Alex Hinman at UCV

Once again this year, Lloyd Johnson had organized a demonstration of traditional blacksmithing techniques over a later April weekend at Upper Canada Village in Morrisburg Ontario. This event typically draws about 30 observers, and one of the bonuses is that it's location to the far east of Ontario means a number of blacksmiths from the Montreal region of Quebec also attend. For the 2026 edition, the featured demonstrator was Alex Hinman from Colonial Williamsburg, Virginia. Colonial Willamsburg (CW) is the largest living history site in the USA, which focuses strongly on the American Revolution of 1776. In this the background cultural set, objects, and interpretive presentations are very clearly American Colonial. Alex is one of the principle blacksmiths at the site's re-created Anderson Blacksmith Shop, having come up through the apprenticeship program at CW. The type of work most normally seen in the Anderson shop is production of functional reproductions of more common domestic items as would have been in that shop historically. Work involves coal fires with bellows air, and extensive employing of sledge hammer strikers. The shop is equipped with one forge most typically used for public demonstration type work, with two other forges assigned to more exacting object creation.

Please remember that what follows are my own perceptions and (failing!) memory of what I personally observed. There may very well be errors in these descriptions! Many of the detailed expansions given here were aspects Alex himself provided in discussions.

Alex's physical demonstration centred on the production of three common garden tool objects, well documented in historic catalogues and with physical artifacts. These were a 'Plantation' Hoe, a socketed 5 tine Rake, and a Line Reel.

Importantly, these replicas were all forged from wrought iron, the effective working of this material becoming one of the most significant part of the demonstrations. An important observation for those not familiar with antique wrought iron – it works over a wider range of temperatures than normal with mild steel. Rather than the typical 'bright orange' effective for modern steel, iron needs to be started hotter, often up to the welding temperature. This difference in correct working temperatures means that the time required for the heating cycle usually increased. It is not unusual for cracks to develop along along the encased slag filaments, and the quality of the material certainly varies piece by piece (and sometimes within the same bar).

He would start his demonstration with illustrating simple (?) nail making, this using 1/4 square mild steel. At CW this is actually the standard demonstration object on the public presentation forge, normally carried out by the newest apprentices. (Because of the massive visitor load at CW, the conversation is provided by a second interpreter.) Along with the importance of nail production to the growing Colonies (especially after cutting links with England) Alex pointed out that this was a good light weight task to warm up with physically. This section would include a discussion of the details of the nail making header he used, and various potential construction methods for these tools. One significant detail is that the header used has a slightly domed top. This feature makes it easier for hammer blows to spread the metal towards the edges of the wide head. The square hole on this tool was punched from the bottom upwards, so the smallest diameter was at the top side in use. (This reversed from the shape of much earlier historic heading tools I was familiar with.) During this, in light of questions and further explanations, Alex started to reveal a depth of research and wide knowledge beyond the technical, into the implications of even something as seemingly simple as nails in that Colonial American context. An example he gave was that the standard for a trained, full time, Colonial nail maker was converting 100 lbs of prepared nail rod into 97 lbs of nails, an expectation of only 3% loss in the working.

In the first of his main demonstrations, the Plantation Hoe, Alex would start from a longer piece than required of 2 x 5/8 inch, about 8 inches in total would be used. The first step here was notching and necking in back from the end of the bar, the part that would eventually be formed into the socket.

It was during that work that Alex introduced us all to the 'Williamsburg method' of calling a striker to task at hand. Two ringing taps on the horn was the signal. Alex explained that the ringing sound carries though the busy multi-forge Anderson workshop, despite the observing crowds. Unlike most of us watching, working with strikers is standard there (where many of us work alone, or employing powered hammers or presses). Taking turns at various times as strikers were Josh Koss (seen with Alex below), Megan Carter, and Piper Yorke. (The 'who's up first' confusion was a source of amusement to those watching – but themselves not bold enough to step up.)

