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07 31st, 2009| 
COINS AND MEDALS
Coins should not be cleaned unless it is absolutely necessary. They loose a lot of value through faulty cleaning, and it is just as important to know when to clean as to know how. Get a book out of your library on coin collecting and study it before cleaning any coins, if you know little of the subject.
Gold Coins. Wash very dirty coins in soap and water using a stiff bristled brush very carefully. Dry gold coins with a soft cloth or soft leather.
Silver Coins. If silver coins are not in exceptionally good condition and arc rather worn, removing the ingrained dirt will often make them look a lot worse! If they are tarnished to a blue or green colour, this gets damaged by too much washing and brushing up, and most collectors prefer to leave well alone. Silver coins which arc in really good condition but have uneven toning or are just plain filthy, should be treated either with carbon tetrachloride or trichlorethylene (see Solvent_). This is dabbed (not rubbed) on very gently, and immediately afterwards the coins are washed in running water. On really ugly toning use Goddard’s Silver Dip but do not wash the coins afterwards or they will look too highly polished. Don’t rub coins with the polishing cloths provided with cleaners. Ammonia in ten per cent solution will also remove stains, the coins being washed immediately after application; otherwise a whitish skin will appear which will ruin all your careful work.
Copper coins. Verdigris on copper coins is often caused by cigarette ash dropping on to them, and although this is hard to remove it can sometimes be done by soaking the bad part iun olive oil and scratching the verdigris off with a bone needle. Don’t use steel needles for they scratch the surface of the coin. Don’t use solvents on copper coins, just clean them with a stiff bristle brush used quite dry.
Copper, silver and bronze coins and medals can also be cleaned by immersion for a very short time in a solution of five per cent nitric acid. Do this with great care for the acid will etch metal, particularly copper. Take the pieces out after one or two seconds and wash them immediately under a running tap. If only a part of the coin is corroded, protect the rest of it from the acid with a coat of wax or grease before immersion in the acid, and then wash it thoroughly. Polish coins with a little lanolin grease or Renaissance wax polish. I
DETERGENTS
Detergents are the modern substitute for soap, and are perfectly suitable for many cleaning jobs as they so readily remove greasy dirt. However, some of the commercial brands sold as washing powders, or as liquid washers, have added ingredients of some kind : scent, colour or ‘whiteners’. While clung, glass and pottery can be cleaned quite safely with these, they are often not suitable for cleaning other Materials, and where detergent is recommended it is best to use a pure detergent such as the following:
Teepol
Boots Liquor Sulphestrol Lissapol N.
Detergent can be mixed with other chemicals to make an emulsion which will spread and penetrate easier that way-for instance carbon tetrachloride and benzene mixed with one per cent Lissapol N for cleaning some kinds of stonework.
ENAMEL
Enamel is a type of glass with added colours in the form of metallic oxides. This is fused to the surface of metal objects.
Enamel on metal may be of three different types: painted on to an enamelbackground; Cloisorui6, which is done by soldering fine wire to the metal surface to shape the designs, and then infilling with enamel; or Clianipl8ve where the
same effect is achieved by cutting shallow cells into the
surface of die metal to take the enamel. In atypes, an
object is then fired to fuse the glass and enamel.
Enamels should be kept away from direct heat, as the glass will expand at a different rate from its metal base and stresses will be set up which may result in the enamel lifting or crazing. Enamel on metal which doesn’t like damp, such as copper, must be kept dry otherwise corrosion may form on the metal and lift the enamel.
To restore enamels, use ordinary artist’s oil colours, and where chunks are broken off, a good imitation can be made by adding colour to Araldite, or to a thick solution of celluloid in amyl acetate, or to Durofix.
Having retouched the colour, enamelled objects can then be lacquered with Frigilene, or painted with thin acrylic, which will reseal any lifting pieces. Once the lacquer has soaked right in and dried, so that it has filled any cracks and cemented down loose pieces, wipe the surface of the enamel very carefully with a piece of cotton wool wrung out in acetone. Be careful that no liquid acetone runs into joins etc., or it will undo the repair work that has just been done. If enamel has at some time been repaired with animal glue, it may have gone slightly mouldy. Wipe the joins with Santobrite before continuing with retouching and lacquering.
Don’t try to refire enamel, it just won’t work.
FABRICS
All textiles come wider this heading, and generally the cleaning treatments depend upon whether dyes have been used or whether the fabric has simply been bleached or whitened. Cotton and linen have usually been bleached, and go very yellow with age. If the fabric is in good condition use very dilute domestic bleach to rewhiten it, then thoroughly rinse the article in several changes of clean water. Reckitt’s Blue may be added to the last rinse. Delicate articles made of muslin or lace, which are in a fragile state, cannot be given such rough treatment. A powdering of French chalk or Fuller’s Earth, later brushed off, will remove some stains and grease marks. If the article is attached to a cushion for instance, this may be the only way of dealing with it. Lace which can be detached should be placed in distilled water for a while to loosen the dirt, then put into fresh water containing a little pure liquid detergent and soaked again. Paddle it gently up and down in the water if the dirt is stubborn. After careful rinsing, spread the lace on to white blotting paper and pin it flat, and put it in a warm place to dry. It is important to pin lace properly in shape or it may distort during drying.
Muslin garments such as old doll’s clothes or old baby clothes are best washed very carefully in a mild solution of detergent, and should not be rubbed, but gently paddled up and down. It is most important to rinse the garment two or three dines in clean distilled or rain water. The garment should be rolled in absorbent paper and ironed
flat when it is nearly dry.
Coloured fabrics which are not colour fast can be cleaned with carbon tetrachloride. Heavy embossed material will be considerably brightened by brushing with a mixture of four parts benzol and one part methylated spirit.
Test for colour fastness by laying the fabric over white blotting paper, and then patting it carefully with a swab of damp cotton wool. If the colour runs it will show on the blotting paper underneath. If the material is old, the dyes are probably vegetable in origin, and likely to run, so should only be washed in cold water.
To remove large stains on this fabric, place the piece on clean blotting paper and then drop a solvent into the centre of the stain, which will spread out and go through on to the blotting paper carrying die stain with it.
To remove stains on textiles, provided the stain can be identified, try the following treatments, always with care and a minimum of rubbing.
Alcoholic Drinks: Wash in warm suds. Sponge with surgical or methylated spirit.
Beer: Soak in a hot solution of z teaspoonfuls of sodium sesquicarbonate (water softener) to z pints of water, and rinse out well.
Blood: Fresh stains. Soak immediately in a solution of i teaspoonful of salt and i teaspoonful ammonia to i pint of warm water. Then wash out in warm suds, and rinse. Old stains. Try soaking in ammonia solution, r tablespoonful to i pint of water.
Or try a solution of j teaspoonful of ammonia with i part of zo volume hydrogen peroxide with 4 parts of cold water.
Soak for just half an hour if the fabric is coloured, as long as necessary for white or colour fast materials.
On cottons and linens, but not on silks or wool, oxalic acid solution, 2 level teaspoonfuls of crystals in 2 pints of cold water, mixed in a china or glass container, can be dabbed on and removed by rinsing within ten minutes.
Silk or wool should be soaked in a solution of salt and water.
Coffee: If washing does not remove it, try hydrogen peroxide as for blood.
Cosmetics: Clean with carbon tetrachloride. Lipstick can sometimes be lifted from washable fabrics by smearing with vaseline and then washing in warm suds.
Egg Stains: If they won’t wash out, soak in a solution of salt and water, or try one of the proprietary digestive types of stain removers, such as Big S., Biotex or Radiant.
Fruit and Berry Stains: If they won’t wash out they can be removed by working a few drops of glycerine into the stain, leaving it overnight and then damping with a few drops of white vinegar, and then washing out with warm water after two minutes. Cherry, pear, peach, plum and other stubborn fruit stains in cotton or linen can be bleached out with hydrogen peroxide solution as for blood. Soak the stained spot for a few minutes and then wash it out in scsquicarbonate, J teaspoonful to I pint of water.
Glue: Must be removed with solvent. Acetone or nail varnish remover will probably shift it.
Grease: Such as butter or candlewaX. Wash in water with a little ammonia added. Put fabric under blotting papre and iron. Sponge with carbon tetrachloride.
Indelible Pencil: Sponge with methylated spirit.
hik: Ballpoint ink can be removed with methylated spirit. Indian ink must be sponged with methylatedspirit and then rubbed with glycerine. Repeat the treatment until the stain lifts and then wash with detergent and water. Old Indian ink stains are there for ever! Writing ink, the same treatment.
Mildew: This is difficult to remove. Washing thoroughly in sodium sesquicarbonate may help.
Nail Varnish: Remove with amyl acetate or nail varnish remover.
Paint: Emulsion paint; soften it from underneath with amyl acetate, then rub off, and work in a paste of soap and water and wash well. Oil paint, dried; carbon tetrachloride or benzene on the underside till the paint has softened, then wash out as above.
