve yourself a new grip using the old one as a pattern. Beech and walnut are tile most common woods, but any wood could be used to remake a grip which is to be covered—after all the sword is not going to be used in battle. If the grip is leather-covered, and the leather is sound, give it a good dose of leather dressing. There are various proprietary dressings and the same one can be used on a leather sheath. Some dressings give a long-lasting finish, others need more frequent renewing (see Leather Dressings).
A new leather grip cover can be made quite easily by cutting out a piece from any suitable leather. Clean off all the old leather and make the grip smooth and clean. Then very carefully pare or bevel the edges of the new leather grip so that they fit round the handle without a ridge where the join conics. Soak the leather and put it on the grip, smoothing it to fit. Then bind it on to dry. Rubber bands may leave grooves in the leather, so some kind of wide tape or bandage just to hold it in position while it dries is better. When the leather is quite dry, remove the binding, and, very carefully, the leather piece which should by now be exactly the right shape and fit. Using an adhesive, such as Evo-stik which will not stain the leather, stick it firmly to the wooden grip. Very often lints are wholly or partly bound with brass wire. If this has to be replaced, two strands of brim piano wire or picture wire, twisted together, make a good job. The actual binding is not so easy as the ends of the wire have to be neatly tucked in.
The cleaning of metal hilts andblades must be care- fully done. Brass and silver hilts will probably conic up well with ordinary metal polishes and some elbow grease, but steel hilts will need rubbing with abrasive. Make up various pads and sticks to help with the rubbing down,
well
checking that the stick is wepadded with foam rubber under the emery paper; this makes it easier to get into difficult corners. Blades which have inlay should be treated very gently, as any rough treatment will bring it off. Soap and water and a soft cloth for drying are die best; certainly it is dangerous to use strong metal polishes or rust removing preparations. Clean plain blades and steel hilts with oil and paraffin mixture to remove loose rust, and then wash with strong detergent to get rid of all grease. Clean very greasy metal with carbon tetrachloride. Then wipe rust remover on the metal and remove it after a few minutes. You will get some idea of how much rust is going to shift, and can repeat the treatment until the metal is clean. The big danger is that rust remover, if left too long, will work unevenly and will start to etch the metal, and you will end up with a pitted surface. Oriental swords are very often meant to have a dull finish, and after a wipe over with rust remover, all they will need is a polish with a soft cloth, whereas Western steel is worked over with emery until it has a mirror finish. Don’t get fingerprints on to the polished metal or they will form rust spots in time. Rub the finished metal over with a light film of oil, or use a silicone-impregnated duster or silicone furniture polish, sparingly, on a soft cloth. Lacquer, if used, must be of high quality, or it will darken in time and have to be removed. Lacquer is really a lazy and not wholly satisfactory way of finishing polished metals (see Lacquer).
If metal parts of the hilt, quillons, shell guards etc., are broken or damaged, it may be possible to braze carefully shaped new parts into place, but this does seem to me to be a job for the expert as it requires special tools and a knowledge of technique.
If the top of the tang was filed off to free the blade, hammer out the tang a little so that there is something to burr over again on replacement. Be very careful, and hammer gently with the tang laid flat on a block. Reassemble hilt and blade and tap it into position tapping the pommel well home. Use a small mallet or a piece of wood, not a metal hammer. Burr over the top of the tang with a punch and file it smooth and neat.
If your sword or dagger has a metal scabbard, treat it in the same way as the blade, cleaning with great care if it has any engraving or inlay. If it is plain, wipe it with rust remover and rub with abrasive, and finish it with a silicone wipe.
Damaged leather scabbards take some mending. If the stitching has gone, it may be possible to restitch it, but often the holes have broken out and the leather is dry and dead anyway and won’t hold stitches. Just stick the edges together as neatly as you can with adhesive.
If the scabbard is broken, insert a strip of cardboard or veneer or plastic to support it. If leather is in good condition all it needs is a wipe with ordinary leather dressing. Sonic scabbards have been stained and polished or boned, these are best retouched and polished with ordinary leather polish.
Old pieces of armour, even complete suits picked up iii very bad condition, can be completely cleaned and done up. The methods used for cleaning sword blades, guns etc. arc suitable for armour. Museums use a phosphoric acid cleaner known as Deoxidise.
I know of someone who bought a terribly rusty old suit of armour for C20, without knowing anything about it, and cleaned and restored it and sold it for 0300. I suppose the basic cost of 4zo puts it outside the category of junk, but it is the kind of profit one likes to dream about.
Burnishing. Any cavalry mark will tell you that the only way to get swords, cuirasses, spurs, bits irons etc. chromium bright is to burnish diem. They are first cleaned with metal polish and then burnished. A burnisher is a leather pad with small steel rings like chain mail sewn to it, arid the object to be burnished is rubbed very hard with this pad. The metal will come to chromium brightness if you use enough elbow grease. The object is then greased very lightly, or lacquered to preserve the shine; but before doing this, small objects can be kept dry and bright in a bag of bran.
By the way, the shoulder pieces of a trooper’s dress uniform, which look like pieces of chain mail, are in fact ornamental burnishers.
Bits, irons and spurs are ornamental enough to become collectors’ items, and they should be burnished as described, or by being put into a canvas bag with a handful of ball-bearings and swung around for a bit. It is air old trick to burnish a curb chain by folding it inside a big duster or piece of cloth, and then, holding both ends tightly, to swing it about with a circular motion.

Tags: Adhesives, aduster, armour, Battle, bond, brass, Burr, butt, careful restoration, component parts, decoration, excellent condition, experience, factor, firearms, flintlock, Furniture, gunpowder, gunsmiths, hammer, iaminimum, Interest, junk shops, metal polishes, mirror finish, muzzle, Norman, Normans, oake, old gun, old guns, patek philippe claw legs watch, patent ironstone china mark, patent ironstone china red and blue willow plate, patterns for cupboard doors, patterns of doors in chinese history, paul crespin and nicholas sprimont, paul crespin silver basket, paul follot, paul frankl biography, paul frankl desk curved edge top, paul frankl skyscraper, paw foot dresser value, peat bucket mahogany, pedestal lion head toilet, pedestal painted table 18th century", pedestal rectangular louis xv dining table, pembroke side tables, pembroke table 2 drawer drop leaf, pembroke table antique, pembroke table structure, pembroke tables value, pembrook furniture antique, pendule religieuse, pendulum bracket clock, pendulum clock antiquite imperiale, pennsylvania dutch sideboards, pennsylvania house chest of drawers 1959, pennsylvania house writing desk 9 drawer, pennsylvania walnut chipendale drop leaf table with cla, penwork cabinet, percussion, percussion lock, perieod regency center table, period art nouveau furniture auctions, period chaises longues to restore ebay uk, period chests, period of electicism, period stools, perspectiva cabinet, petite dropleaf antique, philip webb antiques, philip webb chest, philip webb sussex armchair, photo examples of 1930's usa stoneware, pictures of straight legged , pictures of antique beds made out of walnut in 1850's, pictures of antique chairs with tacks, pictures of antique clawfoot tables, pictures of antique washstands and commodes, pictures of antiue french provencial furnature, pictures of expensive antique pottery, pictures of innovative 1900's dining tables, pictures of painted antique china cabinets, pie crust table/imperial furniture co., pierced wood panels for cabinet doors, pierre langlois furniture george iii marquetry, pillar and scroll design card table with fruitwood vene, pillar leg sofa, pillar sofa, pine rectangle drop leaf table with end drawers, pine wardrobes + northwest england, pis of germany antique desk furniture of 1930, pitcher and basin sets with chamber pot, pivot, pivoting gateleg table, plain dutch style antique bedroom armoire, plain ironstone pottery, Rub, sandpaper, silicone, soap and water, spending money, stiff wire, stock, sword, technique, vices, warm water

The development of the rifle between the issue of the Baker t6 Rifle regiments, and the equipment of the whole of the infantry with the Enfield, is an interesting story myott & sons chamber pot ironstone china. It will be remembered that Ezekiel Baker’s design incorporating a rifling with only a slight twist, together with an easy-fitting and patch-enclosed bullet, had been criticized by Colonel Beaufoy makers names of antique pottery england.
Beaufoy’s theories, which are given in his Schloppetaria of 1808, were widely supported during the period of the Napoleonic wars, and had a considerable influence on the design of the sporting rifles which were manufactured after the end of hostilities drop leaf table with spiral turned legs.
Baker, as has already been said, had designed the weapon which he regarded as best suited to a military purpose; but he had never claimed any great accuracy antique clerk desks. In his Observations he says:
‘ I have- found two hundred yards the greatest range I could fire at to any certainty commode art deco. At three hundred yards I have fired very well at times when the wind has been calm jules leleu display cabinet. At four and five hundred yards I have frequently fired, and have sometimes struck the object; though, having aimed as nearly as possible at the same point, I have found it to vary very much from the object intended whereas at two hundred yards I could have made sure of the point, or thereabouts antique caquetoire chair.’
To Colonel Henry Beaufoy the acceptance of such a standard of accuracy was heresy lenci masks. He maintained that the first requirement in a rifle was accuracy, and that other considerations must be subordinated to this end wash stands for center bowl. No gunsmith disputed the fact that if one increased the twist of the rifling from Baker’s quarter turn to, say, a full turn in the same length of barrel, the gain in accuracy would be considerable antique drawleaf table. ToBeaufoy this proved the case for increased twist; and for a firearm intended for target or competition shooting it would be difficult to say he was wrong czechoslovakian porcelain. But in the case of a rifle intended for the rough business of war, or for the sometimes almost equally dangerous pastime of hunting big game, there were other considerations most expensive antique glass vase.
If the bullet were to be made to spin faster (which was the purpose of a greater twist), it must be a tighter fit in order to grip the grooves of the rifling antique rotating dumbwaiter. This ‘would make it harder, and therefore slower, to load, and the loading of the Baker rifle was already a much slower process than that of a smoothbore musket brass escutcheons shelves. Further, if the explosion of the powder gave the bullet too hard a ‘Punch’, there was a danger that it might not settle into the grooves, and thus strip the rifling paw pottery small candlestick. The charge, therefore, had to be reduced italian immigrant porcelain figures mantelpiece flatbacks. But this gave a lower muzzle velocity, and consequently entailed a greater elevation of the muzzle for a given range victorian kidney shaped dressing table with glass top. The flat trajectory which Ezekiel Baker thought so necessary for troops in action was thus lost 18th century knife boxes.
It is only just to Beaufoy to say that he finally admitted in his own book that the type of rifle he advocated was only suitable for target shooting 19th century mechanical desks. He had found by experiment that the accuracy of the full twist rifle depended on the barrel being cleaned -after every shot, and he was too much -of a soldier not to appreciate that this would be quite impossible in action curule sette federal period antique. Nevertheless Beaufoy’s views had gained such wide acceptance that they governed rifle design for some years, and their author’s ultimate proviso as to their limitations was either ignored or not appreciated edwardian period furniture construction.
The theory of a considerable twist in the rifling was, of course, fundamentally sound 20th century dining table england. The difficulty in putting the theory into practice, however, lay in the shape of 20th century dining table england. the bullet ?????? galles. A round bullet had no depth of contact with the rifling, and therefore even with the tightest fit there was little to hold it to the grooves 1800’s wood dresser with tulip engraving. british meubles.
The advent of the percussion lock increased ‘the difficulties of the gunmakers, for the more rapid explosion increased the velocity of the bullet and the consequent tendency to override or* strip the lands of the rifling regency rent table polygonal. Since a tighter-fitting ball did not provide a solution, the charge had to be decreased again old buen retiro porcelain. In point of fact the charge had to be made so small that the muzzle velocity dropped to the extent that a rifle of the normal bore lost most of its penetration and stopping power fall front timber writing desk. For sporting rifles which were to be used against big game, the gunmakers tried to make up for this loss in velocity by increasing the herculaneum stoneware for sale.size of the bore, and therefore the bullet, so that the actual weight of the ball should make up for its loss in speed tureen hague or amstel. The result was a clumsy and inefficient weapon; and rifles of this type had far less power of penetration than a smooth-bore musket of similar bore greek designs and motifs. It is hardly surprising that the idea of re-equipping the Army with rifles aroused little enthusiasm 1930’s austrian furniture.
Eventually, of course, the attention of designers turned to the bullet in an endeavour to find an answer to the dilemma sarcophagus chests andre-charles boulle. The spherical shape was retained, but different types of projections were formed on the surface which were designed to fit into the grooves of the rifling and so force the bullet to follow its intended spiral path the most common colours of egypt. The most popular of these was the two-groove rifling with a belted bullet which had been adopted for the Brunswick rifle looking for 4 feet wide drop leaf table. The popularity of this system shows that it was at least reasonably successful; but as applied to the Brunswick it was a dismal failure arabisque furniture in ny. Captain Berners, who is credited with the design, must have intended to adapt a proved sporting rifle to military use antique stretcher or refrectory tables. Some writers have said that Berners’ original design incorporated an oval bore; and it may be that the Brunswick as finally accepted was a modified form for which Lovell was responsible n hall norfolk.
The next development, to overcome air resistance and obtain greater penetration with the same charge, was a bullet with a pointed end antique metal table with leaves. This achieved the desired result, but with its comparatively low velocity it had little stopping power; and was-of small use against, for instance, the charge of a tiger small-footed bowls raozhou.
In an endeavour to combine penetration with stopping power experiments were carried out with explosive bullets antique furniture empire chest of drawers. These were of pointed or egg shape, and the main function of the charge in the bullet was to open out its nose on impact and give the same effect as a hit with a heavy round bullet 19th century english george pedestal sideboard. Such a bullet was, in fact, proposed for military purposes by a Captain Norton in 1824; but it was rejected somewhat indignantly by a Board of officers, one of whose reasons was that such a weapon was unfitted for civilized warfare oak revival chair “carved seat”. (It is unlikely, alas, that such a criticism could be levelled against Captain Norton’s bullet to-day giltwood.)
Trials with explosive bullets were carried a stage further in the remarkable series of experiments which were conducted in India by the famous General Jacob, who raised the Scinde Horse and who is commemorated by the town which was named after him, Jacobabad patek philippe, 1930s, rectangular, hinged back.
Jacob first tried to improve the shooting of the Brunswick rifle, and found that a rifling with four grooves instead of two, and a bullet with two crossed belts to fit them, -gave much better results austrian empire furniture style. The East India Company, however, refused to adopt his suggestion that the Brunswick rifles of the Company’s army should be modified accordingly art deco hamilton donald deskey mahogany cabinet.
Jacob, nevertheless, continued his experiments with the bullet to try and obtain even more satisfactory results classical architectural decorative motifs. In order-to get a better grip on the rifling he decided to use an oval ball with projections, instead of a round one french drop front desk. It was well appreciated by gunsmiths at this period that the greater the surface of a bullet which was in contact with the rifling the better the grip would be; and that in fact a long bullet with parallel sides would be infinitely better from this point of view than a round one antique two tier drop leaf table. But the difficulty was that the greater the contact the harder it would be to load the rifle, and it was considered that after a barrel had become fouled with firing it would be impracticable to push down from the muzzle any bullet other than a round one antique silver apostle spoons. Jacob, however, found his oval bullets satisfactory enough to go a stage further; and he produced a fairly easy-fitting cylindrical bullet with a pointed nose and four longitudinal strips to grip the four grooves of his rifling north west antique dresser. His next step was to fit this bullet with an explosive head antique sofa gate-leg table. This so-called ‘rifle shell’ was very popular with sportsmen, though it was rather inclined to explode on impact antique porcelain food warmer. However, the further development of the rifle shell had no influence on military ammunition antique rococo silver candlesticks.
Jacob also had rifles made to his own design plate art nouveau bright colors. They had short barrels of about twenty-four inches, a calibre of ‘577 or -524 inches, rifling of four deep grooves, and one complete turn in thirty inches antiques. None of the rifles was ever officially adopted, but they were used quite extensively in the Indian Army; Jacob’s own regiment, the Scinde Horse, being armed completely with them 18th century porcelain.
The next method of obtaining a grip on the rifling to become popular was by expanding the bullet with the force of the exploding charge are william and mary chest of drawers rare?. The first rifle to be a general issue to the Army embodied this principle 18th century desserts. Although of basically French design, the original inventor of a bullet of this type appears to have been the well-known Newcastle upon Tyne, and later Birmingham and London, gunsmith, W dining room table made from huge clock. Greener italian,furniture,maker,address. Greener’s bullet was oval with a flat base, from which extended a tapered cavity french bronze porcelain and silver inlaid clocks. Into the cavity was inserted a tapered plug, of rather too wide a diameter to be pushed right home escritoire 19th century stinkwood. The bottom of the plug terminated in a flat disc of the same chippendale knife boxes octagon.diameter as the bullet 18th century mass produced tableware. The explosion of the charge drove the plug forward into the cavity, thus expanding the bullet 1930 british chairs. Greener’s bullet was given an official trial in 1836, but was rejected on the odd ground that it was a ‘compound bullet’ large frosted glass reproductions nudes. In 1857, some years after the Government had accepted a rifle based on this very principle, belated recognition was given to Greener’s invention, and in 1857 he was granted the sum of a thousand pounds ‘for the first public suggestion of the principle of expansion, commonly called the Minie’ principle, for bullets in 1836′ vintage three leg table base.
Some years before the period when Greener was trying to get his bullet accepted, Captain Delvigne of the French Army was experimenting on rather cruder lines art nouveau austrian artists candlesticks. Delvigne’s method was to have a chamber of smaller diameter than the barrel, against which the bullet came to rest, and was then expanded at the base by repeated ‘blows from a heavy ram- rod makers of silver table ware in late 1800’s. A bullet so treated was naturally too unsymmetrical to be very accurate in flight painted sideboard pine maryland. In place of this rough treatment, therefore, it was subsequently enclosed in a greased patch, and a tight-fitting wooden plug was inserted between bullet and chamber 1954 antique floor standing ashtrays. Delvigne’s bullet achieved a reputation in a most spectacular fashion in the Algerian campaign-of 1938 french art deco ceramic marks crackle glaze. A battalion of the Chasseurs d’Afrique was equipped by the Duke of Orleans with Delvigne’s rifle and ammunition for service in Algeria under his command antique tables a gibier. On one occasion, when he was out on a reconnaissance, the Duke was annoyed by the provocative gestures of an Arab sheikh some 65o yards away recueil de decorations interieurs. He called out to his escort that he renaissance goldsmith process. would give five francs to any soldier who could shoot the Arab royall naples factory. A Chasseur armed with the Delvigne rifle promptly stepped forward and shot the irritating Arab through the heart art deco antique dresser.
Following another attempt by Colonel Thouvenin to make the bullet expand by hitting it, Colonel Mini6, an instructor at the School of Vincennes, arrived at much the same solution as Greener 19th century porcelain religious figural. Mini6 used a pointed bullet with a hollow base inlaiditalianoccassionaltable. Fitting into this hollow was an iron cup, which was driven forward by the explosion, so expanding the ’skirt’ of the bullet walnut side tables and lowboys. This rifle was immediately adopted by the French Army; and shortly afterwards the British Government purchased the right to use the invention for 42o,000 antique french empire.
The new rifle which was thus introduced into the British Army was entitled the ‘Rifle Musket, Pattern 1851′ empire console pier table. It had a 39-inch barrel, a calibre of ‘702 inch, and a rifling with four grooves which made a complete turn in six feet six inches berkey gay antique furniture. This was a much slighter twist than the Brunswick had rh vase austria. The rifle was sighted up to woo yards brannam pottery. A modification for ‘Sea Service’ was produced by the novel method ‘of rifling with three grooves the ‘768 calibre smooth-bore Pattern 1842 musket italian brass inlay sideboard.
As has already been said, the Mini6 was the first rifle to be adopted for the whole Army, though in point of fact it was superseded by the Enfield long before all units had received it antique bentwood rocking chair. It was an infinitely better arm than the Brunswick, but it was not entirely satisfactory antique italian inlaid buffet. It was first used on active service in the Kaffir war of 1846-52, and all the infantry battalions which left England in 1854 for the Crimea, except those in the 4th Division, were equipped with it vintage chinese porcelain with two swords marked.
The Mini6 rifle had only a short life, as the Enfield, which succeeded it, passed its trials in 1853, and production started immediately 1850s gateleg with butterfly leaf. The Enfield was far in advance of any previous firearms issued to the British Army and gave extremely good service davenport desk mechanism. The barrel was thirty-nine inches in length, the bore ‘577 inch, and the rifling consisted of three shallow grooves which made a full turn in six feet six inches stripped pine washstands kent. Sighting was UP to goo yards antique 5 legged table. There were various modifications of this standard type of Enfield theodore haviland limoges, france pre world war ii solid white body. Carbines were made for the cavalry and other mounted units, and serjeants seem to have carried a rifle with a 33-inch barrel antique drum shaped table. This short barrel had five grooves instead of three, and an increased twist in the rifling which completed a turn in four feet chamber pot and bed table. The additional grooves and greater degree of twist were an improvement, and this walnut marble slab dining. type of barrel was subsequently adopted for all Enfield firearms raoul lachenal france egyptian blue vase. The bullet was hollow based, and later fitted with a tapered boxwood plug prudent francois mallard new york. The boxwood plug was eventually replaced by one of baked clay german buffet furniture.
The production of the Enfield was rather peculiar italy flowers raised antique ceramics. Lord Hardinge, who was then Master-General of the Ordnance, invited the leading gunsmiths of the country to submit samples of their own rifles walnut marble slab dining. The best features of these rifles were then embodied in the new design luxury antique items.
Issue of the Enfield to the troops started before the end of the Crimean war, and it was first used on active service before the fortress of Sebastopol 1800’s reproduction dining room tables.
The Enfield is probably best remembered, unfortunately, as the rifle which was the immediate cause of the Indian Mutiny antique oak gateleg tables. The cartridge was still opened by biting off the end with the teeth; and the rumour was spread that the cartridge was smeared with a grease made from cow’s, fat and the lard of pigs 17th century tea tray. As cows are sacred to Hindus, and pigs are anathema to Mohammedans, the story, if true, would have serious effects on the religious status of soldiers of both classes of the community drapery designs for dressing table. No convincing denial was forthcoming; and, on the other hand, there appeared to have been some evidence, whether true or not, that the allegations were not unfounded silver plated corinthian hexagonal base three light candelabra. The results were disastrous reproduction rococo etagere.
Peculiarly enough, the Enfield rifle was issued to the Company’s army before the Queen’s troops had all received it reproduction mochaware. The result was that when the Mutiny started, although the new rifle was already in the possession of some of the mutinous regiments of the Bengal Army, many of the British regiments, including the 32nd Foot (later the ist Battalion of The Duke of Cornwall’s Light Infantry) who defended Lucknow, still had the smooth-bore muskets of Pattern 184′ - Later arrivals in the country all had the Enfield; and the following extract from the Indian Mutiny Journal of Private Charles Wickins of the ,90th Light Infantry shows the effect of the new weapon:
`We marched on fora few miles, when the enemy again began to show themselves in force on oup right meiji clock. We opened fire on them and, our Enfields being well elevated, we made them move at a distance of 12 hundred yards french oak, “barley twist” chest of drawers.’
Enfield rifles, together with other British rifled and smoothbore firearms, were imported in large quantities by both sides in the American Civil War of i $ 6 z-6$ italian creamware. The Confederate States alone bought 70,980 of the long-barrelled rifles, as well as a number of the short-barrelled variety, and also Enfield carbines, and some specially made officers’ weapons known as `Jeff Davis’ Enfields with checkered stocks and nipple protectors secured by chains mid century decor mahogany rectangle divided tray. In addition’, the armouries of the Confederacy made some copies of Enfields http:  antcollectors.com . One of these, first made at Arkadelphia in Arkansas and later at Tyler in Texas, had a calibre Of ‘54 inch and a barrel only twenty-seven inches long tudor rose design waterfall furniture. This weapon and a copy of an Austrian rifle of similar calibre were collectively known as Hill rifles, and some were marked ‘Hill Rifle Tyler C antique cutlery urns.S burr maple table.’, and others `Texas Rifle Tyler’ inurl:antcollectors.com . Closer copies of Enfield firearms were made by Cook & Brothers of New Orleans art deco upholstery. There were two of these: the 33-inch barrel rifle and the cavalry carbine japanned cabinets.
The latter had a 2 i-inch barrel and a nipple protector attached to the trigger guard by a chain chinese qing porcelains. When New Orleans was threatened by the advance of the Union forces the factory was moved to Athens in Georgia, and some of the arms are marked ‘Athens Armory’ drop leaf carved leg table with drawer. After the move to Athens the head of the firm, F great exhibition of 1851 aesthetic. W antique gateleg table with turned legs. C japanned antique chest-how to strip lacquer. Cook, raised an infantry battalion himself and was killed in action in 1864 drop leaf gateleg coffee table.
Though an excellent weapon for its period the Enfield was found to vary considerably in regard to the performance of individual rifles maryland antique sideboard. The difference was due to slight inaccuracies in the machining of the duncan phyfe drop leaf table.parts shu fu bowls. To try and find 19 century mahogany gateleg table. a remedy, Lord Hardinge, the Commander-in-Chief, in 1854 invited Sir Joseph Whitworth to carry out experiments with bullets and rifling king charles silver flatware. Whitworth was not a gunmaker, but he was noted as an engineer and for his work in precision machining and accurate measurement site:antcollectors.com. It appears that the first approach to Whitworth was made in the hope that he would devise machinery to solve the problem antique spanish talavera. However, Whitworth succeeded in persuading Lord Hardinge that a far more basic investigation was first required antique wood dressing screen ebony and ivory inlay.
In order to enable him to undertake his experiments, a Soo yards’ range was built at Whitworth’s Manchester home, and paid for by the Government prices for antique gateleg table. Since Whitworth had little practical knowledge of firearms, a well-known gunsmith, Westley Richards, was appointed as his assistant, and two Army officers were made available to help in the range tests and to advise on the military requirements “antique meissen porcelain”.
Two years of experiments resulted in the production of a rifle of Whitworth’s own design, which was tested against the Enfield in April 18 57 at the Hythe School of Musketry art deco marquetry plaques uk.
The Whitworth rifle was certainly of unconventional design antique divans. In order to reduce air resistance there was a considerable reduction of the bore; from the ‘577 inch of the Enfield, to a calibre of only -45o inch antique 54 empire table. The most remarkable feature, however, was the rifling late 1800’s dining table european. Instead of the usual grooves the barrel had a hexagonal bore with a twist which increased towards the muzzle modern dressing table designs. The first turn was completed in twenty inches antique spindle leg drop leaf side table. The bullet was of a similar hexagonal shape to the barrel, and was made of a specially hardened alloy rare antique drop leaf dining tables. It was impossible, therefore, for the bullet to override the rifling chinese influence to rococo.
The trial at Hythe resulted in an outstanding success for the Whitworth meissen, four continents. Sir J marcel goupy designs. E lotto design turkish carpet. Tennent reported the shooting of the competing rifles in his The Story of
the Guns, of 1864 rococo silver candlestick. He says:
‘The success [of the Whitworth> was surprising; in range and precision it excelled the Government [Enfield> musket three to one 17th century porcelain figurine. Up to that time the best figure of merit obtained by any rifle at home or abroad was twenty-seven; that is to say, the best shooting had given an average of shots within a circle of twenty-seven inches mean radius, at five hundred yards distance; but the Whitworth lodged an average of shots within a mean radius of four inches and a half from the same distance; thus obtaining a figure of merit of four and, one-half paw pottery small candlestick. At eight hundred yards it superiority was as one to four, a proportion which it maintained at one thousand yards and upwards russian neoclassical secretaire bookcase. At fourteen hundred, yards the Enfield shot so wildly that the record ceased to be kept; and at eighteen hundred yards the trials with it ceased altogether, whilst the Whitworth continued to exhibit its accuracy as before red lion furniture barker brothers los angeles.’
Nevertheless, with all the Whitworth’s remarkable accuracy it suffered from one very serious defect 17th century fashion in europ. Much fouling was accumulated in the recesses of the hexagon bore, which even a metal scraper failed to remove theodore haviland cherry plate. For this reason it was never adopted as a Service firearm; though the Rifle Brigade had it for a short time georgian telescopic silver candlestick.
As a match-shooting rifle the Whitworth was, naturally, a great success art nouveau origins. Its most famous appearance was on the occasion of the first meeting held by the then new National Rifle Association at Wimbledon in 1860 19th century folding breakfast table. The meeting was opened by Queen Victoria, and after the Address and her reply, the Queen went to a pavilion to fire the opening shot holophane verlys. Here there was a Whitworth rifle mounted on a rest and sighted on to a target 400 yards away french art carved inlay buffet. The Queen pulled a silken cord attached to the trigger and the bullet hit the target within one inch of the dead centre italy flowers raised antique ceramics. The iron plate with the mark of the Queen’s bullet on it has been retained at Bisley in commemoration of the event chelsea moons porcelain.
The Whitworths saw their share of active service, for a number were purchased by the Confederate States of America from the Whitworth Rifle Company of Manchester iranian brass oval trays. Presumably some of the hexagonal bullets were supplied as well, and perhaps owing to the Federal blockade it was impossible to replenish them what decade era antique inlaid diamond harlequin. At any rate the Southern troops seem to have used ordinary cylindrical hollow-based bullets without appreciable loss of accuracy 2009 chinese porcelain antique. The Union Generals Sedgwick and Lytle are said to have been killed by Confederate marksmen using Whitworths regency occasional table.
A very unusual rifle, the Lancaster, was adopted for limited use in the Army in 1855 1940’s english dresser   table clock. This was derived from a sporting rifle made by Charles William Lancaster of 151 New Bond Street in London rousseau shagreen. Its most striking feature was the complete absence of the normal grooves to provide the rifling secretaire desk antique. Instead Lancaster used a smooth barrel of slightly oval bore; or, to look at it in another way, two round and very wide grooves opposite each other antique dressing table with mirror and knee hole. The bullet was cylindrical with a conical nose and was made of soft lead meissen, clock, marcolini. The explosion of the charge forced this soft bullet to take up the shape of the rifling, giving a very close fit dark silver candelabra.
As a military weapon, the Lancaster was first issued to the ist Battalion The Rifle Brigade for experiment, and was used on active service in the Kaffir war late 1800’s dining table european. It was ultimately adopted as the firearm of the Corps of Sappers and Miners antiques trends 2009. The final Army version of the Lancaster had a A-inch barrel with the same bore of ‘S77 inch as the Enfield 1850s gateleg with butterfly leaf. The oval bore had a twist which increased towards the muzzle, and completed a full turn in six feet six inches pillars on casters. To avoid complications in ammunition supply it was used with the Enfield cartridge leleu furniture.