 

The very rough steps of forging this object were :

• Once notched, the end of the rectangular bar was drawn down (largely on the base of the horn) into roughly 1 x 1 inch square by 4 inches long.

• The part of this portion of bar closest to the original notch was then spread at 90 degrees to the line of the source bar. This would form the eventual eye of the hoe. As the material was thinned, it was pushed to one side, so there was a straight line down from the wider source bar towards the end.

• The nub of material remaining at the very end was then also flattened, but this in the the same plane as the starting source bar. This would form the tab that would be welded back on to what would be the underside of the final hoe.

• The tab was forge welded in place.

• Then the eye is correctly contoured using a bick and suitable mandrils into a swage block. The widest part of the conical eye is to the bottom side of the hoe. (This allows a simple friction fit over a natural branch handle, thus requiring minimal working of the wood used.)

• At this point the hoe is cut at the eventual blade end from the parent bar. (If my drawing is correct?)

• A V shape, wide side roughly the same width as the eye, and point towards the blade end, is fullered in. This will create the central re-enforcing rib.

• Now using cross peen strokes the blade section is thinned and spread in several directions : backwards towards the eye to create the top corners, sideways to create the width of the blade, forwards to thin towards the cutting edge.

  

  My own rough notes on the working methods

  
  

The piece was roughly finished by pulling the blade to the desired tapering thickness, then using a flatter (again via a striker) to smooth that surface The hoe was completed by drawing a short bevel for the working edge.

With a question about use of a welded 'steeled' edge, the deeper topic of plain iron versus steeled and hardened edges, and how that related to Colonial economics, was discussed.

 

Completed (rough forged) hoe - Canadian nickle for scale

The next demonstration project was the production of a five tine and socketed rake. All the elements were created from the same 1/4 x 3/4 inch stock bar. The first part of this process was separately making the three teeth that would be fitted into the main body bar (the last two of the five would be drawn from the ends of the bar). It was as these teeth were formed that Alex exhibited a level of control that was as certain as it was subtle. 

- Working off the end of a longer piece of rectangular stock, the first step was to shoulder in near the end of the bar. This was done by pinching the bar between the back radius edge of the anvil and the cross pean, rather than using a pinch shouldering tool. If you have done this method, the matching of stokes with the cross peen needs to be exact – which Alex performed cleanly and quickly each time.

- The nub at the end of the bar was drawn out to a short square shaft, keeping the original thickness of the bar. This would form the tendon for eventual joining of the completed tooth to the bar.

- The shoulder was then squared up by forcing the bar downwards into a punch plate tool.

- A short section of the bar was then cut off, after the length measured via a caliper. (This would allow Alex to have all his starting pieces at the same length for the remaining teeth.) It was pointed out that the cut should be to roughly the same half way depth into the bar from both sides. This collapses the wrought iron grain equally.

- The short piece was then drawn to a point, again maintaining the starting thickness (so collapsing the width only). This work was done primarily over the base of the horn, again to speed the drawing process.

- The last step was to gently curve the completed tooth.

The next teeth would be formed the same way. Alex would check the distance of the separating cut via the set caliper each time. As the next teeth were formed, again the high level of control was illustrated, as each of the next two teeth would be virtually identical to the first. The only comparison I saw Alex make to the first was confirming the curvatures matched as completed.

- (As I remember?) The next step was to pull out the two ends of the main bar into similarly sized and shaped teeth. These would point upwards towards the same edge of the long bar on either end, again formed to match the contours of the earlier teeth. At this stage these are left in the same plane as the flat of the bar. The end teeth are then measured against the others, and the length marked to indicate where eventually these would be folded over.

- One of the separate teeth would eventually be fixed to the centre of the rake bar. The remaining two then will be placed half way between centre and the later end tooth fold. The 1 / 4 point was marked, and square holes punched at those positions. These would be drifted open to match the size of the square tooth shank. One of the reasons to drift open a smaller hole was to distort the iron grain around the hole, rather than cutting the fibres. The swelling from this process would be reduced by hammering down on the bar edge at the hole, with the drift in place to prevent the hole from collapsing.