Rust and Ironiyiould: Try oxalic acid treatment as for blood. Rust remover can be used in extreme cases, but must be tried with care and washed out thoroughly.
Shellac: Soften with methylated spirit.
Shoe Polish: Bleach out with hydrogen peroxide.
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.
BEDROOM CHINA
There is still quite a lot of this about and it’s quite pretty. The most obvious use for old chamber pots, slop pails, washbasins, foot baths, ewers, etc. is for flowers, or to hold flower pots. This china has been used for soup tureens, punch bowls etc. mid provided there are no cracks or chips in the china, I suppose there is no reason why not, but personally the idea does not appeal. Like other pottery it can be mended (see China Mending), and a bit of careful re-touching with a paint brush and enamel can brighten things up a bit.
BEESWAX
Beeswax is the natural wax made by the bees when building honeycombs, mid it can be bought at chemists and sonic hardware stores. It is sold as fine grade, white beeswax, or as natural wax which has an orange brown colour. Ofcourse if you keep bees you will have your own. I once left a bowl of natural beeswax from my own bees on a larder shelf. In due course, at a moment of family crisis, a visitor tried to fry some bacon and eggs in it, mistaking it for dripping. The kitchen smelt wonderful for days, but otherwise it was a waste not only of the beeswax, but of the bacon and eggs!
Beeswax by itself is too hard to use as a polish, and various blends can be made. Beeswax melts at about 65 deg. C. and do take care when making polish as the ingredients arc inflammable. Keep an oldsaucepan for the job and have suitable containers with good lids ready for the polish. I keep my old furniture polish tins and re-use them again and again. Use real turpentine, not turpentine substitute.
3 parts white beeswax 8 parts real turpentine
Melt the wax slowly over a low flame, together with the turpentine. Use a double saucepan if possible, or suspend the container in another saucepan with water in it. Colour the polish with stain if you wish. The stain should be added immediately the concoction is removed from the heat, and mixed in well. Put the polish into a tin and close it tightly. Use it just like any other polish when cold; apply with a soft rag and rub hard.
Recipe z. J lb. beeswax real turpentine
Melt the wax in a saucepan over a low flame, adding well
turpentine and mixing until the whole is the consistency of thick custard. Paint the mixture on to the wood with a rag while it is still warm and leave it to dry. Then polish as hard and as long as youlike. This method is best for natural wood surfaces which will absorb a lot of the polish, but not for surfaces which already have a polish on them.
Recipe 3. 8 ozs. beeswax 2 ozs. resin
real turpentine
Melt the resin, beeswax and a little turpentine in a double saucepan over a low flame. When it is all blended together remove it from the meat and allow it to cool, but before it has set stir in enough turpentine to make a soft polish, about I pt. Acid colouring if required.
This is a leather dressing similar to that used by the British MUSCU111.
7 ozs. anhydrous lanolin
I fluid oz. cedarwood oil
I oz. white beeswax
ti fluid ozs. hexane
Hexane is highly inflammable so do not make this mixture up near an open flame, or use the dressing near an open flame. Dissolve the beeswax in the hexane (no heat is required), add the lanoline and blend well, and lastly add the cedarwood oil.
Recipe 5. furniture cream
3 ozs. white wax
8 ozs. real turpentine 8 ozs. warm water liquid ammonia
Melt the white wax over a low flame. Remove the saucepan from the flame and add the turpentine and the warm water and blend it all together. Add the ammonia drop by drop stirring all the time until the mixture is a thick cream. This old recipe for polish should be used with care as ammonia is a solvent for some varnishes but is excellent on wood which does not have an artificial surface of varnish or French polish.
Recipe 6.
pt. real turpentine pt. soft water
2 ozs. beeswax (natural) I oz. white wax
2 squares camphor
i oz. Castile soap
i teaspoonful ammonia
Shred the waxes and the camphor into the turpentine. Shred the soap into the water and simmer tuitil the volume is reduced by half. Cool and add the turpentine and wax mixture. Blend well together and add the ammonia and shake thoroughly. This is a good cleansing furniture polish.
Recipe 7. z ozs. white beeswax
benzene
Flake the beeswax and then add the benzene and stir until the wax has dissolved. This is a useful dressing for preserving wickerwork and canc.
Recipe 8. wax adhesive
5 parts beeswax
5 parts resin
i part real turpentine
Heat all together gently in a double saucepan until the ingredients blend.
Simple beeswax polishes as in Recipe r make an excellent protective coating for bronze, alabaster, iron, steel, marble and slate, as well as for all kinds of wooden furniture and objects.
Various other polishes which do not contain wax are described in the section oil Polishes.
BIRD-CAGES
Large Victorian bird-cages still turn tip in junk shops. I owned and used one, but unfortunately my Siamese cat discovered that the metal rods were not particularly strong, and after I came home from the cinema one night to find a pathetic heap of blue feathers on the floor, a smug cat, and a bent cage, I reverted to modem steel cages and kept the old one as a relic. Many old cages are somehow reminiscent of the Crystal Palace, and are made of dozens of metal rods, either rusted or covered in filth and old paint. The only real answer is to clean each rod separately with emery paper, or steel wool dipped in paint stripper. It’s
hard work on the fingers and is a good job for the long winter evenings, as it can be done while watching television. Solder broken rods (see Soldering). Having cleaned the cage repaint it, or lacquer it with clear metal lacquer. The application of paint or lacquer by brushing is a tedious job on such an object; spraying might be easier, but to be sure of covering all sides of the rods; dipping is the best answer. If the cage can be taken into sections each section should be dealt with separately, otherwise you are going to need a huge container and an awful lot of paint or lacquer to dip the object effectively.
BLEACHING
Colour or stains can be removed by bleaching. Sunlight will bleach, but it is chemical bleaching which is described in this section. Because the action of bleach is irrevocable take care. It is all too easy to remove not only the stain and the colour but the underlying material; and it is a cardinal rule to use bleach well diluted and to strengthen it gradually if necessary. Always try out bleach on a part of the material where it can do least damage, before making any general applications.
Hydrogen peroxide, and Milton are good bleaches. To bleach very fragile articles which cannot be rubbed, soak a Plaster of Paris slab with hydrogen peroxide and then place the object to be bleached just above the slab, within a quarter of an inch. Do this in an empty drawer or a small cupboard to confine and concentrate the vapours.
Household bleaches such as Doinestos, Brobat, and Parazone are fine for bleaching certain articles, but are strong and may need dilution and they should not be mixed with any other type of cleaner lest you succeed in making chlorine gas which is highly toxic.
Ch bromine T, which is white powder to mix with distilled water, makes a bleach for prints.
Raw wood is bleached, either after stripping down or to remove stains, by swabbing with ordinary domestic bleach. Adjust the strength of the solution according to the degree of lightness required.
gen in water, freeing the oxygen, and this means that it has strong bleaching properties. It is possible to make an apparatus for bleaching prints etc., but I must point out that chlorine gas is dangerous stuff and the greatest care should be taken when using it as a bleach, and all children and animals should be miles away.
The first necessity is a flat box large enough to take the biggest prints you intend to bleach (see Fig. 5). It must be well made with airtight joints. A sheet of thick glass should be used as a lid, for it enables you to see what is going on, and it must fit tile top of the box snugly. If you are doing a proper job, make a frame top and hinge it for the box to drop in on to a narrow ledge, and putty the glass into the frame. Fix a handle to tile lid so that it can be lifted lip easily. Bore a hole in the side of the box and cement a piece of glass tubing to take the gas pipe. Having made your box, test it with a puff or two of cigarette smoke to make sure it is gas tight.
Get a gallon cider jar with a well fitting rubber cork with a hole in it to take a short length of glass tube. Join the tube in the cork to the tube in the side of the box with a rubber tube. Place another sheet of glass in the bottom of the box, damp the print which is to be bleached and lay it in the box. Close the lid. Put two ounces of bleaching powder (chloride of lime) into the jar, pour in a cupful of accumulator acid, and close the jar at once. If this job can be done in the open air, all the better. If there is any leakage of gas, keep away until it has dispersed. When the print is sufficiently bleached, just open the lid and let the air blow away the gas, always being careful not to inhale.
The amount of gas which will be made by the quantities given here is not enough to give a dangerous concentration, but nevertheless it is not to be fooled with. Don’t do this job in a room with birds, fish, cats, dogs or children in it. Or even white mice.
BONE AND IVORY
Small bone and ivory objects—card cases, chessmen, statuettes, fans, needles, inlays and small carvings turn up from time to time in bad condition and in need of cleaning. Impregnate really badly broken or chipped or cracked pieces with melted paraffin wax, which will hold the piece together and preserve it. Warm the object first over a radiator or in an airing cupboard, and put it right into the runny wax. Lift it out after a few minutes and wipe off the surplus.