Tags: Captain Delvigne, cartridge, chamber pot, clock, colonel henry, Colonel Thouvenin, deco, decoration, desks, dining table, drop leaf table, Edward, enfield, England, equipment, frieze drawer, heresy, hostilities, interesting story, italian, jules leleu, musket, nathaniel whittock, psyche mirror, regency, Renaissance, rent, rifles, standard supports, swedish antique bedside cabinets, swedish art deco, swedish art deco dressing table, swedish art deco furniture designer, swedish bent wood mirror, swedish furniture design from 1920 -1970, swedish gateleg table, swedish inspired demilune table, swedish modern roll top desk, swedish wooden furniture, swiss art deco ceramic animals, table 17th century american tea table, table art nuvo, table by vilas, table en vernis martin, table pedastals, table porcelain castors value, table thonet, tables pulled sofa, tables tops made from antique chinese architectural pan, talavera wall pockets london, tall antique refectory table, tallboy dresser 1930, tambour cabinet doors desk, tambour cupboard sliding door england, tambour dining set, tambour front bedside tables, tambour front commode, tambour front sideboard black, tavern tables 18th drop leaf new england, tea chest abraham rontgen, tea table, teasets+longton+cromer+ad1858, technical drawing, technical drawing chest of draws, technical drawing extendable dining table, technical drawing of extendable dining table, tekke carpets large, tekke gul, telescopic dining table, telescopic leaf table, terracotta column coffee table bases, the decorative painters and glaziers guide, the farthingale chair has a spoon back, theodore haviland harrison rose pattern, theodore haviland matisse, theodore haviland new york pasadena, thomas affleck george iii, thomas chippendale sofa tables, thomas elfe chest on chest, thomas sheraton, thomas sheraton drop leaf tables, thomas sheraton round table, thomas sheraton table, thomas webb acid burmese posy bowls, thonet sling chair, thonet austria chair carving, thonet bentwood chair with stamped leather, thonet bentwood large dressing mirror, thonet chaise 7500, thonet chippendale chair, thonet raised relief seat, thonet round table, thonet style bentwood rocker covers, thonnet furniture, threaded epergne green, three legged table veneer splayed legs berlin, three seater canework sofa from ocean liner, three side drawer davenport desk, three tier antique table shield, tiefenfurt figure, velocity