The next part of the process was to create the separate conical socket for the rake handle. The end of the same stock bar was both flattened and spread (cross peen work) into a thin conical shape. It was during this process that Alex would encounter a problem so familiar to anyone working with wrought iron, fractures when working the end portion of a bar especially with aggressive flattening. Often these fractures make cracks with diagonal cross sections, so an attempt at welding from one edge downwards just ends up making further splitting. An excellent solution to this was demonstrated (see the illustration) :

• intentionally forcing the edges downwards, causing the splits to open up slightly and the diagonal edges to slide over each other

• generously fluxing the splits, bringing to a welding heat

• quickly welding the overlapping splits flat, (hopefully) resealing these cracks

There was a wider discussion from a question : “What would they have been using for flux.” Alex pointed out that borax, used by modern blacksmiths, was also available and widely used in Colonial America. This would have been imported, through England, with the initial source being Turkey. Mention was made of fine white silica sand, often seen in English historical method. A 'backwoods' substitute also known was grinding up the clay nests of mud dauber wasps (because of the very fine particle size).

Once the desired spread of material was created (as Alex pointed out: ' *3* times the desired *interior* diameter, plus a bit for the overlap when welding - pi is for math class.'), the triangle was peened down into the grooves of the swage block. This form would be completed by again forming into the swage block, now working against suitable pointed drift. Alternatives to this were suggested, including using the front step of the anvil. Alex explained that the Colonial anvils run straight from the table on to the horn however.

• At this point the cone was cut from the stock bar, leaving a short nub that would eventually become the welded joint to the rake bar.

• The cone was carefully brought to a welding heat, then quickly pushed over a bic, and the two edges welded to close the shape.

• once completed, the nub at the apex of the cone was flattened, thinning towards the edges all around.

• Both the centre of the rake and this formed tab were then brought to welding heat. Again, a process taking some care given the differing thickness of materials. Alex then quickly (and seemingly effortlessly) laid up the two separate pieces for the initial weld. This initial tack weld was repeated to ensure the edges were correctly sealed and blended, then the socket slightly adjusted for square and ideal handle angle

Next the two teeth on the ends of the rake bar were bent down to 90 degrees. Each of the three remaining teeth had their posts trimmed to ideal length, then each was held in the post vice. Laying the rake bar over the post, this end was peened down to secure the tooth. Some final adjustment was made to ensure the individual teeth lined up and were square to the bar, and the rake was complete. As finished, the rake was roughly 12 inches wide

It was during the forging of the rake that Alex would point to the usefulness of his 'side clip' tongs. He pointed out (and would frequently show) how this style was actually more versatile than the full box jaw type. 

It was during the creation of the socket that I noted another tool related fixture seen in the Upper Canada shop. As mentioned, the curving of the socket was done by forging down into a swage block. The shop is equipped with a stand formed from a number of pieces of 4 x 4 lumber strapped together. The timber is sized so that there is a lower slot in the centre, this slot of a width and depth that allows the block to be positioned vertically placing the scalloped edges at working height. The side pieces stand up so the block can also be held horizontally, with curved L shaped brackets on the corners securing it in place. 

 

The last object demonstrated was a line reel, used in Colonial times to lay out garden rows. The version made was only roughly like the historic illustration below. The construction of the illustration is riveted, where Alex would make the frame of two pieces forge welded together. (I have to fully admit that my description here is less precise, as with my own early packing up and then leaving before completion Sunday, I missed chunks of this demonstration. So the description here not necessarily in the exact forming sequence)

 

The version made consisted of two main pieces, a rectangular frame with curved sides, mounted to a long central spike. The frame element was formed from 2 lengths of 1/4 x 3/4 x 15" long, and the spike element 20 " of 1/2" round, all again of wrought iron.

The two basically identical L shaped frame pieces were created first :

- The mid point of the flat bar was carefully marked.

- A short tab was flattened on one end.