Ivory goes yellow with age especially if it is not exposed to light. Sometimes this colour is pleasant and is best left alone, but things like knife handles, piano keys or fan sticks do look better white. Make up a bleaching paste of whiting and 20 volume hydrogen peroxide and coat the piece with it. The paste must be stiff or the ivory will absorb too much liquid and swell. Stand the object out in the air and sunshine until the paste has dried, then wash it off and dry the piece thoroughly with a soft cloth. A little almond oil applied with a soft rag will leave a nice protective coating.
To clean bone and ivory which just needs dirt and dust removing from crevices, use methylated spirit on a duster, or on a soft brush. Never use water. If there are spots which won’t come off, try rubbing the spot with a little whiting and methylated spirit on a cotton wool swab on a cocktail stick.
Bone and ivory can be polished with tripoli, or rotten-stone or carborundum products, or with silica preparations and modern metal polishes.
Stick broken pieces of ivory together with Durofix or Araldite. Make sure the surfaces to be joined are clean, and bleach out any staining left by old glue as above.
BOOKS
The top edges of books get filthy and although loose dust can be removed with a soft brush or an old fashioned feather-duster, real dirt is hard to clear. Holding the book very tightly shut it so that only the top edges show, rub gently with fine sandpaper folded to the correct size. This could be rather too fierce for a valuable book, so try soft breadcrumbs, or all art eraser (see Fig. 6).
The edges of many old books are either gilded or painted, and it is quite easy to give these a new lease of life. Ordinary water colour paint mixed with size instead of water is brushed on. The book must be well cramped with the covers folded out of the way, and the exposed pages protected, or the paint may colour more than it is meant to.
To re-gild, kestoration Wax or Treasure Wax Gilt should be rubbed on the tightly closed edges with your finger, and then polished with a soft cloth to remove the surplus and make it shine.
Leather covers on books must be cleaned occasionally with a little leather polish such as Sheerwax, but remember that on most books the leather is almost paper thin, and cannot take too much rough handling. Very often old books are quite spoiled by r pieces of the leather being torn away to show the cardboard cover, or else the leather on the spine is split or perished. To mend these tears, cut out the bad parts, clean off the old glue and muck, gently lift and stick the new piece of leather into position, being careful to tuck the new edges under the old. The leather for this job should be as thin as possible, and do pare die tucked in edges carefully, so that the joins do not make a nasty bulge. For any decoration that has to be done, see the section on Leather.
Print on book titles and authors’ names with Indian Ink or Reeves Transfer Foil, which is used rather like carbon paper. You will probably find that it needs a little practice to make a neat job of the lettering, especially on the curved spine.
If a book has the side cover torn away from the spine, Sellotape X will make a strong lengdiwiscjoin, with a small gap left between the two edges, so that there is enough play left, when the book is closed. Sheets of coloured paper cut to size and pasted over the end page and the cardboard cover look neat. Scccotine or paperhanger’s paste are useful adhesives for binding and paper work.
Stained and damp pages are dealt with in the same way as prints (see section on cleaning prints), but this can be rather difficult without taking the book to pieces. When the odd page is dirty or stained, particularly at the begin- ning or end, a little gentle dabbing with carbon tetrachloride, petrol or benzine should remove most greasy marks and fingerprints. Wax is best dealt with by placing a piece of blotting paper under the spot, and ironing lightly with a hot iron.
If a book should happen to be dropped in the bath, dry it by putting tissue paper or sheets of blotting paper between the leaves, through half the book. Then put an even weight on the book and leave it in a dry place, perhaps in the draught of a fan heater or a hair dryer, but do not put it too near a radiator or fire. The current of air is necessary to carry away moisture. Treat the second half of the book the same way when the first has dried.
Mend torn pages with white paste (see recipe under Adhesives), as other glues will show either too grey or brown. On frayed or ragged overlapping edges, put a little paste on one surface, and place the torn sheet exactly over it. If a comer or edge of a sheet is missing, cut another piece of paper, similar in texture and colour, slightly larger than the missing portion, and stick it on to the torn piece. A tidier job is made by trimming the torn piece first. When a page is torn across the print, mend it by sticking the thinnest possible Japanese paper over the top. If the print is large and the lines well spaced, cut little strips of matching paper, and stick them in between the print, although this is horribly fiddly. The edge of a torn page should always be reinforced so that it will not tear again in the same place. Whole pages tom out of books are best repaired with long strips of matching paper pasted down the length of the tears. ScIlotape X can be used, but if there are quite a lot of pages out, it will make clumsy joins, and ordinary sellotape is not good as the edges of it stay sticky and pick up bits of dirt and dust, making a grey mark.
Insect infestation in books is dealt with under Inscas.
Anyone who has spent much time looking in junk shops will know that sooner or later a particular decision will have to be made. Is one to insist on buying only the perfect piece, the flawless jewel, which has come down to our time unscathed by time—that enemy of both man and his handiwork? Or is one to be content with something less than perfection, that which is flawed—though not irreparably?
If you take the first course and happen to have a taste for the best in furniture, pictures, pottery, glass, silver, or whatever, you will nowadays need a very long purse indeed. The fine things of the seventeenth and eighteenth centuries have soared in price to levels which would not have been thought possible even only five years ago. In the meantime collectors have turned their attention to the once despised nineteenth century; and Victorians is now as eagerly accepted for sale by great auctioneers like Sotheby’s and Christie’s as anything of earlier date.
Personally I have never felt especially impressed by ‘condition’ for its own sake. If a piece is what the trade calls ‘right’—that is to say genuine of its own kind, if whatever imperfections it may have do not seriously detract from enjoyment of it, I do not see why it should not take its place in a collection. After all, for a piece of china or furniture to have survived for two hundred, a hundred, or even fifty years without acquiring some sort of blemish, or show some signs of age, is a quite remarkable thing: it has certainly not happened to me. One suspects too, that those who seek perfection of this kind may be interested not so much in the appreciation of a particular objet d’art, as in appreciation of their investment—and I have always thought that there were many pitfalls in that kind of collecting.
A few years ago there came up for sale a famous collection of teapots, representative of the finest work of all the famous English factories. The reverend gentleman who put it together, however, could not possibly have afforded to do so had he not been content to accept the odd chip, crack or restored part. But these imperfections in no way spoilt the beauty and interest of the collection, which, though unique of its kind, had much instructive value for the general collector.
For me, therefore, if a piece has been skilfully and sympathetically repaired, with awareness of period and of the peculiar nuances of the original work, there would always be a place for it on my shelves or walls. And if you tell me that a repair or a repainting can be detected by ultraviolet radiation, I reply that one does not normally look at works of art through apparatus of that kind.
Before they buy, however, I think that collectors should inform themselves as to what can or cannot be done with anything which has been damaged or broken. Some things are really beyond all hope: they could never be restored in such a way as to give one the same kind of xsthetic appeal as the original, and the place for it—if there is a place for it—may well be in a museum. But there are many things which can be rescued, and ought to be before they deteriorate any further.
This, I think, is the value of a book like this. In showing how repairs can be done it tells one what repairs can be done, whether we do them ourselves with loving care or whether we leave them to the expert. There are not so many fine works of art about that we can afford to let them disappear without an effort of some sort.
What is junk? Something which its last owner discarded as worthless? Any old piece of furniture, china, metalwork, any old picture, print or scrap which has no intrinsic value? These definitions have no meaning today when the trade in ‘junk’ has reached international proportions and when some of the prices paid for hideous bits of bric-a-brac put them far beyond the reach of most amateur collectors. Once, a poke around a second-hand shop produced all kinds of unusual and interesting things for shillings and even for pennies. Pounds didn’t enter into it. Once you could go to auction sales and come away with car loads of discarded ‘rubbish’ which no one else at the sale wanted and for which the dealers, least of all the dealers, never bothered to bid.
Not any more. At every sale, in every junkshop, there lurks the man or woman with that indefinable look, that odd searching expression which proclaims that he or she is
‘in the trade’ and wi buy akinds of unlikely things just to turn them into other unlikely things or to restore them
and sell them as totally genuine survivals from the past, and as always, when the dealers get interested the amateurs have to get up very early in the morning!
