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07 31st, 2009| 
FANS
All kinds of materials were used to make the hand fans so popular with our grandmothers, and many of them are very pretty things, well worth repairing.
Fans were made of ostrich feathers set in ivory or ebony; or of bone, ivory, or ebony, or of paper and silk, mother of pearl, or lace. Sonic fans have a ribbon tie running through the sticks which controls the spread, and this ribbon may be torn or very dirty. It is simple to replace the ribbon, but it will probably be threaded in such a way that the fan may be opened and shut easily without pulling or looping. Take a careful note, when removing the old ribbon, of the way the threading is done so that you can put it together properly To clean fans made of ivory, bone, tortoiseshell, ebony etc. treat as described under Ivory and Tortoiseshell.
Broken sticks present a problem if they are made of these materials, and very careful sticking with epoxy resin is the best way if you have all the pieces. A strengthening piece may be added, either of matching material if available or of clear plastic. Replace broken wooden sticks by making a careful copy. Remove the D-shaped ring at the bottom which holds the sticks together if a whole new stick is to be inserted. The straight part of the 1) is a pin through the sticks, and this will have to be taken out (see Fig. 16). If it is riveted through, file back the sides of the rivet at one end until the pin slips out. Put die new stick in its correct place. The pin should be hammered a little to lengthen it so that it can be riveted over when replaced.
Clean fans made of fabric by brushing with Fuller’s Earth. Immersion in any kind of liquid is usually inadvisable because there will be glue about which can all too easily be loosened. Painted colours on fans may not be fast and will run, or be lifted, so take care. Remove spots carefully with dry cleaning fluids such as carbon tetrachloride, or blot out grease spots as described in the section on Needlework, remembering once again that heat will melt any glue.
Mend torn paper fans as described in the section on Books, or put in whole new pieces of paper as detailed in the section on Prints and Watercolours, and revarnish with Winsor & Newton’s Water Colour Varnish if necessary. Sometimes a heavier varnish will have to be used, and Picture Mastic Varnish or Copal will match this.
Generally speaking, fans are delicate objects which need a lot of care and delicate work, as each one must be treated on its merits according to the material from which it is made.
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.
THE BREECH-LOADING RIFLE
From 1857 breech-loading rifles began to appear experimentally in the British Army. These, the first military breechloaders since the Ferguson rifle, were in fact all carbines and were issued for trial to certain cavalry regiments. There were four different patterns: the Terry and the Westley Richards, which were of British design, and the Sharps And the Greene, which were American.
The Terry carbine was made by the firm of Callisher & Terry of Birmingham and 28 Norfolk Street, London. It was a new firm, for it was only established in 1855, and the mechanism invented by the junior partner was patented in 1856. It is of particular interest in that it introduced into the British Army the bolt action, which was later to become almost universal for non-automatic military rifles. The Terry bolt had a coned head which fitted into the correspondingly shaped rear end of the chamber. The bolt was opened by a hinged handle, fitted at its rear end, which was pulled, outwards to withdraw it. When the bolt was closed part of the handle filled up the loading aperture. The bolt was held in position by rear locking lugs (foreshadowing later British practice) which bore against shoulders on the standing breech.
The Terry was of the type known as a ‘capping breechloader’. That is to say, the cartridge used with it contained only the charge of powder and the bullet, the detonating mixture being contained in a separate percussion cap. The Terry cartridge was made of nitrated paper and had a wad of greased felt behind the powder charge and attached to the base. After the discharge of the cartridge this wad remained in the breech and the following round was loaded behind it. After the next shot it was thrust forward in front of the bullet, cleaning and greasing the barrel.
The Terry carbine was a very successful weapon. It was purchased extensively by the Confederacy during the American Civil war and was known as the ‘door bolt’ breech-loader. The famous Confederate cavalry leader General Jeb Stuart had one.