- One of the sides, from the mid point, was flattened, to about double the original width (so to half the thickness).

- This portion would be given a curve in cross section, by peening into the on hand swage block groove.

- The exact centre of the remaining flat bar side was measured, then a round hole was punched and drifted. Again the swelling of the bar was straightened by leaving the tapered punch in place while hammering down on the edges.

- At the junction between the still straight side and the contoured side, the bar was folded back on to itself and then this seam welded for about an inch.

- Next the contoured side was folded back into the desired L shape, then slightly curved into a bit of a crescent (not flat sided as in the illustration above).

This process was duplicated for the second frame element Then the first corner of the two L shapes forge welded to make a box like form – still left unconnected at one corner.

The next component to create is the central stake :

- First one end of the round rod chosen is drawn out to a long tapered square profile, to a sharp point.

- Using experience to judge what was required for the rough finished length required, the round rod is necked in slightly, once again by careful pinching of the bar over the radius on the far side of the anvil.

- From this point, the bar is drawn down into an even round profile, to a length slightly longer than the distance from top to bottom of the frame. This was checked for easy fit into the two punched holes in the frame.

- Next a small rectangular piece of bar was prepared, roughly 1/4 thick by about 1/2 inch wide, that will form an integral washer that eventually the lower frame will sit against.

- This was cut from the stock bar with slightly slanted cuts, one from each of the two sides. ( / \ )

- This piece was then curved via a groove in the swage block. The prepared central spike element was laid over the resulting U shape, at the place the shift in rod diameter had been formed, then crimped down tightly against the rod. Alex explained the logic of the mirror image diagonal slices, which would ride up over each other as the 'washer' element was welded into place – rather than butt up against each other, creating gaps.

- Welding this washer into place was the next step. Although you had to be paying attention to see this, he started close to the place the two angled ends overlapped, rotating as he welded, again into the groove. Even with light and quick blows, the washer piece would enlarge slightly, but this would just cause the angled ends to slide over, finishing the weld without a gap.

I would miss the final assembly of this object. Alex was discussing the importance of ensuring the various parts of the forming had to be checked for correct fit, shaping and measurement had to be checked and modified if required before the final open corner was welded together to complete the frame element. The very last step would be peening over the very tip of the central rod to hold the two pieces together – but at the same time ensuring free movement of the rotating frame.

One important addition to the demonstrations was the ability to examine a number of artifact samples of all three objects. These were provided by Alex and also drawn from the (infamous?) Lloyd Johnson Study Collection. One of the aspects of aged wrought iron objects is that weathering often exposes the grain lines. These can inform about the forging processes used, especially things like welding folds and if steeled edges were applied. Along with various samples of various individual's current work, these samples were available for inspection and discussion over evening conversations.

Films referenced during demo

From Alex : “Good evening gents, I know I referenced a lot of historic film in my demo and just wanted to share some of the references.”

Albert Craven, blade forger:

https://youtu.be/UeWH7xEOv_E

Forging surgeon's scissors:

https://youtu.be/xL-VPhZKdeM

Czechoslovak Nailers:

https://www.youtube.com/watch?v=Nma4R8izg9o

Belgian nailers:

https://www.youtube.com/watch?v=3WNvWmQ_ldE

Patterson's spade mill: 

https://www.youtube.com/watch?v=Yu8BGHC7jeA

German file cutters:

https://www.youtube.com/watch?v=JiE3eyMS4Z4

Iranian wire nipper maker:

https://www.youtube.com/watch?v=8LOl0zKcl5s

Pioneer Axe:
https://www.youtube.com/watch?v=Qr4VTCwEfko

Swedish iron puddling and rolling:

https://www.youtube.com/watch?v=z1RSTrGV0NM

Thanks to Lloyd Johnson for providing the starting stock measurements, and suggesting details on the aspects of working with antique wrought iron.

Alex Hinman provided the reference images from late 1700's agricultural implement catalogues. Other images and drawings by the author.