The reasons why we have come to value these things are strange, but fairly simple. As we invent new designs for furniture, pots and pans, clothes etc. and enjoy new styles and fashions, yesterday’s style and the day before yesterday’s become hideous to us. How ugly now seems the clothes and furniture, the carpets and curtains, the chairs and the pictures of the thirties. And how ugly, in the thirties, seemed the things we designed in the twenties. Yet now, in the sixties, the things of the twenties become attractive again, some of them, and the Victorian excesses which we hated in the thirties, positively delight us now. Why does this happen? Is it because our modem designs get more and more simple and functional, with fewer curves and fussy bits, more and more straight lines and flat surfaces, more and more synthetic finishes, and less and less craftsmanship or hand work of any kind is done. The horrors of photographic wood veneers, which only need a wipe with a damp cloth, the plastic ‘working surfaces which every knife marks, are preferred to beautiful natural veneers which need a bit of polishing to keep them beautiful, and to scrubbed wood which needs a bit of elbow grease to keep it clean. So I believe some of us are coming to value the things which man has made with his hands out of natural materials as an antidote to our machine-turned, moulded, plastic world. And I don’t believe that the plastic rubbish of today will ever become the treasured junk of tomorrow or the day after tomorrow. We have gone right over the top, and many people are determined to salve what is left of the artifacts of our grandfathers. The very ugliness of some of the things has the appeal of individuality at the least. It may be claimed that a lot of Victorian and Edwardian and even Georgian junk was mass produced in the sense that numbers of copies of the same objects were made, and that any casting or turning or moulding techniques that were available were fully used. Nevertheless the materials themselves ensured that hand finishing was almost always necessary, and the machines were worked by men and not by other macliiiies. Designs were made by the minds of men and not by computers.
Ingenious people go to great lengths to make modem objects out of old junk, sometimes by taking things back to an even more original condition than they ever were before, when they were first made. I’m thinking of the vogue for stripping down wooden objects and oiling or waxing so that the grain alone decorates them; objects that were always stained or painted when they were first produced. It is only quite recently that we have realised that natural pine wood call be just as beautiful as natural walnut, or oak or mahogany. Our immediate forefathers thought that pine in its natural state was very ugly and only fit to be covered up. Anyone who had ever visited all alpine country knew differently, but nevertheless we remained very traditional. Taking the subject a stage further, there was a time when natural oak furniture was looked upon as being purely rural and only used by the yokels in the kitchen, and nothing could be elegant but inlaid mahogany or veneer or ormolu. All kinds of objects get turned into lamps nowadays, and old picture frames make fine mirrors and trays. Pianos turn into cocktail cabinets—there is a use for everything and anything. Is this because the hand craftsmanship, or even the time, that it takes to make these things cannot be found these days except at great expense? Labour was cheap when the junk was being made, and now we are taking advantage, years after the makers are dead and gone, of their sweated labour, their underpaid craftsmanship, which are just not available any more.
Lastly, as I discovered when I became involved in the art of restoring old cottages for modern living, you and I, amateurs in the sense that our jobs probably have nothing whatsoever to do with restoring things, get a great kick, an artistic satisfaction, out of mending something that seemed broken beyond repair, out of recreating something useful or decorative or interesting from something old, ugly and dull. The artist, the creator in all of us, can thus find expression even when we lack original talent. It may be in something as elemental as getting a good polish on a piece of filthy old brass.
Most of us are magpies at heart, and the collecting instinct which stimulates toddlers to collect little piles of stones, shells and sticks and string, the child to collect stamps or dolls and the teenager to collect gramophone records, stimulates the adult to collect whatever he or she can afford and finds pleasing. I know a man whose large Edwardian house (and lie needs one) is full of musical boxes, everything from tiny little singing birds to huge great mahogany things which come to coniplicated life and give out fantastic sounds in response to the necessary stimuli. Another man will collect powder flasks, buttons or little boxes, or flatirons, or porcelain. Most collectors begin by acquiring a piece of junk almost accidentally, perhaps by inheritance, or bought in with an odd lot, or just because it caught the eye, and that is the nucleus of a collection.
People can be divided into two groups; those who will take everything to the ‘expert’ to be restored or cleaned, and those who will go to great lengths to do the work themselves. I think that the true junk collector comes into the second category. The greater part of the fun for him is in the restoring—in being able to say, modestly: ‘yes, I mended that chair—it had three broken legs and six coats of paint, but the waxed natural wood does look rather nice, doesn’t it?’
There are limitations, of course, oil what can be done; limitations imposed by the necessity for expensive tools or materials, or processes which need equipment not usually found in even a well-equipped workshop (electro-plating tanks for instance). The one limitation that never seems to apply is that of knowledge, either of techniques or of materials.
Here another distinction has to be made. Properly speaking, restoration implies the recreating of an object so that it is exactly as it was when it was made. In the wider sense great arguments go on between the people and societies interested in the preservation of ancient things, and those who wish to restore them for actual use. To the purist, for instance, it is wrong when restoring a cottage to make structural alterations which are necessary to make it habitable in modern terms. To the purist it is wrong to restore an old piece of furniture by altering its original purpose, terrible to cut a whatnot in half and make two tables from it, even though it was useless as a whatnot. If a thing has intrinsic beauty then surely it is wrong to alter it out of recognition. There is a safeguard here in the sense that if you pay a lot of money for an antique you are unlikely to chop it about. Oil die other hand you might undervalue some inherited piece and destroy it by altering it.
How far is one justified in building up missing pieces of objectswith modern epoxy resins instead of restoring the missing part as nearly as possible with its original material? Museums do it all the time and are prepared to rebuild and remake shamelessly with modern materials to restore objects, although they make no secret of this. It is of course inipossible to lay down rules for these things. In any case the antique and jtuik trades are so full of fakes, composite objects, and reproductions with never any guarantee of authenticity, that it doesn’t matter a great deal, I suppose, how authentic your restoration work on junk is. The only thing that matters, it seems to me, is that the reproduction or reconstruction or restoration produces something which as nearly resembles the original as one’s capacities and the materials available allow. Never try to pass off any kind of restoration as original.
While in this book I have tried to include as many hints and ideas as possible, I have slued away from `tricks of the trade’. There are too many tricksters about
already.
Of course, with many perishable objects such as prints, preservation and protection against the ravages of the future is as important as restoration, and there seems to me to be no harm in using the most modem methods and materials available.
One or two general points must be made. First, that there is no substitute, really, for elbow grease, and this is in many cases the restorer’s most useful material, substance or technique! It may be easy to slosh acids and solvents around, but the damage they do may well outweigh the time they save. Second, many chemicals used are poisonous or corrosive, and the greatest care must be taken when using them to wear protective clothing, gloves etc. Such materials should be confined to the workshop and never used in the kitchen. All bottles and jars must be carefully labelled, and poisons should be kept under lock and key. A fire extinguisher must be part of every workshop’s equipment and a bucket of sand for extra fire protection isn’t out of place. Plenty of fresh water should be available, and a sink is almost essential. Electrical equipment must be used properly and wall plugs etc. should be professionally installed and maintained. Never use electric tools with two-pin plugs. Use three-pin plugs which include an earth. Never unplug electrical equipment without first switching off the main. Never use electrical equipment with wet or even damp hands.
Lastly, I must point out that although all the recipes and suggestions in this book are tried and tested, the success of each and every one depends to some extent upon the user. It is like cooking. Give two people the same recipe book and materials and ask them to cook the same dish and the results will invariably differ.
Because of the enormous variety of materials involved, and because it is not possible for the writer to know exactly what it is that the reader is intending to treat, there can be no absolute certainty that methods and treatments will work exactly as planned. The contents of this book are meant as a guide, to be intelligently used. I have left out some techniques that call for the use of highly toxic chemicals (with the exception of the bleaching box), and I have left out or only briefly described techniques which do require practical instruction, althoughi the borderline between skills which can be self-taught and developed by practice and those which have to be imparted on the spot by an expert, is impossible to define. It depends so much on the capacity and talent of the individual.
But it is junk you will be handling; it won’t be world-shattering if you do make mistakes. ‘There is so much pleasure in doing a good job that it is always worth a try. If you fail, well, that is too bad. If you succeed, that is wonderful, and oh, so satisfying.
Thanks. To write a book of this kind without picking other people’s brains is impossible, for one cannot bc.ui expert on everything; in fact the junk restorer must be a jack of all trades. Thanks are due, therefore, to all those who let me ask them questions about their working methods, and who gave me so much useful information. Thanks also to Ginette Leach whose help with the making and checking of the book was invaluable.
Using the book. The text is not divided into chapters, but set out with subjects in alphabetical order. I suggest that you look first in the indices for references to any specific subject, or material. There are two indices: the first refers specifically to materials and tools, and includes page references and names of suppliers and sources of the materials, so that in effect it replaces appendices; the second refers to the subject headings and methods, and is intended to lead you directly to the subject itself where you can find full details on cleaning and restoration.
Where various things come into the same general category they have been grouped together in that category rather than scattered through the book in alphabetical order. For instance the section headed Stone includes subsections of various kinds of stone. The sections on China, Furniture, and Metal are also comprehensive. This seems to me to be a more convenient way of arranging things than exact alphabetical order would have been.
The British Army finished the war against Napoleon with a somewhat mixed collection of smooth-bore firearms walnut armchair josef urban art noveau. There were three types of musket: the Pattern i8o2, the India Pattern and Brown Bess myott.son antique. It is probable that, with the rapid reduction of the Army which followed the peace, the two last mentioned disappeared fairly rapidly, and that the Pattern i 8o2 musket became the standard infantry weapon octagonal brass & silver table. The heavy cavalry were still armed with the Nock-type musket-bore carbine and ‘pistol which had been approved in 1796 old english pattern forks with four tines. The light cavalry carried the Paget carbine and pistol 1770 chippendale round salon table.
