Shooting the War

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.

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Ferguson, in the meantime,, had been promoted Major and brevet Lieutenant-Colonel, and put in command of the ‘American Volunteers’, a corps of loyalists from New York and New Jersey and armed with the Ferguson rifle antique slovakia ceramics vase . The unit sailed with the expedition commanded by Sir Henry Clinton and Was present at the siege and capture of Charleston antique pembroke tble . Ferguson was then made a Brigadier-General of the Loyal Carolina Militia, and with his own corps of about ioo men as a nucleus marched into the interior, collecting loyalist recruits on the way square brass dial . On the 7th October 178o, his camp at King’s Mountain, close to the border of North Carolina, was surprised by a large force of mountaineers under the command of General Shelby value of hand painted wales china tea set . The training of Ferguson’s men did not match their enthusiasm, and after a gallant defence the majority of them were either killed or captured john widdicomb china cabinets . Ferguson himself was amongst the former 17th century imported oriental cabinet .
With the death of its inventor, the destruction of his rifle units and the capture of their armament, the Ferguson rifle disappeared from the Army antique paper mache card table . Beautifully made models for sportsmen were, however, made for many years afterwards photos of victorian sofa with zebra pattern fabric .
There is an interesting contemporary account of the manufacture of Ferguson rifles table lamps . A Mr berkey & gay american empire furniture . William Clincher records in his diary of 1776 that he visited Birmingham and waited upon Mr edmund etling glass bird . Baskerville who showed him his gun factory belgian gothic revival cabinet . He described this as follows:
‘ The Gun manufactory is pretty; the forging, scraping, and boreing, pleas’d me much;—The Rifle Guns are handsome pretty pieces, 800 are nearly finish’d on government account, at three pounds three shillings each; A Gentleman, with one of them at a distance of i So yards, shot a Ball six times out of eight within the circumference of the crown of my hat: at 400 yards he shot within half a yard of the mark antique brass table with animal legs .
EIGHTEENTH-CENTURY GUNMAKERS
The number of gunmakers in Great Britain during the eighteenth century was very considerable antique drop leaf table with leaf built in . Those of them who made military arms could be roughly divided into selmersheim .
(a) Makers under contract to the Government to supply either complete weapons or component parts arabesque vertical plate racks .
(b) Establishments which made firearms of Government pattern which were subsequently purchased for the Army middle east antique collectors .
(c) Makers of firearms designed for military use, but not of a Government pattern art deco dining table . These were primarily intended for purchase by officers, and might be of the particular gunsmith’s own design, or one in common private use chippendale knife boxes octagon .
Some of them engaged in two, or even all three, of these activities; and, in addition, made sporting arms as well regency ironstone marks blue . To name all the gunsmiths making military arms would entail the compilation of a fairly lengthy catalogue expensive antique furniture chests . It will suffice to give a few typical examples antique gaming table claw feet .
I louis xvi revival sideboard with porcelain inlays . Clarkson, who flourished as a gunsmith from m 1680 to 1730, made flintlock muskets and holster pistols for the Army under Government contract antique early american drop-leaf butterfly table . In addition, he made the box-lock type of pistol which was introduced in the reign of Queen Anne wooton chest . The lock of this pistol, instead of being mounted on one side plate with a counter-plate on the other side of the weapon to support it, had a plate on top- joined to one on each side to form a metal box lacquered furniture . The cock, flash-pan and steel were mounted on the top plate telescopic table pedestal . The barrel was the cannon-shaped screw-on type, with breech-loading gateleg table with drawers and drop leaf . This box-lock was to be popular for over loo years painted silver trays . In later years Clarkson made some breech-loading holster pistols, the mechanism of which was of the screw-plug arrangement from which the Ferguson breech was derived “table george iv” .
John Hawkins conducted a business in London from 168o to 1714, which was carried on by his son to 176o, and his grandson to 1776 epergne antique for sale . His particular speciality was a flintlock holster pistol which had a brass barrel with a bell muzzle robinson and leadbeater figure . ‘It is of interest that George Washington had a pair of these pistols which were made by the second Hawkins 18th century walnut-veneered and oak chest of seven drawers .