Darrell Markewitz / the Wareham Forge

This article remains copyrighted – please request specific permission before re-printing.

see : https://www.warehamforge.ca/copy.html

This article was created at the request of Lloyd Johnson. It was submitted for the Summer issue of the Ontario Blacksmith's Association quarterly publication The Iron Trillium (in good time), but never included. 

History in the Dark - Canadian Museum of History

 I had traveled to Ottawa in later February to give some lecture segments at a local SCA (medieval) event. I took the opportunity to add any extra day to the trip for a visit to one of the many museums in Canada's capital. I had considered both the Diefenbunker, the War Museum, or the Aviation & Space, none of which I had seen before. Truth was I really was hoping to see something that would lead so some artistic inspiration (but not the kind of thing likely at the National Gallery).

So I chose to go back to the Canadian Museum of History, located just over the bridge in Hull.

Now I have not been to what was once the Canadian Museum of Civilization for over a decade. I was well aware, through my contacts in the archaeology community, of the re-engineering of the museum's research, programing and presentation under Steven Harper's government from 2012 -2017. 

As someone fairly familiar with the general sweep of Canadian History, I was extremely displeased with the what had been done.  

It is clear that simple politics has shaped what has been included and how it has been presented.  

The old presentation included simulated room settings to display objects. These started from the impressive West Coast First Nations hall, with timber building fronts and totem poles. As you moved into the modern era, there were recreated street scenes and individual buildings. All used to situate objects in context. A highlight for me was the use of living history staff, mainly working as 'animators', ie presenting set piece historic based and scripted presentations, followed with more free form public interactions. Overall the lighting was bright and the spaces airy. 

As an important aside here, regular readers are aware that I have significant bias here. I have worked as a living history interpreter at a number of Settlement Era sites. I have made many replicas and reproductions for both static and interpretive presentations, plus worked as a consultant on a number of traveling exhibits. Most significant is my creation of the 'Norse Encampment' program for L'Anse aux Meadows NHSC, and my long association with Parks Canada for that site.

 

The new presentation is dimly lit, overall the feeling is being in a dark shrine to the past. 

A very carefully selected and limited view of the past as well.

 

The front public spaces now only contain First Nations related objects, primarily major modern sculptural works. Yes, I agree that these are impressive and important pieces. There had originally been a 'European' based diorama as well. This being a representation of the first landing at Vinland by the Norse, with two figures and a detailed replica of a small boat and associated goods. 

This is gone now, who knows where all those pieces ended up? Sorry Mr. Harper, my feeling is that First Nations are being shoved forward, as a tossed bone showing 'see, we know you were here first' Especially since it is the monumental scale *contemporary* work of First Nations ethnic artists being featured to exclusion.  (The fact that "Indigenous peoples, including First Nations, Inuit and Métis" are given free admissions, while all others pay any day but Thursday or Canada Day, kind of re-enforces this.)

" The galleries on Level 1 of the Museum present exhibitions relating principally to Canada’s First Peoples: their histories, cultural identities, artistic expressions and traditional and contemporary ways of life.

On Level 2 there are three galleries devoted to changing exhibitions. Some of these exhibitions are designed by the Canadian Museum of History; others are produced by Canadian as well as international institutions.

The Canadian History Hall is located on levels 3 and 4. This exhibition traces Canada’s history from the dawn of human habitation to the present day. " (quoted from the CMH web site)

A couple of key notes to that description:

Take a look at the allocation of space, via the Museum's printed guide. 

Level 2 also contains the IMAX theatre, the gift shop and significantly the Canadian Children's Museum. Which you should note is not even listed as containing 50% of level two in the description above. 

Level 3 and especially Level 4 are reduced in raw size over the lower levels. The combined exhibit space is about equal to that on Level 1.  (I freely admit that I was getting burned out by the time I got to Level 4, which is 'Contemporary - post 1914', and did not view that. That gallery was brightly lit.)

The Canadian History Hall starts with the Norse in Vinland. (French first, then English, so reduce what you see in half for duplication.) One Panel. Kind of...