The Reverend Alexander John Forsyth, M renniance ebony cupboard italian antique.A brother furnitures (cupboard)., minister of the parish of Belhelvie in Aberdeenshire, was an enthusiastic shot 1940s art deco rocket sofa. Ile was fortunate, therefore, in that near the manse where he was -born, and where in due course he had succeeded his father as minister, was a loch which was a favourite resort of wild geese, duck and other water fowl loiu xiv antique laquer dresser. In addition to the hours which he spent on the shores of the loch with his long I 2-bore flintlock, the Reverend Alexander had ‘another hobby sheraton 18th century dresser. In the grounds of the manse was a little garden house which he had converted into a workshop or laboratory robert jupe table. His neoclassic furniture. parishioners knew it as the ‘Minister’s Smiddy’, and in it he pursued the taste for mechanics and chemistry which he had acquired at antique mahogany drum tables library tables writing tables. King’s College, Aberdeen antique tilt top table inlay design.
It was natural that one hobby should help the other antique music lyre chair. After getting into position for a perfect shot on the loch, Forsyth had frequently been exasperated by the fact that geese, warned by the flash of the flintlock, had time to take flight before the gun actually fired pel tubular steel side chairs. This tendency of a flintlock to ‘hang fire’ was, of course, well known, and, as shown in the last chapter, it was taken account of in military musketry instruc, tion italian wood armchairs. It only became of importance, however, in the case of a fleeting target, or, as in the case of the Reverend Alexander’s geese, a very alert one small round breakfast table. Forsyth first tried to get over the difficulty by designing a sighted hood, which fitted over the flintlock and would, he hoped, conceal the flash from the geese bugatti furniture range. The results, however, were not entirely satisfactory chinese ebony and marble table.
He next turned his attention to the possibility of obtaining an instantaneous explosion of the powder art nouveau furniture shop france. It may have been the researches of a Frenchman named Berthollet which finally led Forsyth to ‘detonation’ as the only answer to the problem; that is, in exploding a substance by hitting it with a hammer antique napoleon furtiure.
That certain substances, such as the fulminates of silver and mercury, would detonate when struck, and had great explosive power, had been known to scientists for many years gateleg table oak drop leaf rectangular. Samuel Pepys, for instance, records in his diary of the i ith November 1663:
`At antique holophane lighting.noon to the Coffee-House, where, with Dr drop front desks. Allen, some good discourse about physick and chymistry black alvar aalto stool 60 finmar. And among other things I telling him what Dribble, the German doctor, do offer of an instrument to sink ships; he tells me that which is more strange, that something made of go!d,, which they call in chymistry Aurum Fulminans, a grain, I think he said, of it put into a silver spoon and fired, will give a blow like a musquett, and strike a hole through the silver spoon downwards, without the least force upward; and this he can make a cheaper experiment of, he says, with iron prepared decoration metal bureau table desing.’
The difficulty about the fulminates was their great power antique dresser with turned leg. It was quite impractical to use them as the propellent for a bullet as they would have blown the gun up hunting chest french 18th century. Berthollet in 1788 tried to get over the problem by mixing potassium chlorate (which had lately been found to have the same property of detonation) with other components to make a gunpowder which would give a more powerful, and, at the same time, more rapid explosion than could be obtained with saltpetre as the principal ingredient carved frame desk chair. However, Berthollet’s new powder proved far too dangerous either to make in large quantities or to use with firearms spanish pottery 16th century. Further attempts by Berthollet to find a solution were prevented by -the French Revolution tableware expensive.
Forsyth’s first idea was to use a powder containing potassium chlorate or fulminate of mercury as a primer in an ordinary flintlock cheverton reducing machine. He certainly got an instantaneous flash in the priming pan, but it was so instantaneous and so little heat was, generated that the charge in the gun was not ignited at all antique fashion engravings. He then tried adding ordinary powder to the mixture in the pan, but the rapid flash scattered the gunpowder without giving it time to ignite antique cigar chair with wood arms.
After these failures Forsyth came to the conclusion that he must try a change in the method of ignition imperial,gate leg. His trials had already shown that the fulminates exploded far more violently when struck than when ignited by fire rare antqiue marbels. Experiments on these lines at last met with success furniture designersgerman. Forsyth succeeded in modifying one of his flintlock fowling-pieces to percussion ignition and used it on his loch during the winter of 1805-06 how to detect silver cutlery. The satisfactory rise in the geese casualty rate proved to the Reverend Alexander that an answer to the problem had indeed been found art deco kneeling dancer lamp.
It was soon apparent to dither Forsyth or his friends that there was a far wider scope for the new lock than in the destruction of the Belhelvie geese; and early in i 80 he journeyed to London antique mahogany card table, imperial.
Forsyth was armed with letters of introduction to some of the distinguished sportsmen in London telescopic pie crust table. It is likely that he antique japanese ko imari. also had in mind the possible use of his lock for antique light yellow dresser. military arms valueof1800’slibrarytable. In any case, one of these sportsmen showed the converted flintlock fowling-piece to Sir Joseph Banks who in turn showed it to Lord Moira, at that time Master-General of the Ordnance 1930 walnut art deco style furniture. Moira was much impressed with the invention and, sending for Forsyth, urged him to carry out further experiments in the Tower of London louis 16th style furniture. Forsyth eventually agreed on the condition that his expenses were- paid and that he should be provided with an ordained assistant to take charge of his parish during his absence drop leaf table stable base. This was arranged, Moira authorizing an initial payment-of ico and obtaining leave of absence for the minister of Belhelvie from the Aberdeen Presbytery medieval “reading slope”.
The task before Forsyth was somewhat different to the problem which he had originally set out to solve 19th century louis xv mahogany french chest of draws floral inlaid wood with marble top and glass cabinet with cabriole legs. In the case of the Belhelvie geese the speed of discharge was the important factor, and an occasional misfire was of no great matter canadian desk with drawers. For the military arm the certainty of ignition was of far greatef importance than its speed windows 1930. The flintlock misfired often, and its open mechanism was particularly susceptible to damp 18th century antique sofa collectors. The percussion arm with its enclosed lock and powerful priming action seemed to offer some certainty of ignition, and it was this aspect which must have appealed especially to Moira 19th century chinese chamber pots.
There were many difficulties art deco game tables. The original fowling-piece lock was unsuitable, and when a better enclosed lock was designed the original detonating mixture proved too powerful small antique french writing cabinet. Forsyth had originally preferred a powder with fulminate of mercury as the main ingredient, since it was cleaner than other detonating mixtures italian glass fronted display cabinets. It was found, however, that with accurately machined locks detonating mercury always burst or distorted the part which contained it antique silver candelabra screw. Since other mixtures were too foul Forsyth had to find something else round gateleg table. Moreover, several chemists having already been damaged by accidental explosions of fulminating compounds, Forsyth found it impossible to find any of them who would do more than provide him with the ingredients value of empire style china closet 1910. He therefore had to carry out all experiments himself antique jugend style cupboard.
Eventually he was successful gate leg drop leaf table. He produced a detonating powder which answered all requirements, and a lock the principle of which was approved by Lord Moira in April 1807- At this juncture, however, there was a sudden change of Ministry, which swept Moira from office and reinstalled Lord Chatham as Master-General of the Ordnance antique silver serving platter with peacock emblem on back. Chatham’s reaction to Forsyth’s experiments was to direct their author to render an account of his expenditure, return all Government property in his possession, and remove himself and his `rubbish’ from the Tower chippendale antique tables. In addition the new M wheat antique dresser.G porcelain relief herons and swans.O sphinks console tables. refused to allow the payment of the assistant at Belhelvie as part of Forsyth’s expenditure,
Forsyth left the service of the Government, therefore, not only without reward for his invention, but out of’ antique czechoslovakia porcelain vase.pocket on his expenses extending console table. If the stupid and incompetent Chatham thought little of the percussion lock, there were others who grasped its potentialities scandinavian octagon dining table. Napoleon conveyed to Forsyth the enormous offer of Z2o,000 for the use of his lock mannerist carved table. Forsyth’s outright rejection of this italian rococo style antique three arch gilded mirror.offer may possibly have saved his country the loss of the war neo-rococco cabinet.
It would not have been surprising if the Reverend Alexander had now returned to his Scottish parish blacks, meissen, porcelain. He was, however, a determined and very courageous man, and, furthermore, he had an implicit faith spanish antique table. in his percussion lock french display cabinet south eastern area. He decided therefore that if the Government would have nothing to do with his invention he would put it on the market as a private venture art deco vases. His first step was to take out a patent, and to help him to draw up the specifications he consulted the famous engineer, James Watt value clawfoot drop leaf table. The resulting document was quite a masterpiece, since the very general terms in which it was phrased covered the manufacture of all gun-locks on the percussion principle antique bedside tables marble tops. It read as follows:
`First, as to the chemical plan and principles thereof, instead of permitting the touch-hole or vent of the pieces of artillery, fire-arms, mines, chambers, cavities or places to communicate with the open air, and instead of giving fire to the charge by a lighted match, or by flint and steel; or by any other matter in a state of actual combustion applied to a priming in an open pan, I do close the touch-hole or vent by means of a plug or sliding piece, or other fit piece of metal or suitable material or materials, so as to exclude the open air, and to prevent any sensible escape of the blast or explosive gas or vapour outwards, or from the priming or charge, and as much as possible to force the said priming to go in the direction of the charge, and to set fire to the same, and not to be wasted in the open air; and as a priming I do make use of some or one of those chemical compounds which are so easily inflammable as to be capable of taking fire and exploding without any actual fire being applied thereto, and merely by a blow, or by any sudden or strong pressure or friction given or applied thereto without extraordinary violence; that hat is to say, for example, the salt formed of dephlogistigated marine acid and potash (or potasse), which salt is otherwise called oxymuriate of potash; or I do make use of such of the fulminating metallic compounds as may be used with safety: for example, fulminating mercury, or of common gunpowder mixed in due quantity with any of the before-mentioned compounds; and these compounds, or mixtures of compounds, I find to be much better for priming than gunpowder used alone, which cannot be made to explode without some sparks or actual fire applied thereto, or else without such a degree of extraordinary and violent percussion as cannot conveniently be made use of in gunnery, or with any of the firearms or artillery that are in most general use arabesque vertical plate racks. But it is to be observed that I do not lay claim to the invention of any of the said compounds or matters to be used for priming, my invention in regard thereto being confined to the use and application thereof to the purposes of artillery and firearms as aforesaid; and the manner of priming and exploding which I use is to introduce into the touch-hole or vent, or into a small and strong chamber or place between the said touch-hole and vent, and the plug or sliding piece, or other piece by which the communication with the external air is cut off, a small portion of some or one of the chemical compounds herein-before mentioned (for example, as for priming to a musket, about the eighth part of a grain), and when the required discharge is to be made I do cause the said chemical compound or priming to take fire and explode by giving a stroke or sudden and strong pressure to the same, communicated by and through the said plug or sliding piece; or other piece before mentioned or described, in consequence of which the fire of the priming is immediately communicated to the contents or charge placed within the said piece of artillery, fire-arm, mine, chamber, cavity, or place, and the discharge accordingly follows czechoslovakia old furniture.’
The patent was granted in July 1807, and in the following year Forsyth opened a gun shop at No antique engraved drawings. io Piccadilly under the title of ‘Forsyth & Company, Patent Gun Makers’ the period preceding art deco. The name of the assistant whom he engaged is probably now better known than that of his master, for it was none other than James Purdey, formerly with Joseph Manton and later founder of the famous firm of James Purdey & Sons dutch rococo walnut cupboard. The wares of the new company were advertised as follows:
`The Forsyth patent gunlock is entirely different from the common gunlock green wedgewood plant pots. It produces inflammation by means of percussion and supersedes the use of flints boulle tabel. Its principle advantages are the following: The rapid and complete inflammation of the whole charge of gunpowder in the chamber of the barrel india brass table tray. The prevention of the loss of force through the touchhole antique brass leg knee mount french. Perfect security against rain or damp in the priming antique table collectors. No flash from the pan and less risk of accidental discharge of the piece than when the common lock is used antique card table collectors. The charge of gunpowder to be from one third to one fourth less than when the flintlock is used meubles art antique american.
The lock which was fitted to the guns sold at io Piccadilly was of the same design as that perfected by Forsyth during his time at the Tower names of art deco furniture makers. It -was) however, of finished and decorative workmanship, as compared with the rough models which he made for military trials queen anne antique bureau photo. At approximately the same place where the flash-pan is on a flintlock gun, a steel plug was screwed into the side of the barrel 18th century drum tables. The plug was drilled through the centre with an-inch hole which gave access into the breech and to the powder charge sideboard plinth. Mounted on, and pivoting on, the plug was the container which held the priming charge: This container was, on account of its shape, described as the `scent-bottle’ type meissen candlesticks. It was divided horizontally into two halves, the lower of which was filled with detonating powder austere style. On the upper surface of the plug was a small ‘flash-pan about * inch wide and -’16 inch deep, and from the bottom of this a very narrow vent of about pin-size diameter led to the central hole of the plug antique jugend style cupboard. (The outer end of this central hole was closed by the screw- which held the container in position greek neoclassical porcelain.) When the container was turned through i8o degrees a small amount of the detonating powder dropped into the flash-pan francaise antique. Reversing the container to its original position brought a striker into line with the flash-pan antique mahogany dolphin table. When the trigger was pulled a hammer was released which hit the striker and detonated the priming powder american made old french style chairs. The flash-pan being enclosed the flame was forced down the vent with great force, causing an instantaneous discharge of the gun ruhlmann chair.
The lower half, or magazine, of the container held enough priming powder for about twenty shots antique rectangle drop leaf table cabinet. In addition, part of the equipment of the gun was an ivory flask in which was carried spare powder to refill the magazine biedermeier canape.
The new lock was an immediate success, and between i8o8 when Forsyth opened his business until 1821 when his patent expired nearly 4000 locks were made dutch 18th century walnut chest on chest. Some of these were attached to newly manufactured guns and pistols, and others were sold separately for fitting to converted flintlocks social origins of art deco. Use of percussion sporting arms became widespread britannia silver candlesticks. A well-known and very keen sportsman, Mr paul follot chair. H 1900th century furniture. Baring, M 1840s wooden chest.P coalbrookdale neptune dish., wrote to Forsyth in’ 1814 saying, ‘I think I may now congratulate you on having made your Patent lock perfect and I venture to predict that in a few years nothing else will be used by sportsmen in this country kotahya pottery. I have shot with your guns for the last four years entirely, and under their different stages of improvement, and few persons can be better qualified than myself to form a practical opinion of them antique chinese display cabinets black oak. I shoot every day it is possible to go out from the beginning of the season to the end and I am often in the predicament of firing my gun as often as my barrels will bear to be fired in one day 1940’s art deco black and gray lacquer bedroom set prices.’
Nevertheless the `scent-bottle’ lock had one serious weakness scroll planter table y chair. The loose detonating powder in the magazine sometimes exploded owing to the flame from the flash-pan leaking through to it “goldscheider mark”. A later Forsyth design, incorporating a magazine which slid forward on rollers over the flash-pan, was open to the same objection console tables tubular uk.
Some of the other gunmakers had ideas as to how the difficulty might be surmounted, but Forsyth’s porcelaine antique motif ming. all-embracing patent protected him from any competition in Great Britain antique bullock’s 8′ sofa. A Genevan gunsmith of Paris, Pauly, however, arrived at the same solution in 18 12 which had already occurred to one or two dinning table carved like an animal. British gunsmiths austrian mirrored tables. This, in short, was to put the detonating mixture in a pellet, thus avoiding the danger of the loose powder parquetry specimen top. Pauly’s pellet was much the same as the present-day cap used for toy pistols walnut beaconsfield wardrobe. It consisted of a mixture-of potassium chlorate with sulphur and charcoal, to which was added a small amount of gum arabic antique pembroke table, inlay design. This was moulded into a hard pill and enclosed between two paper discs steele art deco chair wood arm rests.
In 18 16 Joseph Manton, younger brother of John Manton who had been foreman to Twigg, took a risk and patented a percussion pellet lock antique octagonal table small. This embodied a hammer with a hollow head in which the pellet was first inserted, and then the striker “chinese screen” and “mother of pearl”. The striker was drilled down its centre with a very narrow hole, and had a cavity cut in its outer surface antique trestle refectory table. When the trigger was pulled the forward movement of the hammer brought the striker into contact with a nipple, which fitted into the cavity and had a vent communicating with the powder charge cassone furniture -chris -vincent -antonio -gabriele. The force with which the hammer hit the nipple drove the striker back against the pellet, and the resulting flame travelled down the central hole in the striker and thence via the vent in the nipple to the powder japanned antique chest-how to strip lacquer. Though an ingenious idea, Manton’s lock was clearly an infringement of Forsyth’s patent, and was hardly an improvement on it since the striker had to be removed after each shot lambeth ingredients.
In 1818 Joseph Manton tried-again antique ceramic dish in silver stand. This time, instead of using a pellet he had designed a `tube-lock’, which he thought to be outside the scope of the Forsyth specification walnut side tables and lowboys. In this lock one end of a copper tube filled with fulminate of mercury was inserted :into the vent communicating with the charge 18th century amboyna card table. There it was held by a spring cover, and was struck by the hammer through a hole in the cover art deco furniture in united state. This was a very successful design, for it was simple and gave a certain discharge commedia del arte wallendorf. However, Forsyth was successful in a lawsuit, and Manton was unable to proceed with his lock deco porcelain spanish dancers female.
This lawsuit came almost at the end of Forsyth’s active interest in his company antique 17th century drop leaf tables. The patent had only two years to run, and in 1819 the Reverend Alexander returned to his parish, where he was to continue to officiate until his death in 1843, In the same year the company moved to 8 Leicester Street, Leicester Square, and finally ceased operations in 1826 george bullock collectors cabinet.
Forsyth received little public recognition during his life-time etruscan pottery price offer. In 1842 the Treasury granted him X2oo, on the recommendation of the Master-General of the Ordnance, ‘for remuneration as the original inventor of percussion firearms’ antique cigar chair with wood arms. This was four years after the first issue of percussion arms to -the Army, and was presumably the parsimonious reflection of the stirring of the official conscience antique pottey work table. About four months after Forsyth’s death the M antique occasional table inlaid roses.G baluster leg draw leaf table.O popular art techniques and their origin. represented that the previous reward was inadequate, with the result that Forsyth’s three surviving relatives received the’further sum of ki000 to divide between them mid century modern spider leg coffee table.
The expiration of Forsyth’s patent, of course, resulted in the appearance of a large number of new designs of percussion locks 1740’s art dining. Joseph Manton’s tube-lock reappeared, and became a great favourite for the big punt guns used against wildfowl regency furniture history.
b
It gave the particularly powerful flash which was required to ignite the large charge of coarse powder with which these guns were customarily loaded 18th century drinking glasses.
A number of new pellet locks were also devised; but although a few were used for a time on fowling-pieces, they had no lasting influence on the design of percussion locks, and they cannot be claimed as being in the line of development which led to military percussion arms jacobian furniture.
The invention which really made the percussion lock a practical military proposition was the copper cap expensive antique utensils. This extremely simple device had results of such far-reaching importance that there were several claimants to the honour of having invented it 1880s cooking utensils. The cap was a thimble-shaped piece of copper with a charge of detonating mixture inside-its crown five legs two leaf oak antique dining table. This was placed on a nipple having a central vent which cominunicated with the charge of gunpowder in the chamber of the gun antique empire candlestick. All that was required to fire the gun was the blow of the hammer on the cap antique pedestal regency sideboard.
It seems now to have been established beyond doubt that the inventor of the cap was an English landscape painter named Joshua Shaw, who emigrated to America in 1816 antique chinese scroll coffee table.
Shaw designed his first lock in 1814 art deco reproductions clock. This was an early form of the ultimate design weisweiller furniture. The cap, however, was of steel, and the priming mixture was inserted separately into the crown of the cap as a pellet antique table with enamel top and cup design. Unlike the final copper cap, this steel cap was not thrown away after firing, but was- used again with a fresh pellet robert jupe extending circular table copy. A gun with a lock of this design was made for Shaw by Roantree, a Durham gunsmith directoire napoleon furniture. Forsyth’s monopoly, however, prevented Shaw from securing a patent austria furniture company. Nevertheless he carried on his experiments, first replacing the steel cap with an expendable one of pewter; and ultimately, in 1816, with the copper cap joan klock, amsterdam, clockmaker. It may have been his inability to manufacture his copper-cap lock’ in England which caused Shaw to go to America antique bentwood rocking chair. There his invention was successful, and eventually he was employed by the United States Government in making percussion caps for experimental military arms tecnical drawings antique. Whilst engaged on this work in 1831 an explosion disabled his left hand late classical pier table. Shaw put in a claim for compensation, which was recognized by Congress; but it was not till sixteen years later that Congress awarded him a sum of $ x 6,000 for past and future rights in his invention kent extending antique table.
In the meantime it appears that in England Joseph Manton had obtained some knowledge of Shaw’s copper cap antique korean porcelain. Possibly he had heard of it before the latter’s departure for America malard furniture. In any case about 1818 he made such a cap; and as soon as Forsyth’s patent had expired he started selling arms with the copper-cap percussion lock louis 16th style furniture. Manton had an enthusiastic backer in Colonel Peter Hawker of Longparish, Hampshire, a famous spprtsman, author of a well-known book called Instructions to Toung Sportsmen, wounded in the Peninsular campaign, and Lieutenant-Colonel of the North Hampshire Militia antique frnech empire furniture. In his book Hawker claimed that he ‘was a patron of Joseph Manton and made many field trials of his guns, and contributed to the design and inventions of Joseph Manton’ wm iv 3 pedestal dining room table. He goes on to say that he suggested the idea of the copper cap -to Joseph Manton when he was engaged on his tube bloomsbury london arts and crafts. lock, and that the latter reluctantly agreed to try it antique drop front desk. Manton certainly labelled his first gun fitted with a lock of this type ‘Made from the Original Design of Colonel Peter Hawker’ antique ceramic indian elephant end table. Writing some time after the event the recollection of this gesture by Manton may have coloured Hawker’s memory antique tea table carved japanese.
Manton, however, was not the only English gunsmith to make a copper cap in 1818 architect jon monteith gates. Joseph Egg of Piccadilly may even have preceded Manton, and he was making guns with the cap percussion lock at the same time banquet table antique middle ages. Furthermore, he was labelling the cases with the manifestly inaccurate legend, ‘Inventor of the Percussion Cap’ can decorative moulding be antique bookcase.
By the x 8 2o’s, then, percussion arms were a commonplace amongst sportsmen 18th empire furniture. It was to be many years yet before they were to be placed in the hands of the soldiers flemish refectory table.

Tags: Alexander, alexander john forsyth, antique furniture, antique mahogany, antique music, armchairs, artillery, breakfast table, century, chamber, Company, container, cupboard, czechoslovakia, decoration, English, factor, fire, furniture range, gateleg, Gunmakers, huge drawers, instance, jupe, library tables, manse, manufacture, marble table, material, metal, neoclassic furniture, parishioners, patent, perfect shot, photo, Piccadilly, position, regency furniture, target, tubular steel, value antique mahogany table, value french bureau a cylindre, value gillows sideboard, value of 18th century chest, value of 18th century rosewood round tilt top table, value of 3 tiered vintage table, value of antique eight legged gate table, value of antique french soft paste porcelain, value of antique hot cocoa set from before 1830, value of antique kidney-shaped desk, value of berkey&gay serving buffet, value of claw foot antique cabinets, value of inlaid tudor chest, value of mahogany lyre back brass, value of my antique straw filled carved settees, value of old lion head settee, value of old wooden lion head arms and claw foot chair , value of original art deco doors, value of pie crust tea table, value of tiger maple fall front desk, value of victorian wash stands, value of vilas furniture, vargeno secretaires, vargueno for sale, vargueno silver, vargueno spanish writing desk, vase by edward william godwin furniture sold, vase faith hope and charity germany, vase ginori, vauxhall artisans 17th century, veneer designs horizontal for bedroom cupboard, verdigris on ormolu, verlys, verlys vase, vertical plates plant, very heavy, very large antique display cabinet, very old antique card table with fold out legs & bu, vianna furniture art, victoria czecho slovakia green lusterware, victoria czecho-slovakia china, victoria czecho-slovakia china antique herb, victoria czechoslovakia lustreware, victoria czechoslovakia porcelain, victoria tub low chair, victorian antique "small table", victorian antique chairs with wings and fluted legs, victorian campaign daybed robinson, victorian chair zebra fabric, victorian courting chair, victorian dumb waiter with ormolu paw feet, victorian maple tripod table, victorian occasional table with ring turned legs and a , victorian round oak chamber pot commode, victorian sutherland table ebonized, victorian two tier antique dumb waiter, vienna art nouveau movement, vienna austria antique furniture sale, vienna wall empire, viennese furniture, viennese secessionist hardware, viennesse secessionist furniture, water fowl, wild geese, writing tables