The American Sharps carbine was a much earlier design, having been invented by Christian Sharps in 1848. Its most noteworthy .feature was a ‘falling’ breech block. This opened vertically when actuated by a trigger guard, hinged to move forwards and downwards; but it also fell open when the carbine was held muzzle down. The cartridge case was made of treated linen; and the breech block had a sharp forward edge which, as the block was closed, sliced off the end of this case to expose the powder. The linen was consumed on the explosion of the charge. The first models had separate percussion caps, but the later ones, including those supplied to the British Government, were fitted with the Maynard tape primer, which was rather similar to the strip of caps made for toy pistols, and which was invented by an American dentist. (It almost seems as if Maynard was more interested in ammunition than he was in teeth, for in 1856 he patented a metallic cartridge with an expanding case.)
The Sharps carbine had an interesting, if somewhat disreputable, history in the years before the outbreak of the American Civil war. The admission of Kansas as a State of the Union was the occasion of a bitter struggle between those who wished to see slave labour introduced and those who were opposed to it. In Massachusetts the New England Emigrant Aid Company was formed to send settlers to Kansas who were opposed to slavery. Many of these were established in the Kansas town of Lawrence, and here armed clashes occurred with slave-state supporters from Missouri. Considerable damage was done in Lawrence both to the homes of the settlers and the public buildings. In revenge the famous, or infamous, John Brown (depending on one’s point of view), in company with a small body of settlers and four of his own sons, seized five of the principal advocates of the slavery movement and killed them. The New England Emigrant Aid Company had supplied the settlers with Sharps carbines-, and a further twenty-five were presented on behalf of the Congregational Church of Plymouth, Massachusetts, by its minister, the Reverend Henry Ward Beecher. From this latter source of supply the Sharps carbines acquired the colloquial name of `Beecher’s Bibles’.
In 1859 John Brown, in command of a motley detachment of eighteen men, including his sons, his brother-in-law and six negroes, seized the Federal Arsenal at Harper’s Ferry, Virginia. Armed with Beecher’s Bibles they then held off attacks by the local militia, until finally forced to surrender by Colonel Robert E. Lee in command of a small force of Marines. John Brown was hanged, but his name has been immortalized in a great Union song which has become one of the most rousing military marches of all time. The far greater man who captured him was to become the brilliant leader in the field of the forces which John Brown had opposed. In the meantime, amongst the relics of this episode is a Sharps ‘Beecher’s Bible’ carbine on which is engraved the name ‘John Brown Jr. .
The Greene, the other American carbine, had an entirely fixed breech and a barrel which rotated and moved forward for loading. The breech and the barrel’were locked’ together by lugs. The principle was not a new one, and the Greene does not seem to have been favourably received; for although 2000 were bought it appears that many were never issued.
The Westley Richards carbine was made by the famous-firm, the early history of which has already been given. As stated in Chapter X111, Westley Richards succeeded his father in 1855, and the name of the firm became Westley Richards & Company. Three years later he patented his capping breech-loader carbine. The mechanism of this, though rather complicated, was the most efficient of the four carbines. The breech was opened and closed by means of a long arm, the forward part of which was hinged to the rear of the barrel. When the breech was closed the rear end of the arm rested in a recess cut along the top of the small of the butt. Raising the arm vertically opened the breech. Attached to the under part of this arm was an elongated plunger, at the forward end of which was a brass breech plug. When closed, the rear end of the plunger butted against an iron shoe, which held it in position against the breech pressure. The plunger had a little free movement ‘fore and aft’ on the arm to ease the action of opening and closing. From its distinctive arm the Westley Richards acquire the nickname of ‘Monkey-Tail’. The cartridge was the same as that used with-the Terry carbine.
The Westley Richards was far the most successful of the four carbines under trial, and in 1861 it was approved as the firearm for the cavalry of the Army. Even when n the Snider was approved for all arms of the Regular Army, it was not entirely displaced; for it was issued to the Yeomanry and was the ‘Standard carbine of the second-line cavalry for many’ years. Abroad the Portuguese Government took a fancy to it and adopted it for use in the army.