Objects? 1) a pile of wood chips, 2) a pile of iron smelting slag. There is absolutely no description or explanation of why either of those fragments mean anything. There are no replicas of the two most significant artifacts, the soapstone spindle whorl or the (diagnostic) bronze ring pin. (There are lots of other replicas other places.)

The next case is 'Arctic People's First Interactions with Europeans' 

Object #8 - number tag is 1cm

Sorry about the image quality, shooting in the dark (see below)

The objects presented include about half that are actually of Greenland Norse origin. It is significant that the objects are actually described as being found in Arctic People's sites, so this origin is hazy at best. Especially the difference between object 10, actually of Arctic People's creation, (and highly significant) and the other two iron artifacts, reworked from broken European objects. (That knife badly photographed as #8 was clearly to my eyes a broken spear tip.) This major technological difference is completely glossed over.

As you proceed through Post Contact Canada, roughly equal space is given to objects from French and English European origins, and those used by First Nations. 9 about 1/3 ?) Primarily these are 'memories of the Rich and Famous' (you know : 'pocket watch of the first Governor of Quebec' ).

Again, Mr. Harper? I understand that you want to ensure that everyone remembers that Six Nations on the Grand River also fought in the War of 1812. But the CMH has already given over roughly 50% + of the total exhibit floor space to exclusively First Nations culture and history via Level 1. 

Looking at the First People's gallery...

Although I do understand there is a simple collections / preservation problem with First Nations materials. The bulk of the objects on display in the First People's Hall, if actually 'historic artifacts', are late 1800's dated. The bulk of these are, as expected, wood or plant material. Many objects are in fact of completely modern creation, and made by First Nations artisans. These are most often not listed as 'replicas' or 'reproductions' however (1) They are simply credited to the artisan with the actual production date. 

Double images on object descriptions from shooting through glass

Note the complete lack of any detail here. This does say 'model' (one of the few so described). Is this life sized? What is it made of? What is the history behind this? Fish trap used how? What is 'Haisle' (a Nation, a Location?) Without proper context, there can not be understanding.

Another bias point. When I was researching 'What Dreams They Had' I ran into a huge problem deciphering the difference between 'traditional' / historical / ancient. Too often 'traditional' came down to 'what my grand mother told me' - with no appreciation that what was done 200 years ago could possibly be different, Much less 600 years ago = pre-European. 

I found too often the background for objects in this gallery, when presented, completely missed this quite important difference between what is well understood to be a shattered 'tradition', an a possible difference in historic practice. To be fair, the overall gallery presentation is attempting to illustrate material culture within separate regional Nations.

I do understand that museums hand over much of the control to the presentation of their collections to graphic designers, who often have little to no understanding of the objects they are presenting. Drama is more important than clarity all too often. The average viewer does not read beyond a couple of words. Context is only provided by loose groupings of objects, often shoved together for effect more than historic realities. Overall I found much of the First Peoples Gallery suffered from this stripped down information. Especially with simple things like functional objects. Why is that basket in any way different than the last basket presented?

What are the materials used here? What source? Not given on the label!

Shooting in the Dark?

Look, I understand that at least SOME of the objects include paint or dye. Somewhat reduced lighting should be expected. But the First People's and History Hall Level A materials were in the dark. Most especially the 'West Coast Nations' materials. From an artistic standpoint, these were the only materials on display that caught my design eye. Below I will show the images as shot - and after considerable modifications via photoshop. (1) Note that this selection is from objects that particularly struck me as possible inspiration points for my own future work in one way or another.

Painted, this one of the better lit objects!

 

This was so dark, I could not get a usable image of the description.

'Headdress', worn like a helmet

 

It is hard not for me to assume the whole purpose of the near darkness used in the West Coast Nations section specifically was to create an intentional 'shrine' like atmosphere. I noticed anyone attempting conversation was speaking in hushed or whispired tones. Why?

Now of course I had my drawing book - and did make my own scratch drawings of some of these pieces.