MAPS
I F you choose to surround yourself, to whatever extent, with examples of the beauty to be found in the almost limitless products of craftsmen of the past, maps, not less than other works of art, will provide decoration, interest and often pieces of high artistic merit. This article does not attempt a history of cartography, for there are several excellent published works Which will guide the collector with authority; but some of the names and styles which are most frequently met, and some of the terms used, are here set out. English map-makers have reached their own peculiar heights of achievement, but the influence of Continental styles and cultures has been both felt and reflected. The rise of national schools or tendencies in map-making accompanied an ascendancy in maritime affairs. Sea-power and the consequent prospering of seaborne trade have a close bearing on the production of both land maps and sea charts. Ocean voyages of discovery, embarked upon by thriving and questing peoples, brought forth pictures, cartographic pictures, of new lands and new seas.
We may leave aside technical considerations of surveying, which were often not of paramount importance nor of remarkable accuracy, even into the 18th century. The processes by which maps were reproduced are one of their most interesting aspects, and much of what has been said in this Encyclopaedia relating to prints and books is applicable here. Many maps found by collectors today have come from books, either as illustrations to a text or from an atlas; a sobering thought that so many handsome volumes have been broken up. However, without it the beauty, interest and consequent pleasure of their contents would necessarily have been lost to thousands of people. Some-times, it is true, the books themselves were nothing but collections of maps by different engravers and publist-ers, so perhaps from one point of view the process is not without a certain reason. The names of engravers and publishers as well as of cartographers and surveyors are all signposts to the collector; indeed these functions were frequently combined by one individual.
PROCESSES
Manuscript maps, the beginning of everything in this field, are a special study; their discovery is a matter for consultation with the expert.
Engraved maps: the copperplate, taking the ’scratch’ of the craftsman’s graver, is the chief means by which maps were reproduced. The etched line, bitten into the plate by acid and having its own qualities, was also used, but to a lesser extent. In the r9th century lithography (printing from stone) was used, while the advent of steel in place of copper for engraving generally, although resisted by some craftsmen, was also applied with success to map-making. The woodcut, a reversal of the engraving process, in which the ink was carried on the surface left standing and not in the groove left by the tool, was the other important early medium. The quality of the woodcut is recognized in a heavier, less flexible line and a more compact or sculpturesque treatment of ornament. The block leaves no impression of its dimensions on the paper, whereas the copper plate, its edges rounded off to prevent tearing, leaves a shallow depression in the paper as it passes through the press. This depression is known as the plate-mark, the presence of which is a guide to the beginner that the map is in the first place printed and secondly that it is complete.
Beyond the plate-mark, the margins or spare paper are generally preferred as large as possible, for apart from setting-off the engraved surface of the map, they are some indication that it is in a reasonably unspoilt state. Though desirable, wide margins are neither essential nor inevitable, and a scarce map trimmed to its border or with very small margins is not to be passed by. The possibility of acquiring the better example is present in the minds of all collectors, not only of cartophiles. Within the plate-mark is the border, confining the detail of the map itself. From a single line, on some examples, the border may vary in others to an elaborate pattern in imitation of a carved picture frame. Within the border may occur a scale of miles or of units of latitude and longitude, although other uses such as a numero-alphabetical system for map references are to be seen. It should also be remembered that longitude, in times past and in other countries, has been measured from several places other than the now familiar Greenwich.
The folding of maps of large size into a volume of smaller dimensions can have caused wear, which is not a bar to good condition unless of serious extent. The way in which double-page maps were hinged to a stub of paper in the binding of a book and not sewn in, enabled them to lie flat, and has had the admirable effect of preserving them whole to this day.
To return to the inner surface, ornament, reflecting all the styles and decorative fashions of its period, and one of the attractive features of maps as a whole, is found on the title. This sometimes contains in addition to the necessary descriptive details, particulars and place of publication (the imprint) and the date, although the last is frequently ommitted, adding to the interest of the collector and sometimes to his undoing! These details are usually enclosed in a cartouche, perhaps architectural, in imitation of carving or drapery. Scenic titles or figure pieces give some of the most interesting and decorative additions to the purely topographical features. Insets such as descriptive notes, armorial bearings, views, town-plans or ‘close-up’ details on a large scale, are other points of embellishment. Vignettes occur in the form of land and sea battles, shipwrecks, beasts, sea-monsters and families of mer-folk; also groups of inhabitants pursuing their occupations and practising their customs. The Scale, sometimes comparing various measures of distance, is frequently the subject of artistic elaboration too. The Compass Rose, with its own long history of design, is a necessary feature, for the orientation of a map was not always with north at the top.
The wide use of Latin for the titling especially of early maps, gives often in abbreviated form, the ‘Sculpl.’ or ‘Fecit’ of the engraver, the ‘Delin:’or’Inven1.’ of the draughtsman, and the ‘Excud:’ ‘Apud’ or `Sumptibus’ of the publisher. The Lettering employed, apart from its obvious function of identification, has an important decorative part to play. Gothic, italic and Roman, plain and flourished, handsomely tailed or classically serifed, they are found to have a considerable effect on the surface pattern; the choice of certain styles and sizes of letter to denote particular features had early been made. In later times a marvellous variety of lower-case as well as capital letters ‘hollow’, ’shadow’, upright and italic, not to speak of several sorts of scripts, were the visual vocabulary of the map-maker.
The stages in the reproduction of a map are of importance from the time the first proof is taken. Two copies of what is seemingly the same item can, on inspection, reveal differences of greater or lesser extent, by which it is often possible to date them. Since the life of a copper plate was frequently surprisingly long and its ownership diverse, the range of possible variations is wide.
Colour is a matter of great interest and importance, for while the engraving was black and sharp on the white paper when it came off the press, and it was sold in that form, a large part of the map-seller’s business was the colouring of his wares. There are preferences today for the uncoloured specimen, but good original colour is so much a distinctive period feature that understandably it greatly enhances the value of many types of map. The specialist who applied pigment to the map, following certain time-honoured conventions, gave us those glowing, exciting and perhaps vivid effects which are a feature of ‘Contemporary Colouring’. Old maps are coloured for sale today, often in skilful imita-tion of the proper styles. Colour which has been along time on the paper will have made a darkening stain right through ; some tints, green in particular, have had a corrosive effect which now renders the map brittle where it was applied. The actual pigment used to colour early maps was often more or less opaque, concealing the engraving, and the way in which it was applied was frequently more spirited than meticulous.
MAKERS, ENGRAVERS AND PUBLISHERS
The names which form a monumental foundation for this subject are still to be encountered in the map-seller’s on terms of comparative familiarity. The great ones of cartography are still attainable by the humble collector, the Old Masters here being far less the companions of rich collectors than in almost any other branch of the Arts.
CLAUDIUS PTOLEMY of Alexandria, who worked in the 2nd century A.D., was brought to light again in the Renaissance, when an edition based on surviving manuscript copies of his Geographic, with maps, was published (Bologna, 1477). These maps were printed from copper plates, but some of the most famous early editions of the same book came from Germany, notably Ulm, 1482, and Strasbourg, 1513, in which they were printed from wood blocks. Here we have the two schools almost typifying the cultures on either side of the Alps. Ptolemy, with modern additions, was much reprinted and edited in both countries; here is the world as understood by the Ancients, approximate but recognizable, and with it visions of new continents as yet unexplored.
In Italy, the map-sellers of Venice and Rome, such as Forlani and Lafreri, produced maps ranging from continents in several sheets to small ones of islands on a single leaf, all from copper plates. They gathered together selections of the works of their competitors and contemporaries, into volumes of maps which were the forerunners of what we mean by the term Atlas, although that word was first used to personify a collection of his own maps in 1585, by Mercator, whose title-page showed the mythical king. The Italia of G. A. MAGINI (Bologna, 162o), which contains some plates from the hand of Benjamin Wright, an English engraver working on the Continent, presents a detailed series of elaborate maps of the country with crowded topographical pictures and but little added embellishment. Round about the end of the 17th century, Venice was the scene of the remarkable activity of M. V. CORONELLI (1650-1718), Cosmographer to the Republic, who conducted the Academy called Gli Argonauts and produced maps of a grand and ornamental nature.
One of the most important names in cartography, and probably the most generally familiar, GERHARD MERCATOR, lived from 1512 to 1594, and his Atlas Sive Cosmographicae Meditations (1585-95) contains the work of one who had been an instrument maker and an authority on the italic script in which he inscribed the place-names, as well as a draughtsman and engraver. The map-makers of the Netherlands were a closely knit fraternity, and it is of interest and importance to note how their stock-in-trade was passed from father to son and from publisher to successor. This is why the same map may carry several different imprints at various times; the plate was handed over to a new proprietor, and a new name and date appeared. As the plates wore, the lines were strengthened, new information was included and often a new dedication to some more recent notability replaced the older. Mercator’s business passed to sons and grandsons, but soon after 1600 it went to JODOcus HONDIUS (1563-1612), who had spent some ten years of exile in England. He published further editions of Atlas, with his own contributions, and his son Henricus also continued the work. Another famous name was brought into the business by marriage, in JAN JANSSON (15961664), who became Henricus’ brother-in-law and took control in about 1657.
ABRAHAM ORTELIUS of Antwerp (1527-98), friend of Mercator, collected from many sources and used the work of most of the known figures of cartographic and geographic repute. Having begun as a colourer and map-seller, he produced in 1570 his great Theatrum Orbis Terrarum, a step nearer the atlas of uniform maps which we know today. Some examples, particularly when in original or near-contemporary colouring, are among the most highly evocative of the spirit and decorative style of that age. The names Of FRANS HOGENBERG the engraver and GEORGE BRAUN his editor are linked in their wonderful Civitates Orbis Terrarum, published at Cologne between 1573 and 1618. The six books contain several hundred plan-views of important cities, many including costume figures, coats-of-arms and scenes of historical incidents, which make the series a valuable work of reference; the individual plates, which are reasonably common, are a source of more than ordinary interest. One of the links between our native map-makers and these great names on the Continent occurs here, for Frans Hogenberg, who was also responsible for putting on to copper the maps of Ortelius, had a brother Remigius who came to England and contributed nine of the plates to Saxton’s atlas.
Early maps of England were manifestly unsuited for the comings and goings of the Elizabethans, and the peril in which this country stood from foreign invasion hastened the realization that better surveys were needed. GEORGE LILY, another English exile abroad, had produced the first engraved map of Britain in two sheets printed at Rome in 1546; also Mercator had a map of England and Wales in 1564, and Ortelius included maps of England and Wales in his 1573 edition and later. It was, however, CHRISTOPHER SAXTON, a Yorkshireman, who proceeded under the Queen’s mandate to make his survey of the counties of England and Wales, and so produce the first collection of its kind in the world. The results, to the extent of thirty-four county maps and one of the country in general, appeared between 1574 and 1579, and were engraved by Nether-Landers like HOOENBERG and TERWOORT, and by Eng
lishmen like AUGUSTINE RYTHER, another Yorksbireman. The latter’s signature carried the qualification ‘Anglus’ to differentiate between the true-born English, of whom his contemporaries and we, too, have every reason to be proud, and on the other hand the Dutch and Flemish masters from whom we learnt. In style, however, there is little such difference. While a complete Saxton atlas is now something of a rarity, and maps from it in contemporary colouring are not exactly cheap, they are still obtainable. The graceful and sometimes elaborate script used is an ornament in itself; the Latin titles within their cartouches of fruit, flowers and bird-life, the Queen’s arms with the fleurs-de-lys and the Tudor dragon, give us the England of nearly four hundred years ago in spirit as well as name and appearance. The late Edward Lynam wrote: ‘Saxton deserves a place beside Shakespeare as an interpreter of the national consciousness, unity and pride which were the greatest achievements of Elizabethan England’ (British Maps and Mapmakers).
Saxton’s plates, in the hands of PHILIP LEA (d. c. 1700), who made considerable alterations, had a new lease of life, and later appeared under the Bowles’s name, also under that of Sayer (1763). Lea was a busy cartographer, globe-maker and publisher who also constructed and sold instruments.
Use was made of the word ‘Theatre’ for a display of maps, by JOHN SPEED (1552-1629), who in 1611 issued the renowned Theatre of the Empire of Great Britain. This bore similarities to Ortelius’ 71eatrum besides its title. Speed cast wide for his sources, and acknowledged the fact on many of his plates, which were engraved not in England but by Jodocus Hondius in Amsterdam. The book was a great commercial venture, not sheltered by royal or noble patronage, but well justified by its popularity, which called for many editions in the succeeding century. The maps, favourites today among collectors, owe a great deal to Hondius’s art. His masterly ornamentation of the ground-work with which Speed supplied him is to be recognized in the borders, titles and lettering. Speed’s own antiquarian fancy has given us the historic heraldry of the families which bore county titles, and the city plans, views of notable mansions and churches, etc. Compared with Saxton’s county maps, examples of Speed’s in early state are generally a little less expensive; the editions of the complete work were numerous and the life of the plates in the hands of successive publishers was long, copies bearing an imprint of about 1770 being known.
JOHN NORDEN (1548-1625) was a rival of Saxton’s, and while his smaller output did not share the popularity of the Tatter’s, his maps in some instances take pride of place, as for example in the delineation of the chief roads. The face of the countryside as it then was has assumed a lasting significance by the distinguishing of parks, noblemen’s seats, gentlemen’s houses, castles, market-towns and many other features not before shown, while the borders include a simple system of letters and figures for map references. W I L L I A M CAMDEN’S Britannia contained, in the Latin edition of 1607, some county maps engraved after Saxton and Norden, but smaller in size than their originals. The same work, in its English translation of 1695, contained some fifty county maps fostered by ROBERT MORDEN (d. 1703), not to be confused with Norden. These, of rather inferior and coarser style, are nevertheless interesting and quite common.
In the later 17th and 18th centuries, families like the OVERTON’S, J., H. and P., and the BOWLES’s, T., J. and C. (who were print- as well as map-sellers) handled other men’s plates, so that impressions of earlier works lived on under their ownership and passed to their heirs and successors down into the 19th century. Pursuing the connexion between England and the Netherlands, we find that.
-in-law PIETER VAN DEN KEER,
Hondius and his brother E i who by the same token should perhaps be called by the Latin form Kaerius, settled in Amsterdam on leaving England in the 1590s. As we have seen, Mercator’s Atlas continued to appear with many and valuable additions by
Hondius, so that his name and that of his son Henricus, is rightly connected with the editions published after 16o6. Their successor, Janson, had a formidable rival in the famous house which produced some of the finest maps of the 17th century, BLAEU of Amsterdam, the history of whose members and their contributions to both cartography and
printing is fascinating. WILLEM J ANSZOON BLAEU (1571-
1638) made confusing use of several variants of his name in signing and publishing his maps, and Gulielmus Blaeu and Gul. Janssonius are two of them, the latter apt to be mixed with Jan Janson. In style, many of the Blaeu maps show a more open design, with restrained Roman lettering which appears severe by contrast with earlier forms. Decorative heights were, however, reached with some plates, and the figures, are characteristic. At the present time county maps of England, Wales and Scotland from Blaeu atlases, copied it must be admitted from Speed, are to be found in the map-seller’s, as well as handsome representations of a great many other parts of the known world. The work, which must be considered a summit of achievement, and in which so many of these fine maps are gathered, is something once seen not easily forgotten — the Atlas Major or Geographic Blaviana of 166o. The imposing folio size, the lustrous vellum-gilt binding (also part of the Blaeu business) and its extent, in as many as twelve volumes, constitute a monument far outside the reach of the ordinary collector, who can, however, possess individual maps from it in contemporary colouring, heightened with gold and on paper which it is an inspiration to handle. In England RICHARD BLOME (d. 1705) made county maps for his own Britannia of 1673 and his Cosmography 1693, as well as Speed’s Maps Epitomised in a small size, 1685. Here again we have honest period decoration but somewhat rough workmanship. JOHN 0 0 1 L B Y (1600-76) conducted the first systematic survey of our roads and published Britannia … Description of the Principal Roads Thereof . . . in 1675, a work both ingenious and practical. The chosen highway, drawn as on a long scroll or strip which appears to be folded down across the page, leads the traveller from left to right, from bottom to top, up hill and down dale through hamlets and towns, past houses and halts. The nature of the country is shown by clusters or strings of hills, and such terms as ‘arable’ and ‘pasture’; inns are well noted and the mileage from the starting-point, with intermediate furlongs, are all set down. Its folio size, which makes plates from it such admirable decorative features today, was unhandy for travellers and later versions of the road atlas took on a smaller form. Ogilby’s activities were by no means confined to the Britannia; he published handsome folio
accounts of Africa (1670), America (1671) and Asia (1673),
which all contain maps and views of a most decorative nature.
The Netherlands with its great output of maps catered by translation for the other nations of Europe, the same maps serving England, Spain, France, Italy and Germany with appropriate texts. The famous Dutch makers, already mentioned, were followed by successors to both their fame and their business–the DE WIT’S, the V I S S C H E R’S, the
DANCKERTS’S, SCHENK, the MORTIER’s, ALLARD, whose maps are rich in style and full of detail.
The 18th century, at the beginning of which great use was still being made of the older authorities, saw throughout its course a series of important discoveries which enlarged the face of the globe; great advances in surveying practice and withal a rather bewildering process of amalgamation and succession on the part of the publishers and map-makers themselves.
France under Louis XIV had as Geographer Royal N I COLAS SANSON (1600-67), who with his sons, grandsons and successors, represents a major source of French cartography from the appearance of his first atlas in 1654, until about 1780. A. H. J A I L L OT (1632-1712), Sanson’s successor, and P. DU VA L, his son-in-law, are other names to be noted. French maps, like so many other aspects of French art, display a beauty and elegance in all their characteristics. Many are large, but with fine lettering and unobtrusive though fitting decoration. Lovers of French furniture and pictures will recognize many of the traits which please them in maps from the DF, LISLE’S, the DE VAUGONDY’S, J. N. BELLIN (d. 1772) and J. B. D’ANNVILLE (d. 1782).
As in the Netherlands and France, so in England important businesses were quickly taken up on the death of the principal by enterprising rivals and relatives. Reference to the standard works will give the collector the sequence and help him to identify and date his maps. Foreign talent was still much in evidence in this country; HERMAN M 0 L L (d. 1732), an kigri from Holland, published several collections, e.g. New and Complete Atlas (1719), from which individual plates are quite common. From highly decorative in the style of the time, they range to a type which almost dispenses with ornament in favour of maximum topograpl-deal information. Moll’s titles give a composite arrangement of architecture, figures, animals and floral settings, with frequent inset views and, for example in a map of England, an edging of complicated tables of distances from London, market-days, map references and `eastings and westings’ from the capital. His lettering is clear and frequently the only colour introduced is a tinted outline.
JOHN RocQuE, a Frenchman (d. 1762), has amongst others to his credit a large-scale map of London in two dozen sheets, an extensive and splendid work, and particularly when seen in original colour a feast of intimate detail.
EDWARD WELLS’S New Sett of Maps of Ancient and Present Geography, about 1700, carries on nearly. every plate a dedication to the short-lived son of Queen Anne, William Duke of Gloucester. The maps, although not in the highest class of workmanship, are good decoration.
JOHN SENEX, F.R.S. (d. 1740), produced such works as the New General Atlas of the World, 1721, which has some pleasant scenic cartouches. He also printed and engraved a new edition of Ogilby’s road maps, which was still being issued as late as 1775. His work is like Moll’s, but with generally less elaboration.
T H O M A s KITCHIN (d. 1784) was very active, and with EMANUEL BOWEN (d. 1767) likewise highly productive, they printed, for example, the Large English Atlas in 1755• Maps from this are handsome pieces of engraving with much light rococo ornament. Bowen also illustrated his own Complete System of Geography, 1744, and with J. OWEN brought out a smaller version of Ogilby called Britannia Depicts or Ogilby Improv’d, 172o, and subsequent editions for the next forty years.
Another notable figure was the prolific JOHN CARP (d. 1835), whose imprint will also be found on road maps, and who published a New and Correct English Atlas (1787) (still being issued in the 183os), containing pleasant county maps without the large decoration of previous periods. Maps from it are generally cheap.
THOMAS JEFFERYS, Geographer to the King (d. 1771), collaborated with Kitchin in a Small English Atlas (1749), and also compiled a finely engraved American Atlas, which was not, however, published until 1776.
WILLIAM F A D E N (d. 1836) succeeded Jefferys and continued to make the American continent the subject for his maps. North American Atlas (1777) and other collections contained views, plans and maps from original surveys, which are of great interest today.
A large output from the ARROWSMITH’S (father and son), Aaron and John, bridges the late 18th and early 19th centuries. With BRYANT, GREENWOOD, PICOT and lastly M 0 U L E, we find ourselves entering the Victorian era, with different standards and different processes. Moule’s county maps, 1836, from his English Counties Delineated, are still decorative with vignettes and ornamental titles, but have the somewhat studied elegance of the time.
The celestial or star map, often included in general atlases, can be a thing of great beauty; the imagery of the constellations, always a little baffling, was sometimes brought to a high degree of complexity. There were a number of star atlases of note, and the 17th century alone saw such as BAYER (1603), SCHILLER (1627), CELLARIUS (166o), HEVELIUS (16go); also CORONELLi and the Englishman SELLER, whose Atlas Coelestis is another of his ‘pocket-size’ publications.
In later times there were, FLAMSTEED, the first Astronomer Royal, with his Atlas Coelestis (1729); J. G. DoPPEL. MAYR (1742), etc. The stars were not always marshalled into the familiar shapes of deities and objects, schemes of Biblical figures and of heraldic arrangements being also proposed. Examples of coloured star maps can be striking, while the decorative possibilities of large photo-copies of uncoloured examples are considerable.