Another founder of two further generations of gunsmiths was James Freeman of London, the business lasting from 1705 to 1782 art deco english suburban house . Freeman also made box-lock pistols, and, in addition, muskets and holster pistols under Government contract luxury antique items .
In Scotland for most of the eighteenth century there were a number of gunsmiths of the name of Murdoch engaged in making all-metal flintlock pistols wallendorf candelabras . Two of them, father and son and both christened James, had a shop in Inverness barker brothers coffee table for sale . Some of those made by the father had the lobe-shaped butt, and he differed from his son in chasing the whole of the barrel century hepplewhite walnut card table . The pistols made by the younger James have only the muzzle chased 18 century wooden novelty pipes .
Thomas Murdoch worked at Leith, and made pistols with both lobe and ram’s-horn butts wrought iron church candle sticks . In the museum of the Royal United Service Institution are two pistols with rain’s-horn butts which have ‘To: Murdoch’ engraved on the lock plate german 1940s furniture styles . They were picked up on the battlefield of Culloden british designers dining table . They are a beautiful pair and must have been the pride of some gallant Jacobite of the ‘Forty-five sutherland drop leaf table . One wonders what happened to their owner, and if the pistols were found where he had hurled them empty at the stolid English infantry shagreen knife box .
John Murdoch had a shop at Doune french neoclassical tables . His pistols have ram’s-horn butts, acorn triggers, and are sometimes ornamented with gilt brass stock and butt 4 foot wide walnut drop leaf table . Major John Pitcairn, who commanded the British advanced guard at Lexington on the 19th April 1775, had a pair of these pistols kotahya pottery . It is supposed that with one of them Pitcairn fired the first shot of the American War of Independence mason patent ironstone china . In the struggle which followed he lost his pistols, which were subsequently picked up and given to General Rufus Putnam british antique wardrobes . Putnam carried them for the remainder of the war, and they are now at the Lexington museum nesting tea tables .
One other Murdoch made pistols in Edinburgh with the lobe-shaped butt fall-front chest of drawers .
Joseph Farmer of London was in business from 1718 to 176,2 how to repair veneer table on couch . He had a Government contract to make standard flintlock muskets and also short flintlock muskets fitted with grenade cups for the Grenadiers bureau de coene art deco . One of these latter is in the Museum of the Royal United Service Institution 19th century glass fronted cabinet . The inscription ‘Farmer 1744′ is placed vertically on the lock plate behind the cock adjustable silver candlesticks . This method of discharging a grenade was revived in the First World War, and survived to become a
standard Army weapon wardrobe of a 17th century lady . Farmer also made a double-barrelled I version of the box-lock pistol antique chamber cabinets .
Bidet, who emigrated from France, practised as a gunsmith in London from 17-21 to- 1731 antiques with plain legs . He did not make military weapons, but a sporting rifle he produced had a breech mechanism which is an obvious forerunner of Ferguson’s idea inlaid marble table lapis lazuli antique . The trigger guard was a lever turning a screw plug; but in this case the plug came right out and had a single thread harlequin painted bar . The action was therefore much slower than Ferguson’s, and the return of the plug to its seating might well be difficult in the heat of battle “perspectiva cabinet” . I trestle tables refectory . Johnson made a similar sporting rifle about 1750-B pictures of 5 drawer antique library desks and tables . Griffin had a shop in Bond Street from 1739 to 1773-Apart from the superlative quality of his arms, his chief claim to fame is probably a breech-loading carbine which will be described later 18th century mahogany wine cooler with brass feet . He also made fine holster pistols with silver mountings antique 1960’s table cigarette dispenser . Under the later name of Griffin and Tow their manufacture was continued till 1796 2009 chinese porcelain antique . The small `IG’ on a Griffin forged barrel was a hallmark of excellence countries where art deco was very popular .