Although the cavalry now had a breech-loading rifled firearm, the rest of the Army was equipped with the muzzle-loading Enfield, or (in the case of the Royal Engineers) Lancaster. Breech-loaders were, however, already a commonplace amongst sporting weapons, and it was clear that the muzzle-loader was obsolescent. Several foreign armies were now equipped or partially equipped with breech-loading rifles. Although the American Civil war had been mostly fought with muzzle-loaders, many units in the Union armies had been equipped with Sharps rifles, and several other makes were in use on both sides. On the continent of Europe the Prussian Army had adopted the bolt-action needle gun in 1848, and its superiority over the weapons of opposing armies was evident. in the wars against Denmark in 1864 and Austria in 1866.
In 1864, therefore, a Select Committee was appointed to consider the equipment of the whole Army with breech-loaders, and to study designs for this purpose. The Committee decided that the only practicable method of doing this quickly was to select a mechanism which would permit the conversion of the Army’s large stock of comparatively new muzzle-loading Enfields. Conversion could only be regarded as an interim measure, but it was considered that the selection of the best type of breech-loading rifle for the Army was of less urgency than the provision of some form of breech-loader.
The breech-loading mechanism which was chosen by the Committee was designed by Jacob Snider of New York. The breech was closed by a block which was hinged laterally on the right, and fitted into a recess behind the barrel. To open the breech a thumb piece was pressed which caused the block to swing over to the right. At first it was intended that the Enfield cartridge with its separate cap should be used, and the cap holder and ignition hole formed part of the block.
This was not, however, a very satisfactory answer, for it introduced certain weaknesses. It was decided, therefore, to use a cartridge which incorporated its own detonator. The original Enfield lock and hammer were still retained, but in. place of the nipple the block was pierced obliquely for a striker, the head of which protruded in the part of the block which had been occupied by the nipple. A centre-fire cartridge was adopted, and a claw extractor was fitted to the breech mechanism. This pulled the cartridge case partially out when the breech was opened, and it was then thrown clear by turning the .rifle upside down.
The first cartridge used had a cartridge paper body and a brass base. This was disappointing, and finally the brass-bodied cartridge devised by Colonel Boxer was adopted. This final development took place in 1.867; but in the meantime issue to the troops of the Snider-Enfield, already modified to take a centre-fire cartridge, had started in 1865.
The story of the self-contained cartridge is interesting. The first one seems to have been produced by the inventive Genevan gunsmith of Paris, Jean Samuel Pauly, whose invention of a pellet detonator in 1812 was mentioned in Chapter X. Some time between 1812 and 1815 Pauly produced a centre-fire paper cartridge, affixed to the base of which was a metal rosette containing the detonating mixture. The paper cartridge cannot have been very satisfactory, for shortly afterwards he tried a brass cartridge. The brass, however, was too thick and heavy for the casing t6 expand sufficiently to make a gas-tight seal.
It seems likely that little was required to make a success of Pauly’s invention; and yet, surprisingly, nothing further was apparently attempted for another fifteen years. In 1831 Moser, a foreign engineer, took out a British patent for a muzzle-loader which had a needle-fire cartridge. In 1836 rem Dreyse, a Prussian gunsmith. who had worked under Pauly, produced a breech-loading needle gun; and this was the bolt-action weapon which was adopted by the Prussian Army in 1848. The cartridge was made of combustible paper, and a pellet of fulminate was inserted between the powder charge and the bullet. Fitted to the bolt was a long needle-like striker which penetrated the base of the cartridge and went forward through the powder to pierce the doonator. Though successful in action, the needle gun was a dirty weapon. The needle got badly corroded and the breech became blocked with fouling.
The next major development was the invention by a Frenchman named Houillier, in 1846, of the pin-fire cartridge. The casing was made of thick coiled paper with a base of copper or brass. - Protruding at right angles from the side of the cartridge case, and at the base end where the wall was of metal, Was a pin. This pin was struck by a hammer, which drove it into a detonator inside the cartridge. The following year another Frenchman, Flobert, produced the first rim-fire cartridge. The principle of this has been explained in Chapter XIV, and it differs little from the rim-fire cartridges which are used to-day; chiefly for -22 calibre weapons.