After every great war there is a tendency to cut down expenditure on the Fighting Services; and this affects both the size of the establishment and the provision of new equipment charles neo classism boulle. The result after Waterloo was that the small British Army had to wait about twenty-five years before the issue of percussion arms started, and even then it nearly received new flintlocks instead signed english art deco antique glass cabinets.
In 1834 comparative trials were at last carried out at Woolwich between flint and percussion locks, under the direction of Mr furniture copies. Lovell, the last person to hold the post of Inspector of Small Arms to the Board of Ordnance east indian antique silver. It may be that the Reverend Alexander Forsyth was responsible for these trials taking place ” american card table”. Colonel Hanger certainly thought so; for he wrote:
`In 1834, the Rev 16th century trestle refectory table. Mr 17th century boston silversmiths. Forsyth (the inventor of the percussion system) induced the Government to try a number of experiments, in order to test the value of his invention as compared with the old flint lock, and the result of these experiments was as follows:—Six thousand rounds were fired from a flint lock artdeco lamp. musket and’ a percussion musket, and the experiments were conducted in all weathers, six of each kind of arm being used telescoping console table. The results proved exceedingly favourable to the percussion principle, for out of 6,000 rounds from the flint lock there were 922 miss-fires, being i in 6-1, whereas in the percussion musket there were only 36 misses in 6,000 rounds, or i in x66 gustav klimt porcelain. The flint musket scored 3,68o hits; the percussion, 4,047 depression wood tea table. To fire ioo rounds the flint required 32 min examples of antique dressers. 31 sec robert adam pier table., and the percussion, 3o min identifying authentic yixing. myott and son hanley. 24 sec antique french saxon china flowers with gold.’
These results must have impressed the Board of Ordnance antique spiral legged small tables. At maryland antique sideboard.about this time a new series of flintlocks were designed for the Army thonet bentwood rocking chair. It does not seem, however, that they ever reached the troops, for the decision was suddenly taken to re-equip the Army throughout with percussion arms what is the greek word for furnitures.
The apparently surprising decision to replace the not very old Pattern i 802 by a new flintlock was taken, Mr american empire design antiques. Scurfield believes, through a desire to get rid of the 42-inch barrel antique metal double candelabra. The standard barrel length of the new weapon was the old Light Infantry thirty-nine inches voysey chalford table.
Serjeants carried a lighter version with a 33-inch barrel, and there was a still shorter one with a 3o-inch barrel for the Royal Artillery and the Royal Corps of Sappers and Miners value of a william and mary chest of drawers. This last weapon was termed a light carbine and had a 25-inch sword bayonet with a saw-toothed back edge victorian campaign bed. There was also a new, flintlock pistol, but this was issued as such and never converted duncan phyfe sofa c 1840.
In addition to the above weapons, a new light cavalry carbine appeared in: the rn art deco woman figure porcelain.id~dle I830’s- It does not seem, however, ever to have become a general issue reproduction ming porcelain. It was somewhat longer than the Paget carbine, having a 2o-inch barrel instead of one of sixteen inches antique gateleg table. The stirrup ramrod was retained warm entree dish. The lock was peculiar, since the steel was pivoted inside the lock plate, instead of on the outside antique silver plate vegetable warmer with lid. Owing to what was probably a sudden decision portuguese potters. to change to percussion arms, it is likely that production of this carbine was stopped prematurely antique “trestle table” kent.
The equipping of the whole Army with percussion arms was -a lengthy process 18c chair lion head. Although the manufacture of new firearms with the percussion lock was taken in hand immediately, it was intended that re-equipment should be carried out as far as possible by converting the new belgium porcelain dining tables. flintlocks antique hexagon ladles. Such a conversion was not a very difficult operation george ii burr walnut tallboy. The cock was replaced by a hammer mounted in the same position and striking on a nipple fixed to the top right side of the barrel duncan phyfe table and buffet. The nipple, of course, replaced the flash-pan and steel of the flintlock sette sofas chippendale 18th century.
The first new smooth-bore percussion musket was the so-called Pattern 1838 chippendale cutlery urns. Only comparatively few were made and its issue was confined to the Regiments of Foot Guards making cabriole legs with padded feet. As might be expected, in general form and appearance it was very similar to the earlier Pattern i 80 musket antique english column candlesticks. Together with the Brunswick rifle and the Victoria carbine for the cavalry, it formed a series for which Mr paw feet dining rooms table. Lovell was responsible; though whether he had an actual hand in design is not clear myott son & co. hanley. The 33-inch barrel was the shortest that had yet been issued to heavy infantry 19th century cutlery pennsylvania dutch. Serjeants of the Foot Guards were not issued with this musket, but with a 33-inch barrel version of its contemporary, the Brunswick rifle antique fluted legs.
Although the Brunswick rifle does not properly belong to a chapter on smooth-bore firearms, this may be an appropriate place to deal with it, since its issue was so closely allied with the other weapons for which Mr antique extending round dining table. Lovell was responsible art deco glass. It was intended to be the percussion replacement for the Baker rifle, and was officially designated ‘Lovell’s Improved Brunswick Pattern’ were exports scenes common in the chenghua period.
The new rifle was designed by Captain Berners, an officer in a Jaeger regiment of the Brunswick Army, and was adopted by the Board of Ordnance after trials at Woolwich in 1836 betty joel miroir antique. The rifling of the Brunswick was peculiar most valuable antique silverware. There were only two grooves, and they made one complete turn, in the length of the barrel antique oak dropleaf gateleg table. This was not a new idea by any means, for at the time of its adoption for the Army it was already the most popular form of rifling for sporting weapons can antique dressers pair with modern furniture. A special bullet was used with this two-groove rifling: spherical in shape, but having a•raised belt round the middle antique european sideboard, etagere, cabinet,. The belt fitted into the grooves, which were fairly deep, and the bullet of the sporting weapons fitted the bore sufficiently easily to be rammed home without difficulty 19th century side tables. In practice the results ob1 tained with this type of rifle were not as good as they would seem to be in theory what is antique library table worth. There was a good deal of friction in the barrel through the bullet magnificent table 18 century marble. not being able to move freely, there was a heavy recoil, and the shape of the bullet did not lend itself to accurate flight contemporary british cabinetry best examples.
The calibre of the Brunswick rifle was ‘704 and the barrel length (except as mentioned above) was thirty inches duncan phyfe buffet. It was sighted to 300 yards, was fitted with a cross-handled sword bayonet and measured three feet ten inches overall french restoration table. It was a thoroughly bad weapon; perhaps the worst ever issued to British troops antique dining fold over tables with leaves. One of the troubles seems to have been that the ball was made too tight-fitting, and another that there was insufficient power behind the bullet to keep it spinning sufficiently rapidly for straight flight deco airplane stand.
The unfortunate Rifle regiments were inflicted with the Brunswick up till the Crimean war officers campaign bed. Their opinion of it is reflected in a report submitted in 18 52 by a Select Committee on Small Arms:
`At all distances double scroll legs desk art deco. above four hundred yards the shooting was so wild as to be unrecorded rose emblem. The Brunswick rifle has shown itself to be much inferior in point of range to every other arm hitherto noticed d-form dining table. The loading of this rifle is so difficult that it is a wonder how the Rifle regiments have continued to use it so long—the force required to ram down the ball being so great as to render any man’s hand unsteady for accurate shooting empire sofas. Comment is unnecessary pierced silver hot plate made in italy.’
Lovell’s other firearm was the ‘Victoria’ carbine drop leaf carved leg table. Like the heavy cavalry carbine of 1796, it had a 26-inch barrel of musket bore chinese mother of pearl chair rosewood antique. It was issued, apparently, to the Household Cavalry only vintage chinese black lacquer card table.
At the same time as the Lovell weapons were appearing the conversion of all three types of the new flintlock musket was taken in hand george 11 antique lacquered furniture. The percussion version was known as Pattern 1839, and except for the altered lock was identical with its flintlock predecessor early nineteenth century german desk.
It is probable that there were sufficient of the flintlock muskets to equip the whole Army with converted arms seek jingdezhen plum blossom porcelain vases. However, in 1841 there was a disastrous fire in the Tower of London which destroyed many thousands of firearms awaiting conversion 1940’s mahogany dining chairs. As a result a new series of arms had to be manufactured antigue table cloths 1920. The musket was called Pattern 1842 rectangular dropleaf tables. It was similar to, and was produced in the same three barrel lengths as, Pattern 1839 federal style 18th century dresser. The only major difference was that the bayonet of the short musket was no longer saw-backed julius mihalik.
There were two percussion carbines for the cavalry: musket bore for the heavy cavalry and carbine bore for the light cavalry rectangular oak gateleg table. The carbine for the heavy cavalry retained the 26-inch barrel silver candlesticks flower. That for the light cavalry had a slightly longer barrel than the last flintlock weapon of twenty-one inches how to value lowboy queen anne.