William Ketland was one of the most famous of gunsmiths antique inlaid pembroke table . He started making guns in Birmingham in 174o, and was primarily responsible for establishing the town’s reputation for the manufacture of firearms 18th century writing table cabriole ball claw feet . Ketland was one of the greatest makers of Brown Bess muskets, and other ‘Brown Bess’ arms, for the Government furniture . In 176o a shop was opened antique chinese display stand dealers . in London r dubarry art deco . After William Ketland’s death one of his grandsons carried on the business as Ketland & Co angouleme guerhard . until his own -death in 1804, His brother-in-law, Thomas Izon, continued under the same name until in 1831 financial difficulties led to the firm closing american tripod tables . Old William Ketland is still commemorated, however, in the Birmingham Proof Mark imperial drop leaf antique table . In 1813 the Gunmakers’ Company of London tried to get a Bill through Parliament to compel every gunsmith to mark his firearms with the place of manufacture italian buffet furniture . The reason for this was that firearms marked `1,n don’ coiamat,ded a higher price than those made elsewhere night chamber pot . Some Birmingham makers had accordingly succumbed to temptation and put ‘London’ on their own arms pictures of yellow antiqued cabinets . The public implication that Birmingham arms were inferior to those of London make, however, annoyed the better Birmingham gunsmiths, and they formed a Guild to protect the standard of the products of their own town art deco french inspired dresser . This new Guild was called ‘The Guardians of the Birmingham Proof House’ antique campaign chair with lion paws . The proof house mentioned in the title was set up at the same ‘ time lion feet table . Ketland & Co turn tripod into table . had taken a prominent part in this movement and the proof mark adopted was an adaptation of the arraourer’s mark of two crossed sceptres, used by old William Ketland antique stores brass ashtrays made in china . The Birmingham viewer’s mark, stamped on the barrel after testing in the rough, consisted of the crossed sceptres between a crown above and a V below antique mushroom shaped table lamps . The proof mark for the finished barrel again had the crossed sceptres and crown, but in place of the V in the bottom angle, there were the letters B, P and C: the B and C being in the flanking angles and the P in the base andre hunebelle glass .
The two generations of John Richards, who covered the years 1745 to 1810; had shops in both London (in the Strand) and Birmingham for sale louis 16th walnut sideboard cabinet . They made an odd weapon, not uncommon at this period,•which was a bell muzzle flintlock pistol with a small bayonet under the stock which sprang into position on odiot tureen . releasing a spring antique clerks desk . Owing to the number of times a flintlock missed fire it probably had an appeal as providing an emergency weapon for close combat “english ironstone”+england”+marks .
One of the most famous of London gunmakers had the peculiar name of Durs Egg antique bentwood chaise . Business was carried on under that name from 1770 to x834 “alexander roux” pietra . It was then changed to D antique mahogany chippendale dining table . I meissen cris de paris . Egg (probably by a son or nephew) and lasted as such till 1865 antique oak drop leaf end table . Egg had a shop for the sale of private arms at No antique spring loaded drawer arm . x Pall Mall mid eastern style shell drawer . He had a Government contract for muskets and carbines, and made a large number of the Ferguson rifles queen anne gate leg table 18th century . In addition, he made a smooth-bore flintlock breech-loading carbine of his own design antique empire mahogany curved buffet with mirror . This was actually adopted by the Government and issued in large numbers to the cavalry towards the end of the century sheraton occasional table . It had a hinged chamber which was tipped up to receive the charge duncan phyfe buffet with legs . It had the advantage that since the chamber was loaded from its front end it could be loaded with the same cartridge as was issued for muzzleloaders antique oak and fabric dressing screen with fretwork . After loading, the chamber was lowered again and locked in position by giving a quarter turn to a steel bar which pivoted on the top of the chamber and engaged in two slots mid century antiques and porcelain tea sets .
This Egg carbine was capable of a fairly rapid rate of fire walnut veneer wardrobes art deco . To load it entailed only the simple operations, which could be performed on horseback, of tearing the cartridge, priming the pan, opening the breech, inserting the cartridge in the chamber, and finally closing the breech antique oak tables with leaves . Good as it was, however, the breech mechanism did not provide a gas-tight joint and there was thus a considerable escape of flame french clothes designers during 17th century . The reason for this was that there was only surface contact between the faces of chamber and barrel fauteuil bureau .