Tags: artistic merit, ascendancy, Atlas, brother-in-law, cartographers, continental styles, Cosmographicae, decoration, dedication, degree, Edward, engravers, father, FRANS HOGENBERG, frieze drawer, GEORGE BRAUN, GERHARD MERCATOR, Great Britain, history of cartography, honour, JOHN SPEED, land maps, map makers, ocean voyages, paramount importance, person, photo, proprietor, publist, remarkable accuracy, Renaissance, sea power, sheraton tables, small sutherland table, small to large modern gateleg dining table with leaves, small trayed mohogany antiques tables, smoking accessories, sobering thought, sofa casters, sofa table, solid rosewood furniture, solid silver candlesticks english, solid silver metal baskets and bowls, somerset dresser mahogany, southern spanish pottery, space-saving drop-leaf table, spanish antique furniture 16th century draw tables, spanish card table, spanish carved cabinet, spanish designer art neuvau, spanish empire coat of arms bar funiture antique, spanish potter mark, spanish pottery collectors, spanish pottery rabbits, spanish revival antique dining chairs, spanish revival coffee table, spanish sideboards, spanish turned columns, speed moderne art deco armchair, spider leg coffee table, spider leg table base plan, spider legs furniture, spiral leg antique furniture, splayed legs on art deco chairs, spode oriental pattern covered dishes, spode willow pattern manufacturers marks, square antique oak lamp table with glass claw feet made, square drop leaf antique card table with ashtrays claw , square glass serving tray with legs, square pembroke table, staffordshire doric porcelain, staffordshire figure walton, staffordshire flatback figures on ebay, staffordshire ironstone pottery large roses, staffordshire ironstone with large roses, staffordshire ironstone/willow, staffordshire rococo revival porcelain, staffordshire teapots by enoch booth, staffordshire underglaze ironstone tableware, standard supports, standing antique with ivory inlay, Terrarum, today, Tudor, workmanship, works of art

The new serjeant’s pike was nine feet in length with a spear head which screwed into a socket and a cross-piece to prevent the head from penetrating too far signatures of art deco cabinet makers paris . The wooden shaft was painted white in order to show up the polished metal parts antique chinese chicken coop .
The recognition that the sword was now the officer’s primary weapon led to some apparent anxiety as to the suitability of the various regimental patterns, for the General Order which abolished spontoons said that infantry officers were to ‘provide themselves with a strong substantial uniform sword with a straight cut-and-thrust blade, an inch broad at the shoulder and 32 inches long antique bugatti table . The hilt, if not steel, to be either gilt or silver according to the buttons on the uniforms antique collectors .’ In accordance with existing policy all details of design were left to regiments, but the stipulated width at the shoulder ensured a fairly substantial blade 16th century settee .
The period of regimentally designed swords, however, was drawing to an end 1930’s austro-hungarian furniture . The first to be dealt with were the cavalry 19th century regency antique furniture .
By the 1780’s it appears that all Light Dragoon regiments had stirrup hilts to their swords, formed by bending one quillon up to join the pommel, and most blades were curved in varying degrees 18th century cabinets to hold chamber pots . They remained fairly short, for Light Dragoons, unlike the ‘heavies’, wore their swords when dismounted instead of leaving them on the horse french empire desk cabinet maker logo .
Of the heavy cavalry the 6th Inniskilling Dragoons were noted in an Inspection Return of 1777 as having ‘new swords being made’ ant cherry antique dictionary tables . These new swords had half basket-hilts, and were perhaps of similar design to the earlier Dragoon sword already mentioned scottish flame mahogany chest of drawers .
In 1788 a Board of General Officers on the clothing and equipment of the cavalry passed resolutions regarding the swords most suitable for both light and heavy cavalry modern oriental writing bureau .
That in respect of the light cavalry said: `Regimental swords and sabres for Light Dragoons veneer inlay 1940 bedroom set antique . The hilt to be of the same form as used by the Light Dragoons and to be 5 ins antique centre table with caryatid legs . long in the grip antique center tables . The blade to be 36 ins king george drop leaf gateleg table . long and the curve in the centre to be i I ins john toulouse porcelain modeller . from the straight line antique austria 1855 - 1953 statues . The breadth to be i-j- ins george i folding card table antique . long in the shoulder antique drop leaf table federal period . The blade to be I ins antique silver gravy boat . thick and to finish about II ins circular glass pedestal dining table . from the point rectangular drop leaf sofa table . Officers’ swords for all the regiments of cavalry to be uniform with those of the men 1918 1940 usa design trends creators raymond loewy .’
For the heavy cavalry the resolution was:
`That the hilts of the swords of the regiments of Dragoon Guards and Dragoons be half basket, the same as those of the 6th (Inniskilling) Regiment of Dragoons cabriole in architecture . The grip from the guard to the point of the button to be 7-r8x in antique tea kettle . The blade to be 3 ft double gate drop leaf table antique . 9 in english ironstone potteries ltd . long from the guard to the point meissen kandler . The breadth of the blade at the shoulder to be 1 5/12 in oak chamber pot chair ., and the back to be
in recognizing antiques pembroke table . thick and to finish about 14 in lovers on a swing’ meissen porcelain . from the point “antique sheffield silver dresser” .’
This was the first time that such detailed specifications had been drawn up for the swords of the Army serving epergne . There was little, if any, room for regimental variation, and even the officers’ swords had to conform to the official pattern silver forks made in italy . The most striking feature was the very great length of the-heavy cavalry sword antique music cabinete with mirror at the top .
On the 14th November 1796 a Royal Warrant was issued which contained regulations governing the design and pattern of the swords of the cavalry; and in the same year a General Order gave instructions regarding the swords to be worn by officers of the infantry irish, intricately carved lion paw, oak dining table, 1800’s, 6 leafs . Thus for the first time there were official patterns for practically all personal weapons in the Army fiddleback walnut .
The new infantry officer’s sword was described in the General Order as follows:
`The sword to have a brass guard, pommel and shell gilt with gold and the grip or handle of silver twisted wire antique english ironstone . The blade to be straight and made to cut and thrust; to be at least i in 1920s and 1930s hand painted enamel posters . broad at the shoulder and 32 in example of 18th century wooden handle silverware . in length conformable to former orders given in 178′6 types of timepieces in ancient times with pictures of it .’
Thus the dimensions of the blade ordered in, 1786 were retained, but the design of the hilt was also now governed by a regulation cylindrical crock eared handles cobalt blue . The General Order was probably accompanied by a drawing, for precisely the same pattern of hilt was common to all the regiments of Foot antique furniture marks . It had a flat ’shell’, or plate, at the top of the blade, with a heart-shaped indentation at front and rear are mahogany drum tables in demand . On the underneath side of the plate ornamental decoration connected the two indentations and surrounded the blade antique dresser teardrop mirror . From the rear indentation protruded the stump of
• quillon terminating in an acorn muller freres chandelier . From the front indentation
• single-bar popular antique american earthenware brown . knuckle guard rose in a curve to the base of the pommel old fashioned dutch dining tables . The pommel was urn-shaped antique sofas 1920 . Round the knuckle guard was twisted a crimson and gold sword-knot, ending in a tassel knife urns .
Old habits, however, died hard antique golden oak drop leaf table . Whilst in general the orders were adhered to, a practice arose in some regiments of wearing sabres, or swords with curved blades american empire sofa . In most regiments it became the custom for officers in Light companies to wear sabres fitted with a form of the Light Dragoon stirrup hilt antique table turned feet . So general did this practice become that by r 81 5 it seems to have been recognized, perhaps unofficially, by the Authorities verlys holophane .
The Warrant of 1796 directed that for the heavy cavalry:
`A new sword 35 in, long in the blade is to be substituted in lieu of that now in use, having been found unmanageable owing to the length of the blade and the weight of the hilt “u shaped” coffee table mahogany . The rivet which fixes the*back of the hilt to the middle of the handle to go through the shank of the blade and the back to be well rivetted near the guard directoire napoleon furniture . The shank of the blade to be large and the top of the scabbard to be made to take off for the easier replacing of the same value of iron table lamp made in 1940’s .
The instruction does not contain many details of the sword, but again it was probably supported by a drawing harlequin pattern period furniture . This was almost certainly the heavy cavalry sword which was used throughout the Napoleonic wars, since there is no evidence of any other pattern being introduced before 1822 antique alcove sofa . The hilt of this weapon was of steel and consisted of a flat disc which was pierced with holes, with a short projection at the rear, and the front tapering to a knuckle guard which was curved to the pommel cantagalli marks . It was an ugly design black desk curved legs . The blade was peculiar in that it finished in a hatchet point and could thus only be used for cutting viennese chairs . On the whole this was probably the worst sword which was ever issued to the British Army 18th century horoldt augsburg vases . Even the allegedly unmanageable weapon which it replaced at least gave far better protection to the hand and could be used for thrusting william hogarth + nicholas sprimont .
If the heavy cavalry sword was the worst the Army ever had, the light cavalry sword was almost certainly the best rectangular drop leaf 5 leg dining table with 4 leaves . The Royal Warrant retained the pattern recommended by the Board of General Officers in 1788, but shortened the blade by some three inches florals in british furniture . It was described as: ‘A sabre to be of the pattern last approved by Us and the length of the blade to be 321 ins art deco regency mahogony . or 33 ins scandinavian aesthetic . measured in a straight line from the hilt to the point but not to exceed the latter measurement’ scottish chest drawers . With the shorter length, of course, the same deviation from, the straight line would result in the blade having a more pronounced curve than the 1788 pattern yabu fruit .
This light cavalry sabre was intended for both cutting and thrusting; but it was as a cutting weapon that it was preeminent, and easily the best in any army throughout -the Napoleonic wars antiques, louis xiv china . The relative merits of cutting and thrusting have been fiercely argued throughout most of the history of the British Army, and sometimes the desire to produce a weapon which will be equally good at both has led to a compromise design which has been satisfactory for neither gilded console table . At •the end of the eighteenth century military opinion was overwhelmingly in favour of cutting, and hence the light cavalry sabre was a cutting sword with thrusting as a secondary task copeland parian busts and figures . The Rules and Regulations for the Sword Exercise, issued from the Adjutant-General’s Office on the 1st December 1796, the same year as the introduction of the new sabre, was based on it and feature it in all the illustrations art deco burr walnut - antiques . The merits and uses of cutting and thrusting are explained clearly in its pages, as the following extracts show antiques antique oak sideboards dutch style .
`CUTS two tier table .
TiiERE are only six ways of directing the edge of the blade; therefore the different parts of the body, which may be exposed by the unskilfulness of a swordsman, are not to be (erroneously) conceived as admitting of so many distinct Cuts french furniture dorset . The action of the wrist and shoulder alone, directs the blade; and they admit but of six movements,- from which every cut is derived, wherever may be its particular application to the body victorian gate leg pine table . Of the six cuts, four are made in diagonal directions, and two horizontally: the whole are equally applicable against cavalry, and may be directed on either side of the horse, but their application must depend on the openings given by the adversary, and be regulated by judgement, and experience in the use of the weapon old english table leg shapes pictures .
`To make a Cut with effect, and at the same time without exposing the person, there are two points which principally demand attention yabu furniture . The first is, to acquire a facility in giving motion to the arm by means of the wrist and shoulder without bending the elbow; for in bending the elbow, the sword arm is exposed; a circumstance of which the opponent will ever be ready to take his advantage, as a cut in that quarter may be made with great security; and if it be well directed, with the most fatal effect, as it at once decides the issue of the contest interior design drawing room . thomas sheraton kidney shaped desk . set of 12 disciples silver spoon collection . jean luce arzberg china .
`From -want of habit in the exercise of the wrist in the common occupations of life, the weight of tjie sword will at first be found extremely irksome mayhew and ince tripod table . The action of the arm bears no comparison with that quickness of which the wrist is susceptible; for the motions of the arm are so wide and circuitous, that they are easily counteracted “empire designer, best known for pedestal tables with curved legs . antique occasional table pie crust top . drawing furniture by michael thonet . 0
`The PoiNT antique cedar drop leaf table .
`Ti-rE thrust has only one mode of execution, whether applied to cavalry, or infantry: but a greater degree of caution is required in its application against cavalry than against infantry; for if the point is parried, the adversary’s blade gets within your guard, which is not to be recovered again in time, as with a small sword; the weapon being too heavy to be managed with the requisite degree of quickness; for which reason the point should seldom or never be given in the attack, but be principally confined to the pursuit, when it can be applied with effect and without risk english ladys writing desk spiral legs .
, The case is different in acting against infantry, as the persons against whom you then direct your point, are so much below your own level, that the weight of your sword is not felt; consequently it is managed with greater facility than with an extended arm carried above the level of the shoulder 16th century antique chests . Therefore in many instances against infantry, the point may be used with as much effect as the edge, and with the same degree of security 1820 antique empire mahogany dining table .
`The CUT pictures of porcelain furniture . space saving rectangular drop leaf tables . frenchswiss antique pocket watches . against INFANTRY finmar desk .
`A person on horseback is elevated so much above those acting on foot, that it is necessary for him to bend his elbow, in order to take a sweep to give his cut with effect: and this may be securely done, as,the sword arm is not exposed in the contest gustav klimt porcelain .’
[Some of the comments in the Rules and Regulations on cutting with the sword point to some of the factors which have to be considered in design monastery credence tables .>
`Let the blade be sharpened six inches to the point, in order that you may be able to apply it with effect, and without this precaution, it may be difficult to judge how far the edge is carried correctly for sale louis 16th walnut sideboard cabinet .
`It should be remembered that little force is requisite to produce effect from the application of the edge, if conducted with skill, and that whether with a straight sword or scymitar blade, no cut can be made with effect or security, where the -weapon does not at once free itself from the object to which it is applied; otherwise it must turn in the hand, and give a contusion rather than a cut; for which reason those wounds are most severe, which are made nearest to the point collectors wooden racks for spoons austria . A swordsman cannot therefore be too accurate in judging the distance within the reach of his weapon, which alone can be done by habit and strict attention walnut entryway console table with mirror .
`With a scymitar not more than four or five inches of the point should meet your adversary, and still less with a straight blade, whose construction is by no means so well calculated for extricating itself furniture chests on long legs .
FIREARMS IN THE NAPOLEONIC WARS
The British infantry entered the long struggle with Revolutionary France armed with the old Brown Bess musket empire gateleg table . It was used exclusively in the first campaigns, and was probably regarded as highly as both of its nominal successors during the whole war deco chair dressing walnut .
In 1794 a replacement appeared in the form of the India Pattern musket with a universal barrel length of thirty-nine inches barley twist english antique writing desk . This was the standard firearm of the East India Company, and was by no means a new weapon construction of antique teaspoons . It was issued to the Company’s European and Native infantry, and possibly, since it differed from Brown Bess in only minor details, to some of the King’s troops in India rousseau shagreen . In fact, it is very likely that it was not a replacement in the ordinary sense of the word at all but was issued because there were few Brown Bess muskets left in the Tower armouries, whilst comparatively large stocks of the India Pattern muskets were available was there a change in arts in italy between 1920 and 1940 . This supposition is to a certain extent supported by a letter written to William Wilberforce by Lord Chatham, then Master-General of the Ordnance, in September 1803, when war had broken out anew with France vintage pembroke dining table . According to Lord Chatham, after the restoration of peace by the Treaty of Amiens in 1802, he had tried to restock the armouries with an improved pattern of ‘the old Tower musquet which our troops used to have’; but that because of ‘the naked state of our arsenals’ he had been forced to accept the manufacture of an inferior weapon brass iron half tester bed side curtains . The inferior weapon was presumably the india 18th century german bookcase . Pattern Musket which could be manufactured comparatively quickly cooking utensils from britain . The new and improved weapon of i8o2 will be mentioned later meuble d’appui value . The ‘old Tower musquet’ was of course Brown Bess ivory handle sheffield flatware antique .
Lord Chatham’s letter goes on to show how he had nearly surmounted the difficulties connected with the supply of the new musket, when war started afresh and he was faced with `this sudden and unprecedented demand for arms’ silver soup terrine makers . He continues:
`Had it not been with a view to improvement, and intending gradually to dispose of those of inferior quality through the medium of the India Company, we should not have been, previous to the war breaking out [again>, carrying on any manufacture of aims, our arsenals being overflowing, calculating on the extended scale the Department has ever been called upon to furnish 1685 bookcase . I have, however, in consequence of the extraordinary calls of the present crisis, determined to use every effort to meet it, and directions have been given to the Board of Ordnance to revert to the same arm as was made the last war U value of gateleg tables .e antique dressers yorkshire . before the short peace of 1802>, and to manufacture to the utmost possible extent the musquets of the India pattern 19th century antique furniture . You will easily believe I must have felt some reluctance in being obliged to take this step after all the pains I have bestowed, but I hope I have judged for the best 19th century american furniture . I have great satisfaction in thinking that the stock of arms we possess will enable us in the first instance to arm to a considerable extent perhaps all that is really useful, and- as arms come in, which with the exertions of the manufacturers they will do quickly, and with the aid of what we expect from abroad, the remainder will be provided before long antique cutlery whalebone . We have already one hundred thousand pikes, and can increase them rapidly, but in general there is an indisposition to take them occasional tables painted india . I should like much how much is a claw foot table worth .to talk over with you not only the subject of arms, but the whole question of volunteering, which I contemplate as a most serious one scottish chest .’
What this rather long-winded letter amounted to was that Lord Chatham had thought the peace was a genuine one and had been caught badly unprepared british vernacular . It looks as if he had gone rapidly ahead with his plans for disposing of worn-out and inferior arms to the East India Company, so fast in fact that he had been unable to await the improved musket he wanted joubert furniture maker 19th century . War had then broken out afresh, and in desperation he had ordered concentration on the manufacture of the India Pattern musket, for which -a 11 the gunmakers to the Government already had the specifications and tooling 19th century lacquered cabinet with paintings . Meanwhile he consoled himself with his large stock of pikes, and was apparently surprised at encounterincr the same lack of enthusiasm
encountering
for this weapon as a substitute for firearms, as a similar offer met some 137 years later marquetry patterns flower . It is little wonder that volunteering appeared a serious question gothic revival furnature with lions .
The result of Chatham’s action was that all the troops proceeding overseas were equipped either with Brown Bess or the India Pattern musket, the latter having a 39-inch barrel goldscheider polished stoneware germany . In addition, new India muskets were issued to all the Militia regiments german antiques furniture .
The new infantry arm of i 8o2, the plans for which had been disrupted by the reopening of hostilities, was very similar in appearance to Nock’s experimental musket of r785, and was obviously derived from it paper mache tray india . -It was produced with three different lengths of barrel porcelan rococo teapot victorian photo . The longest was forty-two inches, the standard Brown Bess length, and was intended for all the Foot except the Light Infantry: the Light Infantry, traditionally now, had a 39-inch barrel; and there was a much shorter barrel of thirty-three inches for-the Artillery musket antique armchair ardwood anglo . The bayonet had the usual socket fitting and the standard 17-inch blade antique oval tea table .

Tags: amiens, amp, antique collectors, appearance, application, arm, armour, army, artillery, blade, british antique serving tray, british designs for dinning chairs, british large mahogany and brass chest with hinged lid, british oak sideboard, british vernacular, broken tile edges filler, bronze desk chair, bronze desk chairs, bronze lamp art deco antique, brown saryk carpet, buen retiro porcelain, buffet 2 pieces louis the 14th, buffet decoration, buffet-a-deux-corps louis xvi, bugatti cabinets, bugatti drinking glass 1957, building a dressing table, built-in day beds, bulbous 1930s oak table, bulbous leg antique, bulle glass dome, buquoy hyalith, bureau art deco, buro informati glass metal deutschland, busts of royalty 19th century, butlers tray 19th century;value g, butterfly drop leaf, butterfly hinges + japanned corner cupboard, buy antique bronze lion 1700 milan, buy antique oak pedestal table clawfoot, buy bohemian style greek bedding, c shaped bed side table, c shaped chairs, c1820 drop leaf table, cabinet antwerp for sale, cabinet designed by olbrich, cabinet maker art nouveau, cabinet makers bench antique, cabinet makers signiature j.p. 1861, cabinet pediments, cabinet pull "art deco", cabinet sliding door wood antique holland, cabinetmaker french eighteen century, cabinets draws that are figure jointed, cabinets that become tables, cabriole bureaux, cabriole leg with acanthus knees settees, cabriole legged tables, cabriole pedestal, caddy spoon collectors society, calamander circular dining table, campaign style furniture of napoleon, can ironstone be an antique ?, can old silver trays be painted, chamber pots, chest of drawers, chicken coop, chinese chicken, CUT, decoration, degree, department, dictionary tables, dimension, drop, drop leaf, dutch style, factor, firearm, french empire, Furniture, Germany, Gothic, hilts, inch, infantry, light dragoon, light dragoons, mahogany chest, mark, musket, pattern, pembroke table, person, polished metal, pot, quillon, regency, sabre, serjeant, silver, six inches, Yorkshire