Mr stone china george jones stoke on trent. Scurfield hag made some interesting comments on the final changeover from flint to percussion arms jockey cap caddy spoons. He says: `A tradition persists that some regiments going from India to the Crimean War were still armed with flintlocks, but I have never found any confirmation, and to me it seems rather improbable davenport cabinet desk. All the same, I do not know when the Regular Army handed in its last flintlocks, and can only suggest that it was between x 84 and i850—perhaps not long before 1851, the year of the Great Exhibition antique neoclassic furniture. The Militia went straight from the India Pattern flintlock to the Enfield rifle in the very late 18 -So’s or early 186o’s antique white chamber pot.
`In 1846 the 27th Foot (Inniskilling Fusiliers) in South Africa were still armed with a mixture of flint and percussion muskets, but two battalions of the gxst were completely equipped with percussion; it would be interesting to know whether they were Pattern 1839 or Pattern 1,842—or some of each antique tea cabinet.’
In the years following the Napoleonic wars most of the cavalry’s pistols had been withdrawn walnut baluster leg table. Lancers -carried them in place of carbines, which got in the way of the lance; and in other regiments they were retained by serjeant-majors and trumpeters, who also did not carry carbines furniture makers of the 16th century. To meet this limited need a percussion pistol was made with a musket bore and a 9-inch barrel antiques pottery made in coimbra.
The fulminating compound which was used in these first military percussion arms was made up of three parts of chlorate of potash, two parts of fulminate of mercury and single gate leg tables.one part of powdered glass antique italian rococo bedroom set marble and wood.
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 .
They were very similar to their predecessors; except that the metal furniture was now brass instead of iron, and the musket had a new lock with some minor modifications meissen porcelain louis xiv . The Royal cypher, when used, was the ‘A R’ of the reigning sovereign porzellan clock spain . The barrel of the musket was forty-six inches, or slightly longer than the James II pattern computers internet blog .
With the issue of these arms slings were fitted to all muskets for the first time trestle table lyre base .
The universal use of flintlocks in the Army, as well as on private firearms, resulted in the flint industry becoming of prime importance british longcase makers . It was a very ancient industry directoire sofa . The art of chipping, or `knapping’, flints had been practised in neolithic, times, when arrowheads, spearheads, axes, tools, etc cast regency period candlestick ., had been manufactured from the flint deposits at such places as Brandon in Suffolk antique neoclassical furniture side cabinet . For many years, however, there had been little requirement for flint, except for the comparatively low standard stone used for ordinary ignition epergne art deco glass . The arrival of flintlock arms created a new and increasing demand for high-quality flint marc duplantier . Nevertheless the process available was tedious and inefficient, and yielded indifferent flints indian vernacular furniture . Gradually the art was re-learnt, and by the end of the eighteenth century English flints had become famous throughout Europe antique hot water plate warmer . In 1686 a Government factory was established important pieces art deco furniture .at Brandon, and all flints for the Army were made there during the whole remaining life of flintlock firearms drawing ornaments for furniture .
Until the early eighteenth century flints were generally made from the brown flintstone which was gathered from the fields antique tables small . This broke rather easily, for its irregularity in grain made it brittle empire gateleg table . The much superior black flint was subsequently discovered at depths of from 5o to zoo feet, and from about the middle of the eighteenth century all flint was quarried antique paper mache pedestal table .
Flints were divided into different sizes according to the type of weapon sheriton clock . As far as the Army was concerned, these consisted of the musket, the carbine and the pistol; and they were each again divided into ‘Best’, ‘Second’ and ‘Common’ according to their quality, which was assessed by the colour of the stone (the darker the better) and by the regularity of the shape antique kidney table lion ball legs . A good flint knapper could gauge the size of a flint by the naked eye to within a sixteenth of an inch and could trim it to a chisel edge 18th century trestle table .
`Best’ flints could be expected to give from forty to fifty shots, without fear of a misfire, whilst ‘Common’ flints would only give about half this number ornate italy shell spoon . Most musket flints were the cheap ‘Common’ variety redwood trinket box .
Flints were sold by the thousand and were packed in half casks, which held 2000 of t1w musket size, 3000 of the carbine and 4000 of the pistol antique spanish sideboard .
In the seventeenth century it was the practice of both officers and other ranks to wear their side arms when off duty identify antique paper mache trays . When the bayonet was added to the sword it appears that there must have been some temptation to use this handy little weapon in local brawls with the civil population century furniture chinoiserie dining table chair credenza . This is reflected in the following order which was promulgated in 1687:
`For the prevention of mischief that may happen by the carrying of bayonets We hereby strictly forbid all officers and soldiers of what quality soever within Our pay or entertainment to carry a dagger or bayonet at any other time than when such officer or soldier shall be upon duty or under their arms upon pain of being punished at Direction of a Court Martial and the officers and commanders in chief of Our several regiments, troops and companies and Governors of Our Garrisons are hereby required to cause these Our commands to be forthwith read and published at the head of each respective regiment, troop and company that all persons may give obedience thereunto meissen figures on bronze bases .
`Given at Our Court at Whitehall the 4th day of March,
1686/7
`By His Majesties Command antique meissen porcelain .’
It is quite likely that this order was drafted personally by King James II furniture design . It is very like the tone of some of his letters dealing with military organization and administration antique posset pots .
Grenadiers and Musketeers seem to have worn swords throughout Marlborough’s campaigns draw-leaf tables . The armament of a Grenadier was particularly impressive; for it comprised (according to the Exercise of hoot of 16go) firelock, bayonet, sword, hatchet and grenades antique french campaign chair .
There is an interesting hint of regimental insignia on swords in a notice of a deserter in the Post Man in 1703 care of antique oak chest woodworm rot . The man belonged to Lord Lucas’s Regiment (later the 34th Foot) and is described as wearing a sword with brass mounting and an ‘L’ on the shell norman bel geddes desks . How far this was a common practice is not known sarcophagus chests andre-charles boulle . The detail on a sword depended entirely on the taste of the Colonel, and the swords for a regiment were, in fact, purchased by the Colonel out of the money allowed him by the Government for the provision of all clothing, swords and necessaries of the other ranks under his command antique maple drop leaf dining table .
The Duke of Marlborough would allow no weapon other than the sword to be used by mounted troops jupe patent mechanism . The pistol he regarded as the enemy of effective cavalry action antique victorian writing table . Brigadier-General Richard Kane, in his Discipline of Horse of 1745, said:
`They should handle their swords well, which is the only Weapon our British Horse makes use of when they charge the enemy; more than this is superfluous empire revival benches . The Duke of Marlborough would allow the Horse but three Charges of Powder and Ball to each man for a Campaign, and that for guarding their Horses when at Grass, and not to be made use of in action roman tripod table .
`Dragoons should be well instructed in the use of arms, having often occasion to make use of them on foot; but when on horseback, they are to fight as the Horse do sheraton period cutlery urn .’
The type of swords supplied to the cavalry, however, does not seem to have been beyond criticism baroque paper mache plate . In 1691 Sir Albert Cunningham, Colonel of the 6th Dragoons, wrote to the Secretary at War, ‘We want good broad cutting swords with three-barred hilts’ how drop leaf table evolved . In 1706 Colonel J designs for dressing table glasses . Crofts of the Royal Dragoons said in a letter that, ‘It was impossible to get flaming (i antique pembroke tables .e antique dining table stored legs . curved) blades but I pitched upon the best sword for service I could find’ antique duncan phyfe mahogany coffee table with brass claw feet . A year later his successor, Colonel St barrel leg oak dining table .-Pierre, wrote “chest of drawers” +cherry +1840s . ‘The swords are good, but a handfull too short, there is no dealing with the French but with good swords, they have excellent ones antique wooden handle forks . We are resolved, whatever it cost, if we come to Baralina and can find German blades, to buy them and put them upon our handles, which are large enough clarice cliff aj wilkinson teardrop plate .’
It is apparent that there must have been considerable variety in the swords carried by the cavalry japanese tray table w/ folding legs . There is a tantalizing bill of 1689 for a steel horseman’s sword with a rich gilt handle, apparently belonging to the loth Horse secession style furniture .
Towards the end of the seventeenth century there was some improvement in the gunpowder antique wood trestle table with leaves . The proportions were altered to six parts of saltpetre to one each of charcoal and sulphur antique console table carved wood . But the most noteworthy advance was in the quality of the saltpetre goldscheider ceramic figurines+made in austria. 1920 . Previously it had been chiefly obtained by the laborious and probably uncongenial task of washing out earth collected from underneath long-established dung-hills drop leaf table stable base . It was now imported from foreign countries where it could be found in a free state 3 leg drum table with leather top .