That such a carbine was required for cavalry use is shown by a passage from Captain Hinde’s The Discipline of the Light Horse antique wood inlayed wine cellaret . Hinde says:
`As light troops are more intended to act loose than in bodies, their principal practice should be to acquire personal address, viz escritoire antique . to manage the horse well, to use the sword with dexterity, and fire the carbine with great justness steele art deco chair wood arm rests . The proposal of Monsieur de Saxe, for loading at the breach of the carbine, seems well calculated for the fire arms of cavalry, if it will not make them too complicated (the author once saw a carbine belonging to a brother officer, made according to this proposal of Monsieur de Saxe; to be loaded, it was held firmly in the left hand, as when it was presented to be fired, and about the same place; then with the right hand the guard over the trigger was pulled back, on which the but of the carbine dropped down, hanging by a pin, and discovered the breach of it quite open; in a cartridge box he carried nine iron tubes loaded, one of which he thrust into the barrel, and directly with his right hand pushed up the butt, which made a click, and securely shut up the breach british longcase makers . On striking the lock with his hand the piece primed it self, and he fired without missing fire at any time art deco dinner service . He loaded his iron tube or cartridges without any rammer, with his finger shoving down powder, ball, and paper india old antique dining table . I think he told me Mr Griffin, gunsmith, in Old Bond-street, was the maker of it, and the officer had himself invented it, as he was a very mechanical ingenious gentleman, and an horse officer) the ramrod is apt to be lost, and at any rate is very difficult to manage on horseback, whereas a chamber with a fresh charge, could easily be introduced; but of this, the period preceding art deco .Mr Barbor, or any other gunsmith, can give the best account “art moderne” furniture . The objection of expense should not be admitted, for economy in the price of arms is, at best, very injudicious “bristol porcelain” for sale 18th century .’
The ‘Barbor’ mentioned by Hinde is probably I antique sideboard cabriole legs . Barbar who had a shop in London, from 1740 to 1780, in Shoe Lane antique ivory sofa table . The firm, however, seems to have been in existence since the beginning of the century, and to have been one of the foremost in fine decorative work marble table inlaid antique .
T tudor rose design waterfall furniture . Twigg was another well-known London gunsmith of 176o to 1780 designs for dressing table glasses . The firm was carried on from 1780 to 1783 as Twigg & Bass; and then reverted to Twigg only again from 1783 to 1813 antique mahogany card table, imperial . Twigg made Government flintlock holster pistols, and also flintlock holster pistols for officers which were of very fine workmanship art deco examples . His most noteworthy contribution to gunmaking was a number of different designs of multi-shot flintlock pistols chess table spiral legs . One of these was a seven-barrel pepperbox type of weapon, the barrels of which were rotated by hand after each shot joan klock, amsterdam, clockmaker . Some of his pistols had the under spring bayonet, which was released by sliding back the trigger guard jupe dining table’ . Twigg had a foreman named John Manton, who founded his own business at about the time Bass was introduced into the partnership antique enamelled glass . Manton, too, became a famous gunsmith, but he belongs more to the; nineteenth century and will be dealt with more fully in a later clawfoot antique lowboy . chapter 19th mahogany clerks desk .
John F satinwood commode john cobb . Probin of the Minories in London, 1780 to 1831, made flintlock holster pistols and carbines under Government contract meissen porcelain louis xiv . He also made pistols for officers, and there is, in the museum of the Royal United Service Institution, a pair made by him for General Sir Thomas Picton and carried by him in 18 r 5 antique walnut gateleg table . They have J neoclassical dressing table . Probin’ on the lock plate, and along the top of the barrel ‘Probin Maker to His R H the Prince of Wales’ delicate leg drop leaf table .
One of the troubles experienced with eighteenth-century flintlock weapons was failure of various parts of the mechanism due mainly to rusting glass supper table . Military locks were strongly made to withstand the rough usage which they inevitably experienced, but they could not be made waterproof antique porceline candle sticks . As a result regiments frequently suffered a serious loss of fire-power through draw leaf table northern furniture company . the number of muskets which were out of action owing to mechanical faults neo-rococo rockingham lamps . Rusting particularly affected the small moving parts of the lock, and the screws which held the various components together designs of arcs and pillars . The most serious breakages were the screws, for the rusted pieces were often so firmly imbedded that it was beyond the powers of the regimental armourer to remove them coalbrookdale neptune dish . The trouble caused considerable concern and gunsmiths were encouraged by the Government to offer suggestions 1800’s furniture makers .