Hennem was requested to make thirty of his screwless locks for Durs Egg’s breech-loading cavalry carbines austro hungarian empire architecture .: and two months later he was directed to make ninety muskets to the design of the Master-General, of the Ordnance (now the Duke of Richmond) and to fit them with his locks chippendale drum table 2 drawers . On the ist October 1785 Major-General O’Hara, Colonel of the 22nd Foot (now The Cheshire *Regiment), invited Hennem to fit his locks to all the muskets in his regiment john widdicomb furniture/french provincial . O’Hara must presumably have seen and been extremely impressed with the 2oth’s trial muskets, for the alteration was a very expensive one to carry out under regimental arrangements amphora czechoslovakia . It must have looked to Hennem as if the future of his lock was assured, and yet it seems that O’Hara’s was the last important order that he had meubles decoration antique europe .
On the 22nd February 1′786 Hennem offered *to modify the stocks of Sergeant’s, carbines and to replace the existing locks with his own for an inclusive charge of 155 barley sugar twist pillars timber . -for each carbine george iii serving table . This offer was politely rejected with the explanation that a change of the firearms of the Army was under consideration small antique sutherland table . The change was due to a competitive venture by Hennem’s erstwhile backer or co-operator, Henry Nock delftware t.i holland .
Nock was one of the leading gunsmiths in both London and Birmingham ivan chermayeff, furniture . He held Government contracts for the manufacture of muskets and carbines, and produced, in addition, many ingenious and original weapons of various types brass frame girandole images . He designed, for instance, a ‘volley gun’ with seven barrels all fired by one hammer at the same time, and intended for Naval boarding parties; four- and seven-barrel revolving pistols; a heavy piece, or ‘wall-gun’, with a repeating action; and several others how much is a victorian dressing table worth . He was obviously the type of gunmaker to whom Jonathan Hennem’s lock would have appealed silver spoon design europe 18th century .
What the arrangement was between Hennem northern europe in the 16th and 17th century . and Nock is not known early 19th century upholstery fabric . It may be that Hennem was too independent a character for Nock’s liking pier roger vandercruse . In any case he had found an eccentric genius who had invented a lock which was somewhat similar to Hennem’s, though more complicated bulbous leg dining table . This was a mathematician named George Bolton, who at one time had been tutor to the children of George III 18th century silver mote spoon . He had devoted a large part of his spare time to the improvement of gun-locks; and seems to have established a gun shop in London in 1773 with another Bolton (F luxury art deco upholstery fabrics . H jennens & bettridge tole tray .), who was perhaps a brother rococo revival marquetry-inlaid wardrobe .
The Bolton lock also had no screws, and all its components were enclosed between two plates, of which the outer (in the position of the normal lock plate) was fitted with pins to hold the moving parts antique double claw pedestal dining room table . A special feature was the accurate machining to standard dimensions, which permitted the easy replacement of breakages antique inlaid pembroke table .
Nock seems to have acquired the sole rights in this lock, for most, if not all, of those made for the Government bear his name ‘H scheid enamel . Nock’ on the plate tripod table, claw and ball foot, antique . In, probably, 1785 Nock produced a new range of military firearms, comprising musket, pistol and carbine, which he submitted as suggested replacements for the Brown Bess series of flintlocks antiques furniture,josef hoffmann . Initially he seems to have* met with considerable success chinese porcelain wall decoration mask history . Trials carried out with his arms must have been satisfactory, for they led to a cessation of orders to Hennem, and a large number were issued to regiments of Horse and Foot for extensive trial turn top walnut tea/card table . Further, it does not appear that art deco consoles . ultimate approval was doubted, for a very large number of the locks were manufactured, and it is reasonable to suppose that these were intended for the conversion of existing flintlocks antique collectors cabinets . Nevertheless the Nock arms were rejected after only a short trial 1940’s art deco black and gray lacquer bedroom set prices . There must have been some weakness in the lock which led to it comparing unfavourably with the sturdy old Brown Bess under active service conditions apostle tea spoons made in england .
One of Nock’s most notable contributions to the development of firearms was the invention of his ‘Patent Breeching’ renaisance design dining table made .
It was too expensive a refinement ever to have been adopted for military firearms, but it drew attention to the advantages obtained by more rapid and more efficient explosion of the charge german 1930 furniture value .
It had been known for some time that if, instead of the ordinary flat-surfaced breech-plug, a special type known as a `chamber-plug’ was fitted, a more powerful explosion resulted antique double pedestal dining room table . In this form of breech the diameter of the powder chamber was slightly less than the bore of the gun, and the breech end was a rounded hollow cut out of the breech-plug 5″ antique rectangular drop leaf table with drawer . From the centre of this hollow was drilled a narrow channel, called the `ante-chamber’, which received a portion of the powder and which connected at right angles with a vent running outwards to the touch-hole of the gun antique brass mirror convex eagle . The idea was that the flame
from the touch-hole, instead of igniting a corner of the charge, “antique furniture” - writing bureau and display cabinet .9
passed through the ante-chamber and through the centre of the powder, thereby igniting all of it at the same moment 17th century antique trinket boxes . The greater power of the explosion resulted in a higher initial beilby glass prince of wales feathers newcastle . velocity of the bullet; in other words, the full force of the powder was exercised in a shorter distance types of bureaux . It was therefore possible to use a shorter barrel; and the barrels of ‘chambered’ pieces were from six to ten inches shorter than those of firearms with the normal pattern of breech characteristics of english medieval gateleg table .
The disadvantage of the ‘chambered’ gun was that the flame had to travel down the touch-hole vent and thence through the ante-chamber before it reached the main chamber; a considerably longer distance than the usual direct contact between touch-hole and charge cabriole leg demilune table . The flintlock already suffered from the delay between pressure on the trigger and ignition of the charge antique oval drop leaf dining table with turned legs . In ‘chambered’ guns it was much greater, and the sportman had little chance of hitting a fleeting target art-deco-1920-1930-wood .
Nock’s feat was to invent a breech which produced the same power as one fitted with the chamber-plug, and yet with less delay between the fall of the cock and the explosion than was experienced with the ordinary flintlock breech antique rectangle drop leaf table cabinet .
Instead of a hollow the Nock breech-plug had a deep cavity cut in it to receive the charge antique french cabriolet dresser . The rounded end of this cavity was connected by a very short passage to a wide ante-chamber cut through the breech-plug from one side to the other art decos exotic bronze chair . One end of this ante-chamber was closed by a screw, to give access for cleaning, and the other by a gold or platinum plug drilled in the centre with the touch-hole 18th century drum tables . Since in loading some powder fell through into the ante-chamber, and the passage separating it from the main chamber was only about -at inch, the touch-hole was as in close effective contact with the charge as in the conventional breech antique walnut dining table 10 foot . Furthermore, the powder in the ante-chamber was so closely confined that it exploded as soon as the flame from the priming powder reached it, instead of being set on fire first as in the normal piece turn a silver tray into a table .
The vast improvement in the performance of flintlock weapons which was effected by Nock’s invention has been rather overshadowed by Forsyth’s more efficient solution of the same problem with the percussion lock english antique trays .
SWORDS IN THE
EIGHTEENTH CENTURY
Progress towards the standardization of swords throughout the Army was far slower than in the case of firearms jean rene prou furniture . Regulation patterns for musket, carbine and pistol had been introduced in the reign of King James II; but it was not till near the end of the eighteenth century that there was Army uniformity of swords 19th c english tin glazed pottery . Long before that there must have been similarity in the swords carried by regiments of the same arm of the Service because there was bound to be a limit to the number of types which the swordsmiths turned out, and these types would conform in general to popular military demand clock singer music candlesticks . Variations between regiments, therefore, would be chiefly minor modifications of the normal type in accordance with the taste of* the Colonels sofa carved top rail . The officers’ swords would tend to differ much more than those of the men, because being more expensive and privately purchased there would be little difficulty in satisfying even the most exotic requirements chinese porcelain decorators . But two factors would tend to preserve some uniformity: firstly, the Colonel of a regiment would often, probably, insist on his officers being armed alike; and secondly, the fashion of the moment is a very powerful factor, particularly amongst very young men value of primitive antique work bench .
After the end of Queen Anne’s wars on the Continent infantry soldiers still seem to have been armed with the hanger 19th century empire daybed . It appears, however, to have been exceedingly unpopular; probably because the possession of a bayonet would make a sword seem an unnecessary encumbrance meissen cris de paris . Several infantry units seem to have stopped wearing swords altogether, for on the 1st December 1724 an order was issued to the Army which by its wording inferred a widespread irregularity biedermeier candelabra . The order read:
`The King is determined to have all the N what is a double gate leg table .C macassar ebony furniture .O ironstone ware japanese willow .’s and men of His foot forces wear swords antique round dining tables with extensions .’
Nevertheless Authority was fighting a losing battle gothic arch furniture . Once the fighting troops have decided that a particular piece of equipment serves no useful purpose there is little chance of its being carried on active service weimar germany china antique . By the middle of the century many regiments had far less than their proper complement of swords, and some had none at all makers of antique table clock with music in china .
At some period Grenadier companies were given basket-hilted swords, instead of the usual brass-hilted hangers wardrobes 19th century . The Grenadiers of the 4th Foot (later The King’s Own Royal Regiment) had them in 1727, those of the 40th Foot were wearing them in about 1750, and a water-colour by Sandby shows the Grenadiers of the Coldstream wearing straight steel basket-hilted swords in 1747•
There does not seem to have been any material change during the- first half of the eighteenth century in the type of swords carried by infantry officers refectory table . In 1746 those of the 4th Foot had a steel hilt, and the scabbard was leather with steel mounts antique deco tub chair .
A typical cavalry sword of 1750, carried by both Horse and Dragoons, had a straight single-edged blade and a full basket-hilt 20th century furniture development in france . The pattern of basket-hilt varied from regiment to regiment, and those of the King’s Own Regiment of Dragoons, for instance, were of brass french animal chairs . The 3rd and 4th Irish Horse, instead of a straight blade, had one which was curved and slightly shorter than the normal kommode roentgen . The length of the blade was 31-1 inches and the breadth 1j inches gilt metal mounted pier table .
There is a Dragoon sword of about 1742 which is of interest as probably being of a fairly typical general pattern, and yet with distinctive regimental characteristics octagon mahogany antique table value . The blade is straight with a single edge and a length of thirty-six inches john walton antiques . The hilt is iron, but only half basket, and with a fishskincovered hilt bound with twisted brass wire how much would an antique clawfoot dresser cost . From the hilt hangs a buff leather sword knot with runner and tassel value of silver candelabra . The scabbard is of black leather, carried in a frog suspended from a shoulder belt 1980 scandinavian leather chair recliner barcelona .
In 1735 the drummers of the 8th Dragoons were distinguished by carrying scimitar swords; and in 1754 special swords were used to denote rank in the Royal Dragoons: brass-hilted swords being issued to serjeants and corporals 16th cent. sideboard .
When in 1755 a Light Troop was added to each regiment of Dragoon Guards and Dragoons on the British establishment, the Royal Warrant laid down that the men were to have `a short cutting sword 34 ins picture of pennsylvania house antique cherry buffet claw feet . long in the blade with a light hilt without basket’ penwork italian . This regulation was typical of the time in that it gave a very general specification and ample scope to Colonels of regiments to choose what they wished antique mahogony carved dressing table . The blade could apparently be either straight or curved and the hilt of any pattern so long as it was light and without a basket antique draw leaf tables . Captain Hinde, in his The Discipline of the Light Horse, deals with both the Light Troops and the subsequent regiments of Light Dragoons, the first of which was raised in 1759 confidante sofas . It is unlikely that there was very much change in the Light Dragoon sword between the time the Light Troops were raised and the formation of the Light Dragoon regiments; but at the time Hinde wrote the sword blade had been lengthened to thirty-seven inches old silver lustre myott . Hinde’s description of the swords carried by officers and men is given in Chapter V, and it will be- noted that the pattern of sword was still left to the choice of the commanding marquetry inlaid trays . officer seated harlequin with a tankard, johann kandler . An illustration in Hinde’s book shows a trooper of a regiment of Light Dragoons armed with a straight-bladed double-edged sword, with no hilt protection other than counter curved quillons indian antique tea kettles . In addition to the mounted pattern, officers apparently had a special sword for parades on foot verlys france . Of these Hinde says: ‘The Officers Parade Swords for Foot Duty, are about 28 Inches Long in the Blade, and worn in a Belt round the Waist’ antique side chair desk . Even the length of swords, however, does not always seem to have complied with regulations french 18th century bureau cabinet . Of his own regiment, the Royal Foresters, Hinde says: `Their Swords were remarkably Long, and quite straight’ makers of 1940’s american art deco furniture .
Farriers did not carry swords antique fold over table . According to Hinde: ‘They carry an Ax at their Left Side in a Belt of the same Colour of the Mens over the Right Shoulder, and a White Apron rolled back on their Left Side jupe patent extending dining table . When the Men draw their Swords, the Farriers take their Axes from, their Sides, and place the Handle on their Right Thighs Advanced, with the Edge turned towards their Horses Heads; they might carry a Saw on their Right Sides, in a Belt over the Left Shoulder, and a Spade in a flat Bucket under the Right deco tub chair . Budget, like the Carbines coming under the Right Arm art deco antiques contemporary world paris .’
Captain Hinde’s remarks on weapons may be fittingly concluded with his method of preventing arms from rusting antique american empire card table with scroll feet . This is as follows:
` antique furniture empire chest of drawers .d Receipt to keep Zrms from Rust nouveau art draws .
‘One Ounce of Campshire to Two Pounds of Hogs-Lard, Dissolve them together and take off the Scum; Mix as much Black-Lead as will bring them to an Iron Colour: Rub your Arms over with this, and let it lie on Twenty-four Hours, then Clean them as well as possible with a Linen Cloth, and they will keep without the least Rust for Six Months fold over tea table .’
The Royal Warrant of 1768, which dealt in detail with the clothing and equipment of the Army, made some attempt to secure reasonable uniformity in swords value staffordshire engine turned redware teapots 18th century . It laid down that the swords of each regiment were to be uniform and proscribed patterns and colours for sword-knots, belts, etc 19th century antique hall table ., and gold or silver coloured metal for hilt and scabbard appointments, according to the colour of the buttons old fashioned table brass metal claw feet on casters .
As regards the rank and file of the infantry the Warrant recognized what was practically a fait accompli empire card table . It said:
‘SWORDS antique card table withe one flap .
`All the Serjeants of the Regiment, and the whole Grenadier Company, to have swords spanish table antique turned legs . The Corporals and Private Men of the Battalion Companies (excepting the Regiment of Royal Highlanders) to have no Swords 16th century english joyned table .’
The Royal Highlanders (42nd Foot, or Black Watch) were presumably excepted because, like the Grenadiers, they wore the broadsword with basket hilt chippendale pinecone . The privilege was not appreciated, however, and the 42nd got into hot water for discarding their swords on the pretext that bayonets had proved far more useful in the American War 18th century antique gate leg table . However, the 42nd’s opinion of infantry swords seems to have received support from senior officers with war experience, for in 1783 they were given permission to return their swords to store french cabriole leg tracing pattern . The following year a Board of General Officers, which had been established to examine the soldier’s equipment in the light of the war in America, reported that Grenadiers had never worn their swords in action and recommended their abolition 19 century mahogany gateleg table . As a result swords were abolished throughout the infantry for all rank and file except drummers antique pottey work table . For these latter, the Royal Warrant of 1768 had specified ‘a short sword with a scimitar blade’; which was, in point of fact, a hanger vintage cherry table with queen ann legs .
Somewhat paradoxically the sword was about to become the principal weapon of the infantry officer at about the same time as it was being withdrawn from the remaining rank and file maurice dufrene, design .
The changes in officers’ shaft weapons is somewhat complicated 18th century occasional table . At the beginning of the eighteenth century captains and lieutenants of infantry had pikes and ensigns find 1954 crystal green tinted wine glasses . half-pikes telescopic table pedestal . In 1710, or thereabouts, captains reverted to the spontoon yuan muhammadan blue . At possibly the same time the lieutenant’s weapon was changed to a half-pike antique hanging corner display cabinet . In 1743 all officers of foot were directed to carry spontoons s s meissen mark . The spontoon was then the infantry officer’s principal weapon; but not, it seems, a very popular one gabriel viardot . That some difficulty was experienced in making officers carry it is shown by the following extract from an order book of the Brigade of Guards stationed in Germany in 1761-2:
`28th April rectangular table dressing . Colonel Thomas having remarked that the use of the espontoon is grown into a kind of disuse amongst the Officers of late, the naked sword or firelock being substituted in its room (a liberty which never used or ought to be allowed but upon emergencies), desires it may be resumed on all occasions in the Coldstream Battalion when it used to be!
The carrying of a ‘firelock’ was an adoption of the practice in Grenadier companies where all officers carried a light flintlock, generally a privately purchased weapon staffordshire figure prince “zebra” .
The American war finally dealt the death blow to the officer’s spontoon antique vargueno . Of the 63rd Foot in 1784, for instance, the Inspecting General commented: ‘Just arrived from America, where the officers never made use of espontoons; saluted with swords’ antique buffet sideboard signed by cabinet maker . Two years later the carrying of spontoons by infantry officers was abolished century pembroke .
Serjeants carried halberds for practically the whole of the eighteenth century, but in 1792 they were directed to carry pikes instead scandinavian aesthetic . This order did not in the first instance 1940’s mahogany dining chairs .apply to serjeants of Grenadier and Fusilier companies who, like the officers, carried flintlocks, but later in the same year they too were ordered to carry pikes meissen porcelain bronze . Serjeants of Light companies, who also carried flintlocks, were permitted to continue to do so english ironstone pottery ltd .

Tags: approval, Biedermeier, black leather desk chair with curved arms, black leather dining chairs with walnut legs, black mother of pearl lacqured sideboard, black patent art deco drawers, bloemenwerf chair, blonde mahogany 1940 dresser, blonde mahogany wood tables, blue and white porcelain drawer handles, blue and white porcelain etienne, blue anquite china set, blue bombe french provincial, blue ironstone pottery, boarding parties, bohemia china made in czechoslovakia, bohemian china czechoslovakia, bombe cabinet drawings, bone handled fork 4 prong engraved with vine and leaf d, bone handles for furniture, bone inlay sideboard, books on antique tables fromthe 18th century, booths china chippendale pattern, bottle buhle of glass, boulle bracket clock, boulle bureau plat reproductions, boulle chair, boulle furniture, bow antique china, brameld majolica, brandt 1901 furniture globe stand, brandt duncan phife table, brandt furniture empire sofa, brandt two tier end table, brass, brass antique footed mirror mantelpiece, brass claw foot 6 legged mahogony table, brass cornice 19th century, brass edge military chests, brass feet desk, brass feet pointed, brass on legs queen anne writing desk, breakfront china cabinet with fretwork yew or pine, breech, breech loading, britain 16th century antiques, britain furniture, candle candelabra 18th century, candle holder in stoneware from london, candlesticks glass 18th, candlesticksantique style, cantagalli blue cockerel mark, cantagalli majolica, cantagalli majolica display jug, cantagalli plates, capodimonte pedestals renaissance, caquetoire chair x frame, carbines, care of antique carved tortoiseshell, carlo bugatti, carlo bugatti cabinetmaker, century, chamber, cheshire regiment, clock, decoration, delftware, Dragoon, empire architecture, English, equipment, firearm, firearms, flintlock, foot, french provincial, George III, government contracts, Grenadiers, gunsmiths, hungarian empire, inch, infantry, infantry soldier, john widdicomb furniture, knives and plates, leather, manufacture, metal, muskets, o hara, passage, powder, purchase, Queen Anne, salute, serving table, silver, sword, Swords, uniformity, velocity