BROWN BESS
At some period in the earlier part of the eighteenth century there appeared the most famous weapon that was ever placed in the hands of the British soldier 3 leg drum table with leather top . This was the musket which became popularly known as ‘Brown Bess’ “edwards & roberts” furniture satinwood . The actual date of its introduction is unknown edwardian satinwood combination wardrobe . It*is popularly supposed to have been designed in the reign of Queen Anne 19th century mechanical desks . Nevertheless there is an old tradition that the musket was chosen by the great Duke of Marlborough when he was Captain-General and Master-General of the Ordnance german art deco porcelain harlequin . The earliest one known to the author is in the Tower of London, and bears the date 1717 on the lock plate 1920’s walnut buffet, four drawers .
The origin of the name is as much a mystery as Brown Bess’s date of birth, and there have been many theories to account for it antique gateleg card table . However, the ‘brown’ probably referred to the colour of the weapon, or part of it; and this was most likely the stock, which was of walnut wood stained a reddish brown 17th century drop leaf table . The stocks of all the British Army’s previous firearms had been black sofas . It has been said, also, that the barrel was browned by pickling in an acid bath asian chest with fake drawers . It may have been issued in this condition, but during most of the years when this musket was in use the barrel appears to have been highly polished; in accordance with the British Army’s normal practice with any piece of metal, unless ordered to do otherwise 1800’s library table . Bess’ may have been a mere term of affection; on the other hand it may have been derived from ‘buss’,a German word for a gun and used in ‘arquebus’ and `blunderbuss’ antique english tea tables .
That such a gun should acquire a nickname was, however, almost inevitable french oak, “barley twist” chest of drawers . It was noteworthy in two respects antique card table brass feet folding . It had the beautiful lines of the private fowling-pieces of the day, and, for ease of handling and for performance, it was the finest smooth-bore firearm in any army for the whole of its active existence antique hexagon ladles . These qualities undoubtedly earned the affection of the soldiers who handled it, and if troops become fond of a piece of equipment, maintenance and cleanliness present few difficulties antique wooden pot cupboard .
Of Brown Bess Mr glass front marquetry cabinet . Scurfield in a notable article on ‘British Military Smoothbore Firearms’, which he contributed to the journal of the Society for drmy Historical Research, says: ‘I have seen and handled many muskets of the eighteenth century, and have no hesitation in saying that for workmanship, handiness and appearance (much more important in those days than in these) the Old English musket was, as the armament of the “common soldier”, unsurpassed 1940’s marble tables . Compared with her predecessors and contemporaries, such as the French Model 1717, which was not radically altered until 1754, Brown Bess has the grace of a fowling-piece, the lightest stock compatible with capacity to stand up to a campaign, well-shaped moulded brass furniture, and a lock which had a reputation for giving fewer missfires, “flashes in the pan”, than that of any other military firearm georgian serving tables . Wherein lay the superiority of the English lock is now quite beyond ascertainment; but modern amateurs of historic arms, such as the late Major H vincennes gilded porcelain asian design . R 19th century lion claw pedestal table . S expensive marble tables . Brown, Mr 19th century apostle spoon . Mark Dineley, and others, confirm that it is less unreliable in igniting the charge than any other military lock they have experimented with anitque side cabinet .’
The barrel length of the first model was about 451 or 46 inches malard furniture . The bore was 11, or a shade over •75 calibre 18th c, hot water plate . The bullets vere 131 or 14 to the pound, which would slip easily down a barrel of this diameter a & s smee finsbury . The mounts were brass throughout jean dunand pottery . These comprised the buttplate, small shield (or escutcheon), side plate (on the side opposite the lock plate to receive the latter’s screws), trigger guard and four ramrod pipes apartment for milliner suzanne 1929 . The ramrod was of wood with a brass tip muller freres primavera . The butt-plate was a heavy moulded piece, and, in conjunction with the light fore-end, served to keep the balance of the gun fairly well back in spite of the long barrel small square drop leaf table with 2 chairs . The lock was of an improved type with a steel bearing, or ‘bridle’, to support the tumbler and prevent it from pressing against the lock plate antique wine cooler and stand . The escutcheon, which was on the top of the small of the butt, was primarily intended to take the screw which passed right through the small from the rearward extension of the trigger guard art nouveau cupboard . It was also frequently engraved or stamped with the company letter and individual number antique canning jars with good luck on them . The lock plate, which was of iron, bore the crowned Royal cypher, and, in addition, either the word ‘Tower’ or the contractor’s name empire drum night table . This was to become the standard practice for many years cabriole legs . Previously the Royal cypher had been, as already mentioned, limited in its use king charles silver flatware . The contractor’s name had sometimes appeared, but often the plate was devoid of any inscription gilbert rhode . The word ‘Tower’ indicated that the arm bearing it had been assembled at the Tower of London from parts supplied by contractors 1940’s art deco black and gray lacquer bedroom set prices . At a later period arms were similarly assembled in Ireland at Dublin Castle, and the lock plates were marked ‘Dublin Castle’ century furniture drop leaf table . Those arms made and assembled by contractors sometimes had the date of manufacture after the name of the maker 17th century georgian sideboards .
The bayonet was of the same basic pattern, with triangular blade, as that adopted in the reign of Queen Anne; but it was much improved matthew boulton roast cover . The socket was four inches long; and the blade length was now seventeen inches, and remained so until about z 70 spanish revival italian walnut trestle library table . The scabbard was of leather, and carried suspended from a cross-belt over the right shoulder baroque style depression furniture with walnut and walnut veneers . Another cross-belt over the left shoulder supported a cartridge pouch and two brass pickers for cleaning the vent silver tray with top .
The cartridge used with the Brown Bess musket consisted of a tube of stout cartridge paper, sealed at both ends with pack thread antique scroll maker . It contained six to eight drams of powder and also a lead bullet saxony flowers 1700s . antique octagon table with twelve legs . This type of cartridge had been in use for some time by mounted troops derby porcelain figurines mark r 1762 . The soldier bit off the rear end of the cartridge, squeezed a small portion of the powder into the flash-pan and emptied the remainder down the barrel art deco glass vase . He then inserted the bullet and rammed it with the paper cartridge on top as wadding antique chinese chamber pot . With this method of loading the soldier could fire about two to three rounds per minute; but the loose-fitting bullet ‘limited the range of reasonably accurate fire to some fifty yards making pottery . Various unauthorized methods of loading to ease the soldier’s task and speed up the rate of fire had been adopted with the matchlock musket at least as early as the reign of Charles I wodden chair dining table leaf design . The powder was poured into the barrel and the bullet dropped on top of it without the use of wad or ramrod antique mahogony carved dressing table . The charge was then firmed home by banging the butt on the ground winthrop china cabinet . Range and penetration, of course, both suffered double scroll legs desk art deco .
The same procedure was adopted with the flintlock, but as the powder used was fine enough to be used for both primer and charge, the private soldier, ever a genius at finding laboursaving devices, managed to eliminate another of the normal loading tasks early soft paste teapots . Having shut the pan after firing, he discovered that banging the butt on the ground not only consolidated the charge but also sent sufficient powder through the touchhole into the pan to prime the musket haviland france deco cup . The rate of fire was increased to from four to five rounds a minute, but there was a considerable proportion of misfires owing to insufficient powder reaching the pan, and the fire was horribly inaccurate wood antique tripod table glass top 1950 .
In certain circuirfstances loading with a loose bullet withoui wadding was a recognized practice, and was known as loading with ‘running ball’ antique gateleg table new york . Sentries’ arms loaded with running ball, for instance, could be unloaded by holding the barrel downwards and letting the bullet run out myott son & co blue hanley est: 1880 . If the wadding was inserted the only way of unloading was to discharge the musket gate leg table oak antique round .
Even Brown Bess, the best of smooth-bore muskets, could not compare in accuracy or speed of fire with the old English long bow greek marble console table . Colonel Hanger, in his book To d11 Sportsmen of X 814, said: ‘A soldier’s musket, if not exceedingly ill-bored (as many are), will strike the figure of a man at 8o yards; it may be even at a hundred; but a soldier must be very unfortunate indeed who shall be wounded by a common musket at 150 yards, provided his antagonist aims at him; and as to firing at a man at 20o yards with a common musket, you may as well fire at the moon and have the same hopes of hitting your object a dutch walnut and burr-walnut longcase clock . I do maintain and will prove, whenever called on, that no man was ever killed at 20o yards, by a common soldier’s musket, by the person who aimed at him antique empire table .’