The first to give a practical response was Jonathan Hennem, who submitted a design for a screwless flintlock musket to the Board of Ordnance on the 2nd May 1781 18th century card table . The Board appear to have been favourably impressed, for they directed `that two Musqueis be delivered to John Hennet [sic> for him to alter according to his proposal’ english baroque pottery . Arrangements were made for Hennem to carry out experiments near Woolwich, and he was engaged on these for the next two years antique meets modern furniture . Trials were apparently concluded successfully by the 18th October 1783; for on that date the Master-General of the Ordnance issued instructions to the Board ‘That zoo locks be provided by Mr imperial gateleg table . Hennem of his own Construction and that an Imprest of C70 may be granted to him towards Compleating the Order, the said Locks being found of great Utility in his Majesty’s Service’ swiss walnut art deco motif .
A short time later a celebrated London gunmaker, Henry Nock, made an apparently surprising intervention clear glass trinket boxes or powder boxes . On the 8th November 1783, he presented a bill for twenty’Musquet locks of Hannim’s Construction’, for which he charged 9s utensils used in britain for cooking . 6d paris style art deco desk . each sheraton +antique +gaming table . In view of the 18th century austrian porcelain . fact that Nock himself, as will appear later, was engaged in somewhat similar experiments he may well have taken Hennem under his financial wing leather revolutionary war writing box .
Finally Hennem sent in 400 locks, or four times the original order, and was consequently able to lower the price kedleston hall birds . Of these 400, 201 were coloured black and 199 were polished, presumably for comparative trials cedar chest genoa 16thc .
The 2oth Foot (now The Lancashire Fusiliers) was chosen to carry out trials with the Hennem locks 1900 era drop leaf gate leg table . The regiment was about to embark for Ireland on active service and it was already short of muskets; though if these were the reasons for issuing it with new and untried weapons, the former particularly seems to have been a pretty weak one art deco stemware . Anyhow, they received 308 of them, and in July 1784 Hennem was given permission by the Commanding Officer to instruct the men in the use of the locks the development of art deco . Hennem duly arrived at Plymouth only to find that the regiment had left for Ireland ming porcelains . He then obtained permission to follow it, with the proviso that his stay in Cork must not exceed three weeks fiddle shape flatware . This limitation proved, however, impracticable, for the 2oth was split up over southern Ireland in widely scattered detachments, and the roads and unsettled conditions of the time made travel slow and hazardous glass/wood art deco designs .
There was little in the appearance of Hennem’s lock to differentiate it from the ordinary flintlock bugatti furniture range . There were no screws, of course, and the mechanism was secured by pins riveted to the lock plate islamic influence 18th century . By means of a tool which Hennem called a ’spring lifter’, the lock could be completely dismantled in a few seconds antique trends .

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

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Artillery Guns of the WWII

Running parallel with this unfolding story of piercing projectiles was the development of the hollow-charge principle into a viable weapon. This illustrates the adaptation of a well-documented scientific phenomenon to a weapon of war: almost 200 years ago a Norwegian engineer had observed that hollowing out the face of an explosive charge made it cut deeper into rock when blasting. In the 1880s an American experimenter, Monroe, found that when firing guncotton slabs against armour plate, the initials ‘USN’ engraved in the guncotton reproduced themselves in mirror-like form in the face of the armour plate. From his observations and reports the phenomenon became known as the ‘Monroe Effect’ and was a scientific curiosity for many years. Just before the First World War one or two inventors toyed with the idea of employing this effect in mines and torpedoes, but since no one really understood why it did what it did, it was difficult to engineer the idea into a practical form.
Just before the Second World War broke out, a Swiss consortium approached the British government to offer a ‘new and powerful explosive’ for anti-tank use—at a high price. The inventors refused to divulge any information until cash was forthcoming, but were prepared to demonstrate their projectile being fired. An astute observer from the Research Department of Woolwich Arsenal went to Switzerland to watch the firing; being a well-read expert on ammunition development and history, he realised that what he was watching was not a new and powerful explosive so much as a practical application of the Monroe Effect. Upon his return to Woolwich he duly reported this, and, since it appeared that the Monroe Effect could be made to work, research immediately began into applying it to a light anti-tank grenade which the infantry soldier could fire from his rifle. Before the outbreak of war, this ‘68 Grenade’ had been perfected and was in production, and carries the distinction of being the first weapon ever to reach the hands of troops which relied on the Monroe Effect, or as it came to be known, the Hollow-Charge Principle.