In 185z Lancaster, who, it will be remembered, designed the muzzle-loading rifle which had been adopted for the Royal Engineers, brought out a breech-loading rifle which took a centre-fire cartridge of his own design. Inside the cartridge case, and a short distance from the base, was a perforated metal disc. Between this disc and the base was the detonating mixture: base, disc and detonator forming a sandwich. When the striker hit the base, it was indented, compressing the detonator and causing an explosion. The flash from the detonator passed through the perforations of the disc to the powder charge. The success of the Lancaster cartridge led to the adoption of a centre-fire cartridge for the Snider,
Some years previously, probably about 1839, another Frenchman, Pottet, invented a tapered expanding cartridge made of rolled paper with a metal base. In the centre of the base there was an aperture, and on the inner side of this was fixed a chamber containing a detonator, and having a small hole communicating with the powder charge. In 1857 Pottet patented his invention, but there was apparently no machinery available to manufacture it and hand manufacture would have been too expensive.
Yet another Frenchman, F. E. Schneider of Paris, patented an improved version of the Pottet cartridge, and this was introduced into England by the gunmaking firm of Witton and Daw (the successors to George H. Daw). This was the centre-fire cartridge which was selected for the Snider-Enfield. As has already-been said, it was not a complete success. The problem was then tackled by Colonel Boxer, Superintendent of the Royal Laboratory at Woolwich, with the result that he produced his very successful modification of 1867-
The Boxer cartridge hadacase made of thin sheet brass, coiled and covered with paper, and mounted on a separate base which was a disc, first of brass and later of iron. The hollow rivet which secured the cylinder to the base was the cap chamber. Oddly enough the Boxer principle was subsequently adopted by the United States of America, whilst the present bottlenecked type of cartridge now used in the British Army originated in the 187o design of Colonel Hiram Berdan of the United States Ordnance. Department.
The immediate requirements of the Army having been provided for, consideration was now given to the type of breech-loading rifle which should replace the Snider-Enfield. Eventually,.in 1871, the Martini-Henry was selected. This rifle combined the falling breech mechanism invented by an Austrian, von Martini, and the rifled barrel with seven grooves which had been designed by an Edinburgh gunsmith named Alexander Henry.
The Martini breech mechanism consisted of a block which was hinged at its rear end, and in which was a coiled spring to actuate the striker. Behind the trigger guard was a lever, which, when it was pulled down, lowered the front end of the block to uncover the breech, extracted and ejected the cartridge case, and cocked the striker. The loaded cartridge was then inserted by hand into the chamber. In its simplicity and efficiency the Martini action is one of the best that has ever been designed, and it is still the most popular for small-bore competition shooting. From a military point of view, however, it suffered from two very serious defects. Firstly, sand was liable to jam the mechanism, and this gave great trouble in the Egyptian campaign of 1882. Secondly, it was a single-shot weapon, and it was therefore doomed once the demand for magazine rifles arose.
Another defect in the Martini-Henry was Henry’s barrel. The grooves of the rifling were deep and square cut, with the result that fouling lodged in them very readily. The bore was smaller than that of the Snider-Enfield, being only -450 instead of -577.- In spite of this the Snider-Enfield was the pleasanter weapon to fire, for the Martini-Henry had a vicious kick of a recoil.
After some experimental models had been tested in 1972, the Martini-Henry Mark I was issued to the troops in 1874. The Mark II of 1876 and the Mark III of 1879 embodied minor modifications. In 1886 a Committee, convened as a result of the troubles experienced in the Egyptian campaign, recommended certain. improvements in the rifle, including a bore of ‘402- Some experimental models were made, known as the Enfield Martini; but as magazine rifles were already under investigation nothing came of them, and they were converted to Martini-Henrys of the normal pattern and designated Mark IV.
A great student of the science of rifling, William Ellis Metford, was born in Taunton in 1824. He became a civil engineer, and at an early age worked under the famous Isambard Kingdom Brunel on the construction of the Great Western Railway. Later he went to India as a railway engineer, but returned to England when his never very robust health broke down.