In about 1841 a special test was carried out by the Royal Engineers to find out what Brown Bess could really do primevera crackle glaze bird . The results were not impressive art noveau furniture . The range of the piece was-an), thing from ioo yards to 700, according to the elevation of the barrel antique dining room table rectangle +connected double pedestal . At every elevation tried, however, there was at least a hundred yards’ variation in the possible range, and at some elevations this exceeded 300 yards bronze chair french . At iSo yards a target about twice as high and twice as broad as a man was hit three times out of four art deco writing sets . At any greater range, even with the musket fixed in a rest, this same target was not hit at all regency card table value . At a range of 2 5o yards a target twice as wide again was fired at, but of ten shots none registered a hit and no one discovered where they went goldscheider figures women . This test certainly bore out Colonel Hanger’s contention, In addition to the inaccurate shooting of the flintlock, there were always some misfires; and in a lengthy test carried out in 1834 against a percussion musket these worked out at i in 6-1pL burr walnut art deco dresser bakelit .
Nevertheless, for the close-order fighting, short ranges and volley firing of its day Brown Bess was a great weapon; and few viewed its supersession without regret
It was not till 1794 that any new pattern musket was introduced, but as this event took place during the Napoleonic wars, when firearms were at a premium, there was no question of Brown Bess being withdrawn from service antique walnut tall boys . In fact, the old musket must have been in the hands of a large proportiop of the British infantry until the reduction of the Army after the battle of Waterloo 17 century dining tables .
The modifications which were effected during this long career were comparatively few ” american card table” . The most important was the reduction of the barrel length to forty-two inches somewhere about the middle of the century islamic arts ivory inlaid wood cabinet . However, there was no immediate replacement of the forty-six-inch barrel muskets, and some of these were undoubtedly still in service at the time of the American War of Independence antique music stand london . Mr rent baroque wood carving furniture . Scurfield, irx citing the evidence of American students of military affairs for this, mentions an interesting theory as to the use of the long muskets square walnut and burr elm coffee table . He says: ‘Several such amateurs have informed me that among arms left in the United States after the Revolution are a number of extra long firelocks which they describe as “British Grenadier Muskets” wedgwood forgeries . I see no reason to doubt the accuracy of this statement, except perhaps spanish revival italian walnut trestle library table . that part of it which links the long musket with Grenadiers; although my informants were knowledgeable collectors of arms, it may be a romantic embellishment 1940s enamel chronographs .
The screw barrel has already been mentioned in connection with a pistol which first became popular in the reign of Charles 1. A rifled version of this `turn-of}’ pistol was produced in the Civil War to meet the demand for an accurate and hard-hitting short-range weapon. The barrel unscrewed at the breech, and the charge and ball were put into the chamber. The pistol took a very heavy charge, and the chamber .was about the same size as that of the modern bolt-action rifle. The walls of the barrel were specially thickened to withstand the force of the discharge. It has been suggested that these pistols were designed to penetrate the heavy armour which still appeared in the form of helmets and back and breast plates. An account which is given later in this chapter would seem to support this view.
These rifled ‘turn-off’ pistols were full-length cavalry holster weapons. In the cavalry tactics of the period, the discharge of pistols at the enemy formed the preliminary to the normal shock action. That little is heard of rifled pistols after the Restoration may be due to the alteration in cavalry tactics. Marlborough, for instance, would not allow his cavalry to use pistols in a set-piece action at all.
The demand for privately manufactured arms led to the names of some of the gunmakers of the period becoming famous for the standards of design, workmanship and precision of their firearms. William Upton of Oxford, for instance, was perhaps the best known of the suppliers of arms to the Royalist army. The Royalist headquarters was in Oxford throughout most of the war so that Upton was well placed to meet the requirements of the King’s officers. He made pistols and carbines, both rifled and smooth bore, and his arms were known for their quality.
Another famous maker of firearms was Harman Barne of London. He was gunmaker to Prince Rupert and made one of the earliest known breech-loading magazine rifles. Six shots could be fired in succession from this remarkable weapon, and one movement of a lever which formed the trigger guard successively loaded with powder and ball, primed the pan, closed the pan cover and cocked the lock.
Although Barne’s rifle was far too expensive and complicated in manufacture for adoption as a millt4ry firearm, it is worth describing, since it was the first conception in England of present-day requirements in a hand-operated rifle. It was nearly 25o years, however, before Barne’s ideas were incorporated in the personal firearms of the British Army..
In appearance the rifle was similar to a finely made flintlock piece of the period, save for some additional bulk round the lock. There are no obvious mechanical complications. Its mechanism is best explained by the method of loading, which is as follows:
(a) The rifle is held in the left hand, vertically with the muzzle upwards and the barrel towards the body.
(b) With the right hand the trigger guard is turned to the right and upwards.
(c) The movement of the trigger guard turns a cylindrical breech block. This passes vertically through the barrel, and is drilled through with a hole which is in line with the bore of the barrel when it is in the closed position.
(d) The trigger guard also moves a powder measure, from its normal position below and in front of the trigger. This measure normally communicates with a powder magazine which is in a hollow in the stock below the lock, and is thus filled with powder when the rifle is held vertically. As the measure moves a spring flap closes its aperture, and a similar flap closes the opening of the powder. magazine. When the trigger guard has turned through i 8o degrees the flap on the measure strikes the front of the lock plate, opens and allows the powder to pour down a channel which runs inside the plate to an aperture on the right of the barrel. The movement of the breech block has brought its central hole into the line with this aperture, and the powder runs into it.
(e) Meanwhile the other end of the breech-block hole ,has received a bullet from the bullet magazine. This is a tube containing six bullets communicating with an aperture in the left side of the barrel. Through this a bullet is fed into the breech block before the powder is introduced.
(f) The trigger guard is now reversed to its normal position. This movement actuates links on the inside of the lock plate which move the tumbler of the lock to full cock, and close the pan cover. At the same *time a small portion of powder for. priming is dropped into the pan.
The rifle is now ready for firing; the very complicated process of loading, cocking and priming a flintlock weapon having been performed by a to-and-fro movement of the hand, in the same way as with a modern bolt-action rifle.
J. N. George, in his English Guns and Rifles, is of the opinion that this rifle was made for .Prince Rupert himself; and he considers that support is given to this supposition by the stamped impression on the butt, of a capital ‘R’ and the figure ‘3; which might well be the Prince’s initial and the serial number of the weapon in his private armoury. Since Barne was a London gunsmith (the gun is inscribed ‘Harman Barne, Londini), George points out that if he made this piece for the Prince it must have been Wore the start of the Civil War, since London was, throughout, in the possession of the forces of Parliament.
Edmund Nicholson of London provided the same type of arms for the forces of Parliament as Upton did for the Royalists. He too was known as a maker of fine arms, and he was still making guns after the Restoration.
By about the middle of the seventeenth century the calibre of the various types of firearms had become more or less fixed, and there was little change during the whole of the time that muzzle-loading arms remained in use. These dimensions -were: x2-bore for a musket, with i42 bullets to the pound; 16-bore for a carbine, with 20 to a pound bullets; and 20-24 bore for a pistol, with 34 bullets to the pound. Muskets and carbines were fitted with fore and back sights until the reign of James II, but pistols had no sights.
The pike remained the standard shock weapon of the infantry
FIG. 47. RAPIR HILTS.
Prow the Tower Zrmotwy, London.
and was the complement of the musket, until the adoption of the bayonet. In 1645 its length was 15 feet, but this appears to have been increased to x 8 feet a short time later. The best steel was used for the heads, and the staves were of well-seasoned ash. From the head downwards they were protected for 3 or 4 inches with iron plates to prevent the heads being cut off by the swords of the cavalry. It was behind the protection of these long pikes that the musketeer retired when he had to go through the lengthy process of reloading his weapon.
There was no standard sword for either cavalry or infantry during this period; but for most of it the most popular weapon was the rapier, which had been introduced from the Con-tinent in the sixteenth’ century. It was a long, very light sword, generally with a rup protection below the quillons, or cross-piece, and often with a knuckle guard as well. The use of the rapier was so universal that even pikemen were equipped with it, though it was far too long for effective use in battle by a man who was already encumbered with a heavy pike.
A vivid description of the use of the various weapons of the Civil War is contained in a contemporary account by Richard Atkyns, a junior Royalist officer of Horse. He says:
`When we came within 20 score yards of the enemy, we found about Zoo dragoons half musket shot before a regiment of horse of theirs in two divisions, both in order to receive us. At this punctilio of time, from as clear a sunshine day as could be seen,, there fell a sudden mist, that we could not see ten yards off, but we still marched on; the dragoons amazed with the mist, and hearing our horse come on; gave us a volley of shot out of distance, and disordered not one man of us, and before we came up to them, they took horse and away they ran.
`I waited upon Prince Maurice, and presented him with a case of pistols, which my uncle Sandys brought newly out of France; the neatest that I ever saw, which he then wanted.
`When I came to the top of the hill, I saw Sir Bevill Grinvill’s stand of pikes, which certainly preserved our army from a total rout, with the loss of his most precious life: they stood as upon the eaves of a house for steepness; but as unmovable as a rock; on which side of this stand of pikes our horse were, I could not discover; for the air was so darkened by the smoke of the powder, that for a quarter of an hour together (I dare say) there was no light seen, but what the fire of the volleys of shot gave.