What is this Hollow-Charge Principle? Put simply, it consists of forming the forward surface of the shell’s explosive charge into a cone or hemisphere and then lining this with a thin metal liner. The shell is then fitted with a suitably shaped nose, for ballistic effect and also to give the vital ’stand-off’ distance. This is the distance from the target—a matter of a few inches—at which the explosive must be detonated in order for the hollow charge to work effectively. On detonating the explosive at its rear end, the detonation wave exerts an immense pressure on the metal of the liner; the cone shape virtually’focusses’the explosive energy and causes the metal of the liner to be shaped into a jet of finely-divided metal and explosive gas, shooting toward the target at speeds of up to 20,000 feet per second. The stand-off distance is necessary in order to allow this jet to form and accelerate. When the jet strikes the target plate, the pressure exerted is so great as to blast a hole through the armour, blowing splinters of metal from the inside and permitting the white-hot jet to pass into the tank where it will set fire to fuel or ammunition, and, of course, kill or injure the crew.
The great virtue of the hollow-charge shell is that its performance is always the same, irrespective of the velocity at which it strikes. Even if the shell were standing still when detonated, the penetration would be the same. Because of this, it could be fired from guns too small to fire the large cartridges needed to give the necessary velocity to normal piercing projectiles. As soon as the 68 Grenade was seen to be successful, design began on other hollow-charge projectiles. A great deal of work went into producing one for the 25-pounder, though in the end it was never issued, since the AP shot issued for that gun was quite satisfactory and there was no real need for a hollow-charge shell. Then came a request from India to produce an anti-tank projectile for the 3.7-inch Pack Howitzer, the modern version of Kipling’s immortal ’screw-gun’. This gun, a small and portable weapon, could not be made to fire a piercing projectile at anything like the velocity needed to defeat even Japanese tanks, and a hollow-charge shell was designed and placed in production. The same shell was used in the 95-mm howitzer, an abortive infantry support gun which never saw service as a towed weapon, though it was employed as a self-propelled support weapon by the Royal Marines in Normandy and by the Armoured Corps.
By 1944, though, sufficient basic research had been done into this principle for it to be seen that a spinning shell was not the ideal method of employing hollow charges, since the spin tended to spread the jet out and give poor penetration. Finned projectiles were more effective, and consequently no more artillery shells were designed around the hollow charge; it was extensively employed, instead, for infantry weapons such as the PIAT, the Bazooka, and a variety of rifle grenades.
The Germans, and later the Russians, embraced the hollow-charge shell wholeheartedly. The Germans began issuing shell in late 1940 and eventually almost every German field and tank weapon had a hollow-charge shell, thus giving every gun or howitzer an anti-tank capability. Indeed, so short were the Germans of anti-tank guns after the Russian invasion got under way, that they hastily collected up all the French army’s 75-mm guns and assembled hundreds of them on to redundant anti-tank gun carriages of German design. A hollow-charge shell was produced and these makeshift weapons were deployed in Russia to stem the advancing Soviet tanks until 75-mm and 88-mm anti-tank guns were in sufficient supply. Judging from appearances, the Soviet hollow-charge shells were developed as virtual copies of German designs which had been captured.