If I am feeling generous, I may undertake a second blog posting illustrating some of the other objects that caught my eye...

 

1) The only thing I studied at all four years of art school was photography. The camera used here is a 2008 Olympus E-300 (8 mpx) with a 3.5 aperture lens. Most of the exposures were hand held (braced against the case where possible) from 1/8 - 1/4 second exposures. I freely admit my hands are not as steady as they once were. But that does not account for the lack of light to enable even vaguely correct exposures.

Trapped on the Tide

 

Isle of Skye

I had always thought of  crabs as little organic tanks, just needing a gun sticking from below their eyes. I had messed with the concept back in art school, at least to the point of making drawings and collecting plastic model parts and a large carapace on my first trip to the Atlantic coast (about 1978).

But not all explorations to the landward side work well for intrepid explorers. Especially if there is a mis-understanding of scale.

I can imagine my old friend and semi-surreal painter Steve Strang more better suited to this imagining. Thinking of his submarine in a bog, floating fishing boats and ‘universal protection suit’ series.

(Sorry about the small size of the image - please view at full size! This my first attempt to add a piece using my iPad, while on travels.)

Aquarium

Kelly took me to the Ripley's Aquarium in Toronto, Thursday.
Here is some of the take...

'Traffic' : A large cylindrical tank of Alewives (?), endlessly swimming in circles.

A large Atlantic Lobster (about 24 inches?), tucked back between rocks.

Lion Fish, head on view.

Jellyfish - dramatically lit.

I took a good series of reference images for the Lion Fish against an idea that struck me for kinetic sculpture.
Another series for Kelly of the Jellyfish, again for potential future sculpture.

We spent a good long time near the start of the long walk through (under) the huge topical reef tank. This pool has a snaking tunnel running through it, which lets you see the resident fish up close as they swim their lazy circles.
I did wonder how the cluster of sharks (looked to be a dozen, of various species), some up to a good 8 feet long, coped with the density of fish and spaces. These are sharks after all (not the brightest of creatures), but in the wild have a lot more roaming space most certainly.

It was charming to see the youngest children, obviously enthralled with how close they were to the animals. And honestly (given my recent experiences) encouraged by those parents who were enthusiastically giving their children what was certainly to be a formative experience.

Metalworking in Cuba

Gates and Grills in Cuba

On short notice in February, I was offered free shared lodgings at a private owned B & B in Boca de Camarioca, Cuba. (1) I jumped at this, the first real vacation I have undertaken (outside of work related travel) in 30 years.  Boca is just down the northern coast road from the major tourist destination of Varadero, about two hours drive east of Havana. Varadero was originally a purpose built town for foreign tourists , at one time Cubans were not really allowed access. Boca still is where many of the actual Cuban workers in Varadero live. In recent years it has also become a place where ‘middle class’ Cubans have built retirement homes as well. So it is safe to say Boca still does not represent ‘average’ Cuba, but at least is a bit closer than the artificial image presented in Varadero.

Location of Boca de Camarioca, Cuba

It is safe to say that almost all Cubans have a much, much lower material standard of living than almost anyone in Canada. Under the extremely socialist system, everyone is provided with the most basics of food, housing, education and medical. But the quality of those things is definitely the minimal level. Wages against prices is almost alarming, from a Canadian standpoint. (2) Despite this, I found the people generally appeared happy, and certainly friendly enough. (Especially once they found I was Canadian - people seemed to well remember Pierre Trudeau’s support in the 1970’s.)

My idea for a vacation is a semi-active one. I normally like to keep my eyes open, observing as un-intrusively as possible. I spent hours each day, just wondering around, attempting to take photographs. This combination tends to mean not so many images of people, but more of landscape and buildings, with a fair amount of detail, is what I end up recording.