Metford had been interested in shooting both in practice and theory from his youth, and after he had been forced to give up his Indian career he had more time to devote to this hobby. From notes which he has left it is apparent that he was carrying out experimental work on rifles at least as early as i85o; and in 1852 he was firing rifles at i2oo yards’ range in pursuance of his experiments. By 1854 he was satisfied that, contrary to the general belief, the expansion of a bullet into the rifling -occurred immediately after the explosion of the charge and before it started to move forward. He also discovered that the explosion caused a rifle barrel to bend, so that when the bullet left the muzzle the barrel was pointing in a slightly different direction to the original point of aim.
Metford evolved a most ingenious method of testing his theories. He fired bullets into a long box filled with sawdust, and was thus able to recover them in the condition in which they had left the barrel of the rifle. From subsequent examination it was possible to tell whether there had been any leakage of explosion gases past a bullet, and the manner in which it had taken the rifling. From such experiments Met-ford found that the common practice of constructing very deep grooving in a rifled barrel was unnecessary, and that a longitudinal bullet with a good bearing surface would not strip, or ride over, the lands even when the grooves were very shallow. He also found that the generally held theory that a bullet must be made of pure .lead to be soft enough to be expanded by the explosion into the grooves was incorrect; and that, on the contrary, a much harder bullet of lead and an alloy would do.
Metford next constructed a rifle and bullets in accordance with his ideas. The grooves were only a few thousands of an inch deep, and the lead and alloy bullet had a shallow hollow ire the base and was protected from friction by a thin paper wrapping. A great friend of Metford’s, Colonel Halford, had his own private range at Wistow in Leicestershire. Here experiments were carried out with the new rifle. They were sufficiently successful for Metford to have a special rifle made in 1865 for match shooting. This had seven grooves of a depth of four-thousandths of an inch. Armed with this weapon, a muzzle-loader, Halford, entered the-competition held by the Cambridge University Long Range Club, which included practices at i 000 and i i oo yards. To the astonishment of the many critics-of the design, Halford won the cup presented for the best score on the two days’ shoot.
Metford’s ideas had come to stay, and they were soon being copied by all gunsmiths. For military rifles, unfortunately, Henry’s barrel had been adopted before the implications of Metford’s success had been really appreciated. In due course his rifling replaced Henry’s in the weapon of the British soldier, but before this happened there was a new development in bullet design. The bore of the Martini-Henry rifle, even though considerably smaller than that of the Snider-Enfield, was still very large. A reduction in the size of the bore would allow a smaller cartridge, and this in turn would result in the soldier being able to carry a greater quantity of ammunition in his personal equipment: an important consideration in view of the increased rate of fire which would be possible with the advent of the magazine rifle. With the existing muzzle velocity of the bullet, however, its size, which was dictated by the military requirement for stopping power, could not be reduced any further. If the velocity could be increased the same stopping.power could be obtained with a smaller bullet, but the lead bullets then used were too soft to be propelled at a faster rate down the barrel. The difficulty was solved by a Swiss, Colonel Rubin, who found that if the lead bullet was encased in a covering of a harder metal it would stand up to much greater velocities.
As a result of Colonel Rubin’s discovery the calibre of British Army rifles was reduced to -303 inch in 1888, and this is still the standard for all full-bore bolt-action rifles. The increased velocity was at first obtained by using a charge of compressed black powder. In the meantime a Committee was established under the presidency of Frederick Abel, an expert in the manufacture of explosives, to devise a smokeless propellent. A solution was found in a preparation based on the discoveries of the great Swiss engineer, Alfred Nobel. It was hardened into a long cord and given the name ‘cordite’. From 1892 it was used in all Service small arms ammunition. Cordite increased the velocity of the bullet from the i 800 feet per second of the compressed black powder charge, to 2000 feet per second. This was further increased to 2440 feet per second in 1911 when a still lighter pointed bullet was adopted.