In addition to artillery shell Germany also used the principle for infantry weapons such as the Panzerfaust, rifle grenades, and even a small shell which could be fired from a signal pistol. They also employed the principle in an ingenious attempt to prolong the life of the prewar 37-mm anti-tank gun, whose piercing projectile was, by 1942, no longer effective against current tanks. A large hollow-charge bomb was fitted with a hollow tail carrying fins; within this tail was a stick which fitted snugly into the barrel of the 37-mm gun, allowing the tail and fins to slide over the barrel. A blank cartridge completed the outfit, and this was used to fire the stick bomb to ranges of 300 to 400 yards. The bomb’s warhead was about 6 inches in diameter and carried about 8 pounds of explosive, giving a devastating effect at the target. In all fairness, it must be pointed out that Lieutenant-Colonel Blacker, inventor of the PIAT and the `Black Bombard’ of Home Guard fame, had proposed a similar 60-pound stick bomb in 1940, to be fired from the 25-pounder, but the idea was turned down on the grounds that it might lead to misemployment of the gun as a purely anti-tank weapon. (This misemployment theme was not confined to the British side: many German Flak commanders bewailed the loss of their valuable 88-mm Flak guns as they were whittled away to provide anti-tank defences.)
The third subject is the application of new principles to gun design. The first of these to be unveiled was the taper-bore antitank gun, which has already been touched upon. This was the child of a German engineer called Gerlich, who, advocating his principle of attaining high velocity without attracting any buyers, had been stumping the world for several years. He was briefly employed by both the US War Department and the British War Office at various times, but his ideas on improving shoulder arms were felt to be impractical. He eventually settled in Germany and saw his idea accepted as an anti-tank weapon. The 28/21-mm came first, then a 42/30-mm and finally a 75/50-mm. Unfortunately, the lack of tungsten carbide for the special projectiles spelled the demise of these weapons, but experiments continued with coned bores and coned muzzle-adapters for guns of various calibres up to as large as 280-mm, in order to boost velocity and range. These were intended to use high-explosive shells, which were more practical in the larger calibres, though the development of a shell which would stand up to being squeezed down the gun barrel was no easy task.
The second, and more widespread, new line of thought was the recoilless gun. Like most weapon ideas, there was nothing really new about it: Commander Davis of the US Navy had produced a recoilless (RCL for short) gun during the First World War which was adopted by Britain as an anti-Zeppelin aircraft weapon. The virtue of an RCL gun is that by having no recoil one needs no complicated hydraulic buffer system to absorb the firing shock: one need only make the gun-carriage strong enough to take the weight of the gun, instead of being strong enough to withstand being fired from—an ideal state of affairs for an aircraft weapon, particularly in the stick-and-string era. Davis’s idea is worth looking at, although outside our time scale, since it is the classic recoilless weapon. He simply provided the gun with two barrels, one pointing forward which fired a normal shell, and one pointing rearward which fired an identical weight of grease and buckshot. When the central cartridge was fired the shell and countershot departed at equal speed in opposite directions and cancelled each other’s recoil. From this it can be seen that if you make the countershot (say) one-fifth of the weight of the shell and fire it out at five times the speed, then the gun will still be in balance. Taking this idea to its logical conclusion one finishes up firing out of the back of the gun a fast, light stream of gas, still balancing the recoil since the weight times speed of the gas is the same as the (greater) weight times (slower) speed of the shell.
Cutting down the recoil
This was the principle which the Germans revealed in Crete when their troops appeared armed with a 75-mm RCL gun. The shell was the standard 75-mm shell, but the cartridge case had a frangible plastic base which held for long enough to allow pressure to build up and start the shell moving, then blew out through a hole in the breech-block, releasing the balancing stream of gas. The all-up weight of the gun, on its ex-machine gun tripod, was only 320 pounds, whereas the weight of the standard 75-mm field gun was about 11/2 tons—no mean saving for airborne carriage. A 105-mm version soon followed, weighing 855 pounds as opposed to the 105-mm 1E FH18’s 4,312 pounds, and many more developments began in this field to provide light weapons for mountain troops and infantry, particularly for anti-tank use. (It ought perhaps to be pointed out that the Panzerfaust was in fact a recoilless gun, and not, as generally supposed, a rocket launcher). Eventually RCL guns of up to 380-mm calibre were under development, including many for slinging beneath aircraft to carry artillery aloft for the battle against the Allied bombers, but none of these came to fruition.