This I iron was used exclusively in the manufacture of the better firearms; and it may have been its very quality which was responsible for the establishment of a tradition in the production of fine arms antique gateleg drop leaf table . Instead of welding a flat piece of metal into a tube, the Spanish gunsmiths formed a barrel by twisting the metal george iv fabrics . A long flat strip of wrought iron was coiled round a mandrel, heated, and knocked together from the two ends till it formed a solid tube with a spiral weld 19th century english oak urn shaped double pedestal refectory table . An additional Spanish touch was to bore out the barrel to a slightly larger diameter at both the breech and the muzzle ends english early ‘victorian upholstered round . The object of this was to give the bullet more resistance, and hence increased power, at the start of its journey; and then to increase its velocity by giving it greater freedom of movement just before it left the muzzle antique china furstenberg . It seems doubtful whether this Spanish boring added anything to the efficiency of a very fine barrel antique pemproke tables .
The first guns with twist barrels to be made in England were naturally the expensive weapons which were made for private purchase by sportsmen; and this may have happened, J jean dunand fakes vases . N 19th century american rosewood rococo console table . George suggests, some time shortly after 175o painted china cabinets + pictures . The favourite source in England for iron of a suitable quality was the metal salvaged from old worn-out horse-shoe nails doric china/tea sets/longton . This, apparently, surprising choice was due to the fact that the nails for horse-shoes were made out of the best wrought iron obtainable; and were subsequently toughened by pounding over the rocky, boggy or dusty tracks which passed for roadways in the latter part of the eighteenth century antique paper-mache desk . The strips of metal which were produced from this material were twisted in the Spanish fashion; and from the origin of the metal this type of manufacture was known as ’stub twist’ 1920s antique oak refrectory dining table .
THE ARMY’S FIRST RIFLE
The brief appearance of rifled firearms in war has been mentioned in Chapter II painted slant front desk . But for a hundred years after the Restoration the British Army fought wholly with smooth-bore weapons tripod pedestal . It was not till the American War of Independence that British troops encountered rifles in the field, and a halfhearted attempt was made to redress the balance design contemporary dressing table .
In 1747 a remarkable paper was read before the Royal Society by one Benjamin Robins catherine the great of russia plates . It was entitled ‘Observations of the Nature and Advantage of Rifled Barrel Pieces’, and it forms the basis of current thinking on the effect and desigq of rifling british sideboards . Robins was Engineer-General to the Honourable the East India Company, and a very distinguished mathematician kuba rugs prayer .
He explained the difference between a smooth-bored and a rifled barrel in the following terms: ‘A common piece has its barrel smooth on the inside, whereas the rifled piece has its cylinder cut with a number of spiral channels: so that it is in reality a female screw, varying from the fabric of common screws only in this, that its threads or rifles are less deflected, and approach more to a right line: it being usual for the threads with which the rifled barrel is indented to take a little more than one turn in its whole length marquetry patterns flower . The number of these threads in each barrel are different, according to the fancy of the workman, and the size of the barrel; and in like manner, the depth these channels, or rifles, are cut down to is not regulated by any invariable rule, but differs according to the country where the work is performed, or the caprice of the artificer cabriole legs basin .’
Robins pointed out that the usual method of loading a rifle was, after inserting the correct amount of powder, to put a bullet on top of the muzzle which was slightly larger than the bore had been before cutting the rifling antique mahogany round table brass feet with drawer . The bullet was then hammered down with yammer and mallet setobody . He maintained, however, that the sole function of rifling was to spin the bullet, in order to neutralize its inevitable inequalities and thus keep it straight in flight george 11 pad foot dining table . It will be remembered that it was this same theory, on the analogy of the flight of an arrow, which is believed to have inspired Augustus Cotter in his manufacture of the first rifle 1925 antique floding desk .
The contemporary view was that the main function of the grooves of the rifled barrel was to add to the resistance offered by the bullet to the explosion of the powder; and that the spin imparted to the bullet enabled it to bore its way into the target queen ann gate leg table . Robins proved that these theories were quite wrong nursing chair paw . He then went on to show that since the extra resistance of the rifling was not a factor in increasing the power of the explosion, the barrel should be as near smooth-bore as was consistent with spinning the bullet ball and claw tripod table antique . From this he deduced that instead of forcing the bullet in, it was better to have a bullet rather narrower than the bore, and to lay it on a patch of material greased on both sides, which would enclose the bullet and grip the rifling as the two were pushed up the barrel imperial gillow dining table . This method was already used in parts of Germany and Switzerland types of decoration on the shaft of a tea table .
Robins concluded with the following passage: ‘I shall close this paper with predicting that whatever State shall thoroughly comprehend the nature and advantages of rifled barrel pieces, and, having facilitated their construction, shall introduce into their armies their general use, with a dexterity in the management of them, they will by this means acquire a superiority, which will almost equal anything that has been done at any time by the particular excellence of any one kind of arms; and Will perhaps fall but little short of the wonderful effects, which the histories relate to have been formerly produced by the first invention of firearms 16 century antique english tables .’
In Germany rifles had been used as sporting weapons for very many years chippendale dining double pedestal . In 1709 the first group of German immigrants arrived in America, bringing with them a number of these sporting rifles “oliver bernard” pel . Also included in the party were some gunsmiths together with their tools gateleg table antiquequeen ann . The Germans settled down in the Lancaster Valley district of Pennsylvania, and proceeded, amongst other activities, to make rifles marquetry semi-circle drop leaf . The development of their rifles is of interest, for it was responsible for the first introduction of the rifle into the British Army art dec countries .
The German rifle of 1709 was a clumsy weapon pillars on casters . Its calibre varied from ‘75 to ‘875-, and it had a short barrel of from thirty to thirty-six inches antique silver candlesticks . The barrel was too short for the poor powder of the period, which was never fully consumed and consequently fouled the barrel badly telescopic table furniture . The ball was of the tight-fitting variety, hammered in with mallet and yammer chenghua footrims . Performance varied from rifle to rifle and was often erratic, for the type and twist of the rifling depended on the fancy of the maker bugatti oriental style desk .
The rifle which the Lancaster Valley gunmakers evolved from the original ‘Jaeger’ had a bore of 48, a barrel of forty inches in length, uniform rifling and greatly improved balance noritake earlyware . Furthermore, the bullet was of slightly smaller diameter than the bore and smeared with grease or tallow, so that it slid easily down the barrel 16th century english joyned table . In the stock of the louis xvi revival sideboard . rifle was an aperture covered with a hinged flap in which the bullets were stourbridge pink marbled overlaid on opaline glass . kept antique french inlaid dresser .
On a still later version the bore was further reduced to ‘45- inch calibre and the barrel lengthened to forty-two inches cabinet makers marks england . With the longer barrel less powder was required, range and accuracy were improved, and there was considerably less fouling due to the better combustion serpinetine leg table antique oak . The next improvement was the use of the greased patch instead of greasing the bullet porcelain wincanton . This had the effect of filling the grooves of the rifling, so that 16th century english chamber pot .the compression behind the bullet was still greater, and the patch cleaned the rifling swedish bedside tables .
By 1740 the Lancaster Valley, or Pennsylvania, as it came to be known, rifle had become almost standardized inexpensive antiques . The barrel had now an even greater length of forty-four inches; and it was flared at the muzzle and had a slightly choked bore francaise antique . This was the weapon which was used with such effect against the British troops in the War of Independence hepplewhite sofa .
The American troops used their rifles for skirmishing and guerrilla attacks, whilst for close-order fighting the bulk of the infantry were armed, as were the British, with the smoothbore musket english apostle antique teaspoons . Nevertheless the elusive and accurate riflemen formed a valuable arm of the American forces, and they were particularly formidable in broken or wooded country parts of chambersticks .
The British Army had no riflemen of its own to provide a similar harassing and protective screen oriental gated tea tables . Several of the German states, however, included Jaeger regiments, armed with the rifle, in their forces aztec “art deco” rectangle vase . The British Government therefore made inquiries and succeeded in persuading the Landgrave of Hesse to hire a body of his troops antique furniture deutch . The solution, however, was not a happy one 17th century french fashion . The peasant conscripts in the Hessian regiments were largely untrained, and the rifle with which the Jaegers were armed was of very poor quality, and did not stand comparison with the Pennsylvania rifle early 19th century upholstery fabric . It had a short barrel, rifled with six or seven grooves, and an oversize•bullet which was driven in with mallet and ramrod antique console dresser . Its rate of fire was only about one shot a minute, as compared with the two or three shots of the Pennsylvania rifle 16 century chairs caved . It was, in point of fact, very similar to the old original rifles which the Lancaster Valley settlers had brought with them from Germany antique queen anne style burr walnut coffee table .
Captain Hanger, already mentioned as the author of To 111 Sportsmen, was himself an officer in one of the Jaeger regiments; and one of the best rifle shots in England art deco antique dresser . The appreciation of the American rifle which he gives in his book is therefore worth quoting staffordshire flatback fakes . He says:
`I never in my life saw better rifles (or men who shot better) than those made in America antique armchair ardwood anglo . They are chiefly made in Lancaster, and in two or three neighbouring towns in that vicinity, in Pennsylvania de coene art deco . The barrels weigh about six pounds two or three ounces, and carry a ball no larger than thirty=six to the pound; at least I never saw one of a larger caliber, and I have seen many hundreds and hundreds 19th century side tables . I am not going to relate anything respecting the American War, but to mention one instance, as a proof of most excellent skill *of an American rifleman difference between secretaire y bureau a cylindre . If any man show me an instance of -better shooting, I will stand corrected antique british chairs .
`Coloncl, entry dressing table .now General Tarleton, and myself, were standing ,a few yards out of a wood, observing the situation of a part of the enemy which we intended to attack candelabra empire style reproduction . There was a rivulet in the enemy’s front, and a mill on it, t6 which we stood directly with • our horses’ heads fronting, observing their motions antique mantel french clocks 1800 hundred candle set . It was an absolute plain field between us and the mill—not so much as a single bush on it saxony flowers 1700s . Our orderly-bugle stood behind us, about three yards, but with his horse’s side to our horses’ tails kuba rugs prayer . A rifleman passed -over the mill-dam, evidently observing two officers, and laid himself down on his belly, (for it is in such positions they always lie); to take a good shot at a long distance tripod antique folding pie crust table . He took a deliberate and cool shot at my friend, at me, and the bugle-horn man antique dutch coffee trestle table 17th century . I have several times passed over this ground, and ever observed it with the greatest attention and I can positively assert that the distance he fired from, at us, was full four hundred yards antique dealer furniture iron louis xvi .
`Now observe how well this fellow shot sofa carved top rail . It was in the month portuguese trestle tables .
of August, and not a breath of wind was stirring antique bureau writing desk . Colonel Tarleton’s horse and mine, I am certain, were not anything like two feet apart, for we were in close consultation how we should attack with our troops, which lay 300 yards in the wood, and could not be perceived by the enemy lion paw dining room table . A rifle ball passed between him and me; looking directly to the mill, I evidently observed the flash of the powder greek designs and motifs . I directly said to my friend “I think we had better move, or we shall have two or three of these gentlemen, shortly amusing themselves at out expense antique hot water plate warmer .” The words were hardly out of my mouth, when the bugle-horn man, behind us and directly central, jumped off his horse and said “Sir, my horse is shot bureau plat charles boulle .” The horse staggered, fell down, and died lion claw dining table antique .’
In spite, however, of entering upon the American War without any riflemen or rifles at all, the British Army very shortly acquired the best and most revolutionary rifle in the world walnut gaming table with pillar legs . Its inventor was Captain Patrick Ferguson of the 71st Highlanders oak drop leaf gate leg side table . Ferguson commanded the Light Infantry company of his regiment antique brown staffordshire . One of the finest rifle shots in the Army, and convinced of its value as a military weapon, he had designed this rifle to prove his theories gustov klimt chairs . The whole of his company had been equipped with it, probably at Ferguson’s expense, and then trained as a rifle unit carpets oriental .
The great advantage of the Ferguson rifle was that it could be fired at a greater speed, not only than any other rifle, but also than any smooth-bore musket berkey & gay antique chest of drawers lion design . It was a breech-loader, and it was the ingenious loading mechanism which was responsible for its high rate of fire chicken coop shelves .
A plug, a little larger than the bore, was screwed into the barrel behind the chamber and passed from underneath the stock right through to the top, where it fitted flush with the barrel walnut ball claw gateleg table value . When this plug was closed it formed the breech-piece scandinavian wood furniture maker’s marks . It had twelve to fourteen rapid twist threads instead of a single screw thread jan van mekeren . The lower end was attached to a lever which formed the trigger guard english ironstone”, staffordshire . Swinging the trigger guard round laterally for three-quarters of a turn lowered the plug J inch and opened the aperture for loading: the top surface of the plug being now flush with the lower surface of the barrel leopold stickly table 1959 . The bullet was then dropped into the aperture and rolled forward by canting the muzzle downwafds till it touched the lands of the rifling, and the powder poured in behind it antique silver roll top warmer . Pulling the trigger guard back again closed the breech, and the rifle was ready for firing art deco representative artist . The pan was primed by a separate operation after the closing of the breech antique red leather upholstery chair with arm .
The barrel was short compared with Brown Bess, being only 35 inches long edge simplicity tub chair . The bore was 15, and the breech chambered to take a bullet of the same dimensions vintage buttterfly dropleaf tables . The bullet was -thus tight-fitting but not oversize pictures of antique tables and chairs . The rifling consisted of 8 deep grooves, twisting for about three-quarters of a turn in the length of the barrel furniture 19th century . There was a leaf back-sight which was adjustable for ranges from ioc, yards to Soo yards moser antique glass . The bayonet had a flat, single-edged sword blade 25? inches long reproduction mochaware .
In 1776 Ferguson with his company, all volunteers, was ordered to America early 17 centurey gateleg tables . While the men were preparing to embark Ferguson gave a demonstration of the rifle’s capabilities antique walnut dropleaf tables . The demonstration was reported by the Innual Register of June 1776 as follows:
`On the 1st of June, 1776, he made some experiments at Woolwich, before Lord Viscount Townshendj Lord Amherst, General Harvey, D6ragliers, and several other officers with the rifle gun on a new construction, which astonished all beholders http://antcollectors.com/antique-furniture/art-deco-cabinets-and-sideboards-british-walnut-sideboard-burled-maple-console-french-commode-french-side-cabinet-british-sideboard-british-display-cabinet-british-side-cabinet . The like had never been done with any other small arms open and closed dressing table, satinwood, english c, 1800 . Notwithstanding a heavy rain and the high wind-, he fired during the space of five minutes at the rate of four shots a minute, at a target two hundred yards distance chippendale cutlery . He next fired six shots in one minute, and also fired (while advancing at the rate of four miles an hour) four times in a minute furniture ecole de nancy . He then poured a bottle of water into the pan and barrel of the piece when loaded so as to wet every grain of powder, and in less than half-a-minute he fired with it as well as ever, without extracting the ball tall sheffield corinthian column . Lastly, he hit the bull’s-eye lying on his back on the ground, incredible as it may seem to many, considering the variations of the wind and the wetness of the weather vernacular scottish . He only missed the target three times during the whole course of the experiments british sideboards .’
Ferguson’s company sailed for America as an independent corps of riflemen anc clad in rifle green antique drop leaf table wooden hinges . Ferguson himself carried instructions authorizing him to select men from various regiments for training and incorporation in his command pier table empire . The Commander-in-Chief, Sir William Howe, did not, however, take kindly to this new force, and it does not appear that Ferguson was allowed to have much success in obtaining recruits silver apostles spoons .
The corps went into action for the first time at Elk Head on the 25th August 1777 gateleg drop leaf mahogany table . It then covered the advance of Knyphausen’s division to Brandywine antique table wooden hinge drop leaf . During this advance Ferguson, -with three of his men, was apparently carrying out a reconnaissance beyond the British encampment at Kennett Square, when the chance of changing history came within range of the Ferguson rifle paris antique pine dining furniture . The small party heard the sound of horses’ hooves approaching, and dived into cover at the edge of a wide clearing brass skimmer antique . Soon afterwards there rode into the clearing two mounted officers rare tureens . One of them was dressed in a uniform of blue and buff with, on his head, a large headdress described by Ferguson in his notes as a ‘remarkable cocked hat’ “desk”+”antique” . The antique 1920 art deco period pieces walnut china cabinet and buffet .other officer was a Frenchman in Hussar uniform art deco furniture cylinder . To fire, as Ferguson said afterwards, would have been like shooting a sitting grouse; and he and his men remained quietly watching until the pair finally rode off dressing table with porcelain figures . In a report written later, and contained in the Public Record Office, Ferguson said that, dutch walnut cabinet . ‘as I was within that distance at which in the quickest firing I could have lodged a half dozen balls in or about him before he was out of reach george 11 pier gilded table . rectangular dropleaf tables . mahogany chippendale drum table . but it was not pleasant to fire at the back of an unoffending individual who was acquitting himself truly of his duty so I let him alone’ examples of 19th century pennsylvania furniture .
Some time later a wounded American soldier, who was being treated by the British, said that on the day concerned his commanding officer had told him that General George Washington and a French officer were in the neighbourhood jacobean display cabinet . This would include the ar eawhere Ferguson had lain concealed palissy patterns . Other American wounded confirmed that the description given of the uniform of the two officers italian room art-decoration . agreed with that worn by Washington and his French officer in attendance faience porcelaine cri……france .
Ferguson heard of these statements confirming the identity of the man he had spared when he too was lying in hospital after jupe round dining table . the amputation of his right arm ltd edition catteau .
For Ferguson’s unit had been badly hit at the battle of Brandywine trestle library table . In addition to its commander, forty out of its effective strength of eighty had been killed or wounded what kind of base is most stable for drop leaf table? . Whilst he was on the sick list the rifles were withdrawn from the remainder of the company and muskets issued instead antique oak games table . On his return to duty an angry Ferguson had the rifles brought out of store and reissued deco rocket cabinet . The reconstituted rifle corps did gallant service at Stony Point, Long Island, Harlem, White Plains and Dobbs Ferry meissen marcolini group . A particularly valuable characteristic of the Ferguson rifle was that the pattern of breech mechanism allowed the firer to load it lying down decorative spindle legs from antique card table . This made it much easier to remain concealed, and on at least one occasion it resulted in an attack by a far larger American force being defeated william kent staffordshire .

Tags: antique paper, anything, approach, armour, army, boggy, bullet, c. 1660, Captain Hanger, china cabinets, china tea sets, command, decoration, dining room table, double pedestal, dusty tracks, English, etc., factor, fiddle silverware, fiddleback rat tail spoon, figured walnut davenport desk, figurines staffordshire fine ceramics oriental man, fine bohemian china czechoslovakia, fine bohemian china made in czechoslovakia, finest quality earthenware staffordshire antique vase, finials - brass - 19th century beds, finmar chair, finmar chairs, finmar furniture, finmar valuation, first guns, five leg antique table, five legged antique table, flame mahogony antigue ogee chest of drawers, flanders danish furniture, flat silver antique cutlery near london, flat strip, flatware silver pistol set, flemish antique dresser, flemish furniture with an eagle emblem, freedom of movement, Furniture, furnitures+centretable.desighn, future art patterns, gate leg fold over card table, gate leg small table, gate leg tables pie crust oak, gateleg, gateleg drop leaf table, gateleg table hinge sizing, gateleg table imperial, gateleg table of turned oak, gateleg tables, gaudi inspired dining room sets, gaudi wood moulding, ge art deco wood clock, gebruder bing arts nouveau copper kettle, gelderland antique spoon, General Tarleton, genuine receipt for making the famous vernis martin, george 111 library table value, george 1v cabinet making, george bullock cabinet maker, george chest drawers scottish, george davidson pearline pressed glass valuations, george elmslie antique chair value, george hunzinger turned knob rocking chair, george i antiques bedside tables, george iv, Germany, Gunmakers, gunsmiths, horse shoe, horse shoes, i/2 round three tiered table with brass castors, improvement, jean dunand, Lancaster Valley, mandrel, oak, pillar legs, porcelain, pot, rent, Russia, shoe nails, shot, solid tube, suitable quality, table, William, world, worn out horse

MUSKET AND PIKE
An attempt to produce some order in the manufacture of firearms had an odd terminological result. In the army of Piedmont, before the battle of Moncontour in 1569, there were so many sizes of bore amongst the arquebuses that ammunition supply became a difficult problem. To overcome this 7000 arquebuses were ordered of one calibre, and referred to as ‘harquebuze de calibre de Monsieur le Prince’. The type of arquebus which was made to comply with this order had a bore of 10 or 11, weighed 12 pounds and had a barrel length of 42 inches. It became so popular that its use on the Continent became very widespread, and it appeared in England during the last quarter of the sixteenth century.. The original cumbersome reference had been contracted by the soldiers to `Calibre du Prince’, and later simply to ‘Calibre’. This became anglicized as ‘Caliver’, and in 1578 the Tower of London had 7000 of them in store. They were matchlocks, rather. heavier than the previous pattern of arquebus, and about four feet ten inches in overall length. Eventually the term came to mean any firearm which was light enough to be fired without a rest. ‘Arquebus’ was then frequently applied to cavalry wheel-lock arms.
In 1595 the Trained Bands were ordered to exchange their bows for calivers and muskets, and by this time calivers formed part of the armament of every English infantry unit. In fact, in a levy for Ireland of the following year, the ’shot accounted for half the infantry, and of these three-quarters were armed with calivers and only one-quarter with muskets. The days of the caliver, however, were numbered; for, unlike the musket, its shot was too light to pierce heavy armour.
The musket was actually earlier in origin than the caliver, having been invented in about 1546, though its adoption in England was somewhat slow. It was, essentially, an improved form of matchlock arquebus, with a greater g rane and accuracy and firing a heavier
rang
It had a barrel 4 feet long, a bore of 8 or io, and was designed to penetrate the heaviest protective armour. Its weight was 2o pounds, and it was consequently necessary to support the barrel on a forked rest. The first type of musket seems to have been too cumbersome to use for anything except siege warfare, and the Duke of Alva has been stated to have been the first to adapt it for use in the field, in his campaign in the Netherlands in
1567. By the time of the Civil War the musket had been considerably lightened, and it was possible to use it without a rest.
In one respect the musket was destined to achieve undying
FIG. 41. A MATCH-BOX.
fame; for its name came to denote any shoulder firearm, and even ‘rifle’ is merely a shortened form of ‘rifled musket’.
One of the disadvantages of the matchlock was the match. In very wet weather it was liable to be extinguished. To give some protection a ‘match-box’ was introduced. This was a tube of pewter, latten or tin, about a foot long, with holes in the side to let in aif.
It was this difficulty with the .match which was responsible for the development of spark ignition. The first substance to be employed for this purpose was pyrites; a mineral which included a combination of iron and sulphur. The mechanism in which it was used was known as the ‘wheel-lock’, and was invented in Nuremberg about 1517. A fragment of pyrites was held in contact with a steel wheel which had a serrated