The new rifle which was introduced into the British Army in 1888 was the Lee-Metford. It had Metford’s design of rifled barrel with the ‘303-inch calibre, and a bolt-action breech and magazine, both invented by a Scottish watchmaker named James Paris Lee. Lee’s bolt is a development of the breech mechanism which had’ first appeared in the Prussian needle gun of 1848 and subsequently in the French Chassepot of 18 66. The Lee action is still in use in the British Army, and is only now, some seventy years after its first introduction, being replaced by a semi-automatic mechanism.
The function of the bolt, briefly, is to push the cartridge into the breech, close the breech, fire the cartridge, and extract and eject the empty case. The cartridge is fired by a pin which is held back by a spring inside the bolt, and which projects through a hole in the bolt-head when the pressure of the trigger releases the spring. The Lee bolt was strongly criticized by leading British gunsmiths because it is held in position when closed by lugs at the rear of the bolt. Whereas, theoretically, in order that the minimum amount of metal should be under stress at the time of firing, front locking lugs should be used, as in the German Mauser and the. American Garand. However, the Lee rear locking lugs permit the use of a separate bolt-head, which facilitates cleaning and adjustment. Moreover, the Lee action is the fastest bolt-action ever to have been devised, and its retention in the Army after the Boer war and the two World Wars is a testament to its efficiency in action.
The Lee magazine is a separate box which is inserted under the breech mechanism and held in place by a spring clip. Inside is a platform which is pushed upwards from below by a spring in the base of the box. The cartridges are inserted on top of the platform and press it downwards, so compressing the spring. As one cartridge ‘is pushed forward by the bolt from the magazine, so the spring pushes another one upwards into place. The first magazine held eight rounds of the black powder ammunition. This was increased to ten rounds when the cordite ammunition was introduced.
From 18 go a number of the Martini action rifles were given the Metford barrel instead of the Henry. These conversions were known as Martini-Metfords. Between 1891 and 1892 a large number of the Martini-Henry Cavalry carbines and. Artillery carbines were similarly converted.
In x895 the Metford barrel was modified at Enfield by reducing the number of grooves in the rifling from seven to five. The new rifle was called the Lee-Enfield. Further rifle and carbine conversions from the Martini-Henrys received this barrel and became Martin i-En fields.
No bolt-action carbines were made until 1896, when a magazine Lee-Enfield Cavalry carbine was produced. All Artillery carbines, however, continued to have the single-shot Martini action. In addition, Colonial troops at the start of the Boer war were armed with the Martini-Enfield, and the Indian Army was equipped with it until i goS.
At the time the retention of single-shot weapons did not appear as such a disadvantage as it would now; for the magazine was regarded as a reserve, and the rifle was fitted with a cut-out which slid across the magazine so that it could be cut off from the chamber. This was the normal position for firing, the rifle being reloaded by hand with a single round after each . shot. It was probably considered that ammunition supply in the field would present difficulties if the high rate of fire, which the magazine made possible, were used too freely. The comparative effectiveness of the new magazine rifles was demonstrated, however, at the battle of Omdurman. The British troops opened fire on -the charging dervishes at a range of 2000 yards and stopped them Soo yards from their position. The Egyptian and Sudanese troops, who had Martini-Henrys, opened fire at moo yards and stopped them 300 yards away.
The limited use of the magazine was found to be a handicap in the. Boer war. Once the reserve of rapid fire had been used there was no means of re-charging the magazines quickly. Lee had, indeed, invented a charger in 1892 by means of which five rounds could be loaded simultaneously. This was not considered necessary at the time but was eventually adopted as a result of the lessons of the Boer war.
The Boer war showed that fire power by mounted troops was at least as important as shock action, and the Martini carbine, with which most of the cavalry were armed, was a very ineffective weapon compared with the magazine Lee-Enfield of the mounted infantry. After the war it was therefore decided that carbines should be abolished and that there should be one pattern of rifle for the whole Army. In order to make it suitable for use by mounted troops the Lee-Enfield was reduced in length and entitled the Short Magazine Lee-Enfield (known to generations of soldiers as the S.M.L.E.). In compensation the bayonet was slightly lengthened.