n Britain, the RCL gun development during the war is a scarcely-known story of one man’s persistence. Sir Denis Burney, airship designer and prolific inventor-engineer, began to be interested in the recoilless principle early in the war. In order to prove his theories he converted a four-bore gun into a recoilless weapon and proceeded to fire it from the shoulder with ease; it must have been the world’s most comfortable duck gun. Having proved his point he proceeded to design a series of RCL guns ranging from 20-mm to 8-inch calibre. In addition to designing the guns, he expanded his theories and designed special ammunition to take advantage of the ballistic peculiarities of the weapon. He argued that since the rearward blast was taking place, the pressure within the gun would be less than with a conventional type, and the shell would be subjected to a more steady thrust. In which case it would be possible to make shells with thinner walls, which would carry greater charges of explosive than previously possible. He then went further, and reasoned that, since the shell walls were thin, if the shell were to be filled with the then new plastic explosive, it would spread on to the surface of the target like butter; a fuse fitted in the base of the shell would then detonate this plaster and blast in the target. His envisaged target was either the concrete emplacements of the European coast, or the palm-reinforced Japanese bunker, and he called his shell the Mal I buster’.
In 1944 his designs were accepted and a 3.45-inch (the same calibre as the 25-pounder) shoulder-fired gun, a 3.7-inch towed gun, a 95-mm towed howitzer, and a 7.2-inch towed howitzer were prepared for production. The 95-mm was also jeep-mounted—the first application of what has since become a standard method of carrying these guns. The 7.2-inch soon fell by the wayside, since it had been intended solely as a means of defeating the Atlantic Wall emplacements, but other weapons were found to do all that was needed. The 3.45-inch was intended as an infantry weapon in the jungle, enabling one man to carry what was virtually a 25-pounder punch on his shoulder. The 3.7-inch was proposed as the future infantry anti-tank weapon, and the 95-mm was contemplated as the airborne field gun to replace the US 75-mm howitzer and the 25-pounder. However, before the guns were produced in sufficient quantity for issue, the war came to an end; some 3.45-inch and 3.7-inch guns were issued to selected infantry units to obtain their reaction to RCL guns as a general thing, and the 95-mm was abandoned altogether.
The principal difference between the Burney guns and the German type was that the Burneys had much longer barrels, and used cartridge cases which, instead of the plastic blow-out base, used many perforations in the sidewall to release the gas into a surrounding chamber, from whence it was passed back to a number of vents around the breech.
Concurrently with Burney’s work in Britain, American designers began on similar weapons. A 105-mm howitzer T-9 was developed on similar lines to the German 105-mm, having a blow-out base to the cartridge. Another team developed 57-mm and 75-mm weapons which used perforated cases similar to the Burney pattern but having more and smaller holes, and also had the shell driving band pre-engraved in order to reduce the pressure inside the gun. Both these latter weapons were accepted for service early in 1945, saw service with the US Army in the Pacific theatre, and remained in service for many years. A third team, this time under the auspices of the National Research and Development Council, developed a 4.2-inch RCL mortar, an unlikely-sounding weapon which so as to be able to fire direct at the target at low angles, carried a small rocket on the nose of the shell to push it down the barrel’and fire the propelling cartridge in the usual mortar fashion. Due to the blast of the rearward jet, it could only be fired at low elevations; there was a certain amount of enthusiasm for this weapon but it never entered service.
Perhaps the best summing up of all wartime development on RCL weapons was made in a wartime report: ‘Undoubtedly a number of effective recoilless weapons have been developed, but they are being accepted with reserve, and will only be considered as supplementary to older and more orthodox weapons which have proved their accuracy and reliability in service.’
There is, unfortunately, no space here to delve into more recondite stories of research and development: the British 13.5-inch gun linered-down to 8-inch calibre which, fired from Dover, reached a range of over 100,000 yards; the British and American development of flying artillery, which culminated in the mounting of a 32-pounder anti-tank gun in a Mosquito; the German V-3 multiple-chamber gun which was intended to shell London; the American 36-inch mortar ‘Little David’, designed to batter Japanese strong-points; the German rocket-assisted and ramjet-assisted heavy artillery shells which promised vast increases in range; or the Anglo-American development of the electronic proximity fuse which proved the answer to both ‘Doodlebugs’ and kamikaze pilots. These and similar stories may only interest the specialist, but they, together with what has been written here, serve to illustrate the incredible range of inventions brought into play in the war waged between the designers and inventors of each side, each endeavouring to get one step ahead of the other, if only temporarily.

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