FIG, 42. WHEEL- LOCKS.
Top: A Wheel-lock Carbine, Elizabeth I. Bottom: A Wheel-lock Dag, Edward VI.
edge. The wheel was rotated by the release of a powerful V-spring attached to the lock plate. The resulting stream of parks was directed at the priming powder.
The spindle of the wheel had a square end, and the lock was set by fitting a key, or spanner, to the spindle and winding it in a clockwise direction. This pulled a short chain of about three links round the spindle, and tautened the spring. After a three-quarter turn a scear (spring catch), which was fixed on the inside of the lock plate, engaged a slot on the wheel.
The flash-pan was then primed and closed. The bottom of the pan, however, was pierced to admit the top of the wheel. The piece of pyrites, which was held in a clamp at the head of the cock, was next lowered on to the top of the pan cover. Assuming it to have been loaded, the weapon was now ready for firing.
Pressure on the trigger drew back the scear and released the spring, causing the wheel to revolve. An ingenious device then caused the pan cover to open. A cam attached to the wheel spindle struck an arm which was connected to the pan cover. This opened the latter, permitting the pyrites to fall on the wheel. The pan cover was then held open by a spring catch.
The wheel-lock was, as may be imagined, an extremely
FIG. 43. WHEEL-LOCK DAGS.
expensive firearm to make, particularly when compared with the simple matchlock. Its adoption in England was consequently slow, and it never became a general issue to the infantry. It was a very useful lock, however, for a horseman. The management of a matchlock on horseback was a difficult feat, for the match had to be kept alight and any adjustments made to it with one hand.
The first single-handed firearms were intended for the horse soldier. These were the dags or tacks, the forerunners of pistols. The first dags were, in appearance, small arquebuses with wheel-locks. In 1544 they were introduced into England as a cavalry weapon.
The wheel-lock, also known as a firelock, suffered from two disadvantages; the first was the expense, and the second the weakness of the pyrites, which was liable to break into pieces. The demand for a sound and inexpensive method of spark transmission led to the introduction of the flintlock. The name originally given to this new mechanism was ’snaphaunce’. This was derived from the Dutch snaphaan, meaning a pecking fowl, and referred to the pecking motion of the cock.
The sparks in the flintlock were produced by striking a piece of flint against a case-hardened steel plate, with serrated ridges on its face. The flint was held in- a clamp at the top of the cock. The ’steel’, against which the flint was struck, worked on an arm which was hinged to the lock plate and held in position by a V-spring. To fire the weapon the cock -was drawn back, thereby compressing the main spring, which in turn actuated an internal tumbler connected to the cock. The scear engaged the tumbler and held the cock in the fully open position. The steel was then lowered towards the rear of the piece and on to the lip of the flash-pan; bringing it within range of the cock. Pulling the trigger drew back the scear, thereby releasing the cock; with the result that the flint struck the steel, directing a stream of sparks into the pan. This last was uncovered, during the forward movement of the cock, through a tumbler actuating a steel link which thrust against the lower part of the pan cover.
This type of flintlock was complicated and still fairly expensive. It was little used in England, though some of the troops ordered to Ireland in i58o are said to have been armed with it. On the Continent, however, it was in common use for a long time. In England it was superseded in the first quarter of the seventeenth century by the so-called ‘English lock’ flintlock. This was a much better and simpler weapon than the original snaphaunce, and the mechanism remained basically the same for all future flintlock firearms.
In the English lock the steel and pan cover were combined in a single piece which was called the ‘hammer’. This consisted of a hinged pan cover which worked upon a screw set in the lock plate and held in either the open or closed positions by a V-spring. The steel, or striking surface, rose approximately at right angles in a curve from the free end of the cover. When the cock was released the flint hit the steel, causing a shower of sparks, and at the same time pushed the whole member back on the hinge, so uncovering the priming powder to the sparks. The firing mechanism was practically the same as that of the snaphaunce, but the weapon could be put at safety by raising the cock half-way and leaving the pan
FIG. 44. AN ARQUEBUS WITH SNAPHAUNCE LOCK.
closed. This “half-cock’ position was achieved by providing a notch on the tumbler in which the scear engaged.
On some English locks there was an additional safety device. This was a catch on the outside of the lock plate which engaged in a notch on the cock when it was in the `half-cock’ position. This type of safety-catch was called a dog-catch and locks so fitted were known as doglocks.
Although the term `snaphaunce’ seems to have been applied originally to those flintlocks with separate pan covers and steels, it appears to have been soon used, in the early seventeenth century, to denote all flintlocks.
The difficulty of managing a matchlock on horseback has already been mentioned. Nevertheless in about I 53o a modification of the arquebus was produced for this purpose. It was called a ‘Petronel’ or ‘poitrinal’, names derived from the French and signifying that the weapon was intended to be fired from the chest. It was shorter than the arquebus but of a large calibre, and, on account of its weight, was carried on a broad shoulder belt. As a matchlock it was a fairly impracticable weapon, and later -versions were fitted with wheel-locks.
Another horseman’s firearm was the dragon. This was something between a petronel and a pistol. Traditionally it had a. dragon’s head at its muzzle, and it is supposed to have given its name to the French Dragons (Dragoons), first raised by Charles de Cosse, Marechal de Brissac, in 1600. Of the later and similar English troops, Markham, in his Souldier’s
FiG. 45- PETRONELS.
Acidence of 1645, says: ‘The last sort of which our horse troopes are composed are called dragoons, which are a kind of footmen on horsebacks, and do now indeed succeed the light horsemen, and are of singular use in all actions of warre. The armes defensive are an open head piece with cheeks, and a good buffs coat, with deeps skirts; and for offensive armes they have a faire dragon fitted with. an iron works, to be carried in a belt of leather, which is buckled over the right shoulder and under the left arms, having a turnill of iron work with a ring, through which the piece runnes up and downs; and these dragons are short pieces of sixteen inches the barrell, and full musquet bore, with firelocks or snaphaunces, also a belt with a flaske, pryming box, key, and bullet bag, and a good sword.’
In the heavy horse petronel and dag were succeeded in due course by carbine and pistol. The difference between a pistol and a dag is, however, not very clear. Weapons which we should normally call pistols were often called dags in England and tacks in Scotland in the early seventeenth, and, in the case of the latter, eighteenth centuries. Owing to their small size,. and consequent popularity as a personal weapon; pistols from very early days seem to  have expressed tastes in design and decoration of different gunsmiths. In addition, there have
FIG. 46. A DRAGON.
frequently .been fashions in pistol design which gunsmiths have met in their own particular style: To describe all the pistols which have been used in war would, therefore, be quite beyond the scope of the present work. Nevertheless there are two special types which must be mentioned. The first of these is the screw-barrel pistol. This had a cannon-shaped barrel ‘which screwed off so that the charge could be loaded direct into the breech  piece. These enjoyed a great vogue during the reign of Charles I and for some time afterwards. The second is -one of the most famous pistols, or rather -family of pistols, ever made.. This was the Scottish all-metal pistol, which, as far as is known, was first made towards the end of the sixteenth century. The earliest one on record was manufactured byAlison of Dundee. The principal difference between the Scottish pistol and others was that the stock was made of steel or brass instead of wood. The butts of the earliest models had a fish-tailed end, and they were sometimes made of wood encased in, or mounted with, brass or silver.
The early seventeenth-century carbine, according to a 1630 book on cavalry by Captain Cruso, was the same length as an arquebus but had a smaller bore. It was a flintlock, and it was slung from a shoulder belt by a swivel.
There were two disastrous expeditions during the reign of Charles 1, the failure of which was to some extent due to defective firearms. In the force sent to Cadiz, in fact, the majority of the firearms are said to have been either defective or useless. As a result of these deficiencies a special Commission under the Privy Seal appointed a select committee of gunmakers, arniourcrs, pikemakers and bandolier makers, `being the skillfullest and prime workmen of this land’, to undertake an investigation into the arms of the national militia and Trained Bands and to rectify any deficiencies. The London gunmakers mentioned as being on the Commission were Henry Rowland, Richard Burrowe, Thomas Addis, John Norcott, William Dawstin, John Watson and William Graves. These gunmaker members were temporarily vested with powers of proving and testing firearms.

Tags: ammunition, arm, armament, armour, arquebus, belgian art deco club chairs, belgian art deco pottery vase boch freres, belgian oak furniture "chippendale", bore, bows, british soldier, cabinet, calibre, caliver, cavalry, Charles, Charles de Cosse, combination, contemporary wooden art inlay chest, copeland parian art union, copper peat bucket antique london, copper red dish xianfeng, corner cabinet on handkerchief table, country commode joao v, country french antique walnut bobbin corner chair with , court cupboards, court cupboards tudor, crackle glazed monochromes, cream leather dining chairs and walnut legs, creamware antique markings, creamware for sale, creamware tureen, crescent glass nest of tables with wheels, crescent line furniture antique dresser, cumberland action table, cupboard bed haddon hall, cupboard designs cupboards for keeping documents, cupboard for chamber pot, curule bedside table, curved antique silver bedside table, deco oval motif furniture, deco secretary cabinet curved doors, deco wood & metal console, deco writing table uk, decoration, decoration art deco, decorative arts secessionist movement, decorative oriental chicken coop, decorative pedestals made in trinidad, decorchemont bowl, decos american, dehua procelain sculture, delatte nancy signature, demilune table chamber pot, demilune table with baize lined storage surface, denmark brass embellishments furniture decoration, dental epoxy plastic padding, depression glass cubist, derby porcelain chinoiserie, derby chinoiserie porcelain 18 century, derby figures antique, derby patch period porcelain, derbyshire, describing styles in art nouveau, design of late 19th century dining tables, design patterns for dressing table, designer desk chair stripped wood chrome, designer vases from czechoslovakia, designs for writing bureau secretaire, designs of pigeon in wooden doors, desk chair back feet, desk chairs 40s, desk haddon hall - vintage, desk that turns into a table antique, desk two drawer 1920, desk with scroll legs, deskey nesting table, deskey widdicomb, dessert plates antique cockerel on base fruit designs f, did the military issue le coultre watches to train engi, Edward, edward vi, Elizabeth, elizabeth i, England, English, firearms, flint, flintlock, four feet, Henry, infantry unit, Ireland, last quarter, London, manufacture, matchlock, mechanism, metal, monsieur le prince, musket, muskets, rane, seventeenth, silver, sixteenth, sixteenth century, snaphaunce, three quarters, tower of london, weapon, William

The main trends and styles of antiques (3)

Neo-classicism (1760-1830)
The term neo-classicism is given to a trend in art that arose in the late eighteenth century. It was a reaction against the rich embellishment of Baroque and playfulness of Rococo. The name points to the inspiration derived from classical art that resulted from archaeological excavations in Rome, Pompeii, Herculaneum, and Paestum. It meant a return to classical forms of straight lines and level planes.
Symmetry became important once more and classical ornaments and geometric shapes such as ram’s heads, bull’s and lion’s faces, plaited braid, tendrils, rosettes, and urns replaced the overblown style of the preceding period. Neoclassicism became less important after 1800 with the arrival of the Romantic. Despite this the trend continued to be of considerable influence because it was taught at academies throughout the nineteenth century.
Louis XVI occasional table.
The playfulness of Rococo became less fashionable during the reign of Louis XVI and the scallop motif disappeared. Symmetrical ornamentation was added to classical motifs such as corbels, olive wreaths, egg and tongue moulding, and sphinxes. Furniture parts such as arms and legs once more acquired their own identity. ook comfortabel. Furniture was rectangular and flat-fronted. Seats were both fine looking and comfortable. Chair legs that resembled fluted columns were very popular. Light colours were popular during the time of Louis XVI. White lacquer and gilt were commonly used. There was considerable emphasis on elegance, smallness, and gracefulness. Sevres porcelain, East Asian lacquer work, and miniatures were signs of a cultivated taste.
Directoire
Directoire is the name given to the style during the era of Napoleon’s coup d’6tat (1795-1799). The style was in reaction to Rococo/Louis XVI and saw a return to more straightforward classical forms. At the heart of the Directoire style lay the classical style of ancient Greece. Symbols of the French Revolution such as the Cock and Virgin were associated with this, together with the Tricolour. The Directoire style mainly manifested itself in clothing and ornaments.
Empire
The Empire style relates to the fashion for furniture and interiors during Napoleon’s rule (1799-1815). The style originated in France and was also popular in Europe and the USA. The classical inspiration was mainly derived from the time of the ancient Roman empire. Certain ancient Egyptian elements are also sometimes used, resulting from Napoleon’s expedition to the Nile (1798). The Empire style was characterised in furniture by rigid symmetry, rectangularity, and solidity. Characteristic motifs that were used for decoration include the eagle, lion, sphinx, Neptune’s chariot, urns, and quivers filled with arrows. The heavy and solid furniture can be recognised by its plain lines and flat planes.
Regency
The English Regency style arose during the rule by the Prince Regent (later George IV) during the illness of his father George III (1811-1820). In common with French Empire style, English Regency is inspired by classical culture and for this reason some call it English Empire.
Eclecticism and the neostyles (1830-1880)
Eclecticism is a term used in visual arts when techniques, motifs, and elements from earlier styles are combined to form a new one. Eclecticism existed in the time of the ancient Greeks. Late in the Hellenic era Greek artists and craftsmen were already borrowing from the styles of older works. Elements for compositions were chosen from very different eras. Eclecticism became a strong movement in the nineteenth century with the re-emergence of older styles. Expression of these styles such as neo-Baroque, neo-Gothic, neo-classicism, and neoByzantinism were to be found into the twentieth century.
Victorian
During Queen Victoria’s long reign (1837-1901) the predominant influences in Britain on arts and crafts was the rise of the industrial middle class. House interiors were fussy and richly decorated with floral motifs and other adornments. The main intention was to display how well off the occupants were. Victorian furniture designs are typically comfortable. The excessive carving of the early Victorian era was later replaced by painted panels.
French Restoration
The style of the French Restoration originates from immediately after the fall of Emperor Napoleon I when the Bourbon monarchy was restored to the throne (1815-1830) in the form of King Louis XVII and Charles X. The style is characterised by rounded and curved forms. This was the era of Biedermeier in Austria and Germany.
Louis-Philippe
During the reign of King Louis-Philippe of Orleans (1830-1830) there was a revisiting of the style characteristics of Gothic and the Renaissance. A consequence of this is that furniture from this period is more massive and robust in style than during the Empire period. In common with German Biedermeier this period did not see a new style develop, rather adaptation of elements of the Empire style for the interiors and furniture of an increasingly bourgeois society.
Second Empire
The Second Empire was a poor reflection of the first. The classic beauty and grandeur of the clean lines of the period of Napoleon I were barely ever attained anywhere during the reign of Emperor Napoleon III (1852-1871).
Biedermeier
Biedermeier is a decorative style originating in Germany in the period 1815-1848. The name comes from Gottlieb Biedermeier, a nineteenth century fictional character of the poetry of Ludwig Eichrodt. Biedermeier was the typical sober but hypocritical bourgeois citizen.Biedermeier style was a reaction entirely different in style.
to the Romantic style of the Napoleonic era.
The bourgeois conservatism of Biedermeier was expressed in interior design, the visual arts, fashion, and literature. Interior style that was dominated by gentle curves and French polished wood was a bourgeois interpretation of the Empire style. Many decorative elements were borrowed from earlier styles.
Romanticism
Romanticism was a spiritual trend in the later eighteenth and early nineteenth centuries. It was a reaction against Rationalism and its logical expression in the form of neo-Classicism.
With Romanticism, arts and crafts became the expression of creativity and emotions of the artist and craftsman. Romanticism found little headway in France because of the strong influence here of neo-Classicism. Romanticism Late Swiss Jugendstil electric lamp. Note the had its greatest influence on music, paint- colour and design of the glass. ing, and literature.
Jugendstil and Art Nouveau
Around the turn of the century from the nineteenth into the twentieth a movement arose against the historical and bombastic attitudes of the ‘neo-styles’. This trend was expressed through contemporary designs with flowing lines, new materials (iron and steel, glazed pottery, tiles, and concrete), and motifs taken from nature (flowers, animals, and other plants). Architectural and interior design was united into one cohesive style. These innovative movements appeared more or less simultaneously throughout Europe and quickly spread to USA and the colonial territories. The individual styles vary from country.Arts and Crafts
The first manifestations of the movement appeared in England around 1860. The Arts and Crafts movement was a reaction against industrial mass production and sought to restore craftsmanship to the making of objects.
The Arts and Crafts movement made a logical link between the form and construction of a piece and introduced a new type of floral design.
Art Nouveau
IThe innovative and renewing movement in France and Belgium was known as Art Nouveau after the opening of the gallery of Siegfried Bing in Paris in 1895. Art Nouveau also placed an emphasis on hand-crafting of objects. The movement was characterised by extravagant and fashionable design with ornamentation to the fore. Wide use was made of organic elements such as flowers and other plants and animals.
Jugendstil
The name Jugendstil is derived from the German periodical Die Jugend that was started by a group of leading creative people in Munich in 1896. Flowing lines and organic forms are characteristic of the style. Jugendstil also placed great emphasis on materials used and craftsmanship.
Sezession (Viennese Secession)
The new movement manifested itself within the Austro-Hungarian empire as the Wiener Sezession (Viennese Secession) which held its own exhibitions for more progressive artists. The Sezession is mainly characterised by decorative use of geometrical motifs.
Nieuwe kunst
The ‘new art’ of the movement sweeping Europe became known in the Low Countries as the ‘Nieuwe kunst’ — having precisely that meaning. It was also known as the ’salad dressing style’ after a salad dressing manufacturer based in Delft used Jugendstil motives for his advertising and product labels. In Flemish speaking parts of Belgium the style was known as ‘Palingstijl’ (eel style).
Art Deco
Art Deco was the principal style of applied art between about 1910 and 1940. The same term was used for this style in use in architecture, sculpture, and painting. There were two main movements within Art Deco. The first was centred on Paris and was richly decorative; objects were generally hand made from luxurious materials. The other movement saw links between Austrian and Scottish Art Nouveau, and German Bauhaus. This type of Art Nouveau sought to create undecorated objects of simple and functional form and was mainly aimed at mass production. New materials were put to use in Art Deco such as metal and glass for furniture. Plastic was used for smaller objects, including jewellery.

Tags: arts and crafts, austria hungarian empire art, austria wood art deco bar, austria wood inlaid coffee table, austrian antique art deco silver, austrian antique furniture, austrian art deco furniture, austrian secession cabinet, austrian silver snail cup mother of pearls, austro hungarian architecture, austro hungarian empire antique store, austro hungarian empire antiques, authentic old oak bureaus with barley twist legs, automatan bracket clocks, b;ack leather chairs with wallnut legs, baccarat dresser sets, back ground patterns for doors, baize +under dining table, baker palladian ebonized claw feet, barker brothers collector, barker brothers hand painted ware the storm, barker lacquer, baroco furniture, Baroque, baroque designs on inlayed table, bauhaus candlestick, bauhaus china cabinet, bauhaus of a chippendale piece of furniture, bauhaus pottery molds, bauhaus style italian style furnature, beaker' by johann schaper, bed cupboard 16th century, bed side tables antique, bedroom furniture, bedside baluster table, bedside medicine stands antique, bedside table, beech bent rocking chair, belgian antique style furniture late 19th century diffe, Biedermeier, cabriole, Charles X. The, classical motifs, classical style, classicism, decoration, difference between jugendstil and art nouveau, difference between pembroke and sofa table, difference between satinwood & rosewood, difference between sheraton & pembrook tables, different types of chair backs, different types of timbers used for bedside tables?, different types of wood carvings on cabinets from the 1, dihl et guerhard angouleme, directoire style, east asian lacquer, Eclecticism, french, Furniture, George III, Gothic, lacquer work, Louis XVII, Louis-Philippe, Louis-Philippe During, marble, neo classicism, neoclassicism, ornamentation, Prince Regent, Queen Victoria, regency, Renaissance, sevres porcelain, symbols of the french revolution