I kept my eyes open for any kind of workshops, but only saw the simplest, honestly very minimal, tools or equipment in use. An old washing machine motor, rope tied to a broken chair, used as a grinder, for example. The only time I saw an ox-fuel set, it was obviously being used for car repairs. However, it is instantly clear that Cubans are geniuses at ‘repair and recycle’. At least a third of the cars on the road were lovingly rebuilt and restored old Chevys and Fords - from the 1950’s and 60’s. Almost all doing daily duty as taxis.

Seen often - a lovingly restored old Chevy

Buildings were constructed of simple (narrow!) concrete blocks, on poured concrete floors, with flat slab concrete upper floors and roofs. Usually set close together on very small lots, with small courtyards at front and rear. (3) Cubans are clearly extremely ‘house proud’, even the simplest home was kept need and clean. ‘Guarantied Employment’ did mean that there were people tasked with street cleaning, but honestly I saw little garbage outside of clearly designated collection points.

One consistent feature was grill work over windows, and metal gates as the entrance through the low wall along the sidewalk at almost all homes. This was the entrance to Lourdes & Leo for example:

Street side entrance to the front courtyard

The use of grills included almost all the windows, certainly ground level, but also on upper floors. (The alternative was windows fitted with wooden slat ’storm shutters’.) Actual glass windows were very uncommon. The typical ‘gap’ in the grill patterns was closer to 6 - 8 inches, suggesting to me they ere intended not to prevent ‘reach and grab’ theft, but to stop physical entry through the openings. As an example, this was the *second* floor covering, on the house next to my lodgings:

The other grills on this house matched the design (this roughly 3 x 6 feet)

Those houses equipped with vehicle drives would also have full height grill-work gates. Most were designed to swing open in two leaves, but some were set to slide sideways. Many of the car gates were backed with simple galvanised steel sheet metal behind the grill work, primarily what looked like a retrofit :

Note the light construction of this two panel car gate

This sample, made of simple embossed sheet attached to the front of some framing, was an exception.

This home (right next to the beach) was certainly upscale compared to others!

One thing that is instantly obvious is : there is no actual forge work here.

- Almost all the grills are made of smaller sized flat stock, primarily 3/4 or 1 inch wide by either 1/8 or 3/16 thick. The white grill seen above is unusual in that it was made from 3/16 round rod, a material I only saw used a couple of times.
- Most all the grills were joined by welding cut bars, or simple cold bent scroll elements, together.
- One standard method is to twist the flat bars at 90 degrees at an intersection, then twist back to ‘edge on’. (Allowing for secure and simple welding)
- All the gates were painted, but in brighter primary colours. Green being the most common seen. Curiously, I saw hardly any use of black paint.
- Terminals were most commonly simple bevel cuts, or just left as square ends

Detail, note terminals, reason for the paint!

All of this taken together, suggested to me that the range of metal stocks available was extremely limited, stick welders in use, with only simple hand tools employed.

But within these extreme limitations, and what obviously are great cost constraints, there is clearly a good sense of design from these metalworkers.

This is an overall view of the detail above, which illustrates exceptional design inside the limits imposed.

At entrance to a small apartment building

Shows flow of lines, and balanced mirroring of shapes, from the upper to the lower sections. A balanced symmetry down the centre.

Elements from one section carried to the next - but not simple repetition of design.

Now I freely admit that my sample was confined to a very small area, and limited time. During my week long stay, I only saw one building from the ’Spanish Colonial’ period, and it in very rough condition. (Cuba’s ‘European Settlement’ goes back to roughly 1500 - but ‘Pre-Revolution’ elements are not well represented today.)

Still, I think the work I did see, even if in a relatively affluent area by Cuban standards, certainly represented the creativity of the Cuban metalworkers, despite serious restrictions on starting materials and limited tools.
 

1) Highly Recommended !
Hostal Lourdes & Leo / hostal.lourdesleo@nauta.cu
This trip, the cost was roughly $28 CDN per night, for living room, one bedroom with two queen beds, small kitchen and tiny bathroom. Nice beach 5 minutes walk, 100 m from the main road. Wonderful hosts!

2) One example : Although school teachers are notoriously badly paid - even by Cuban standards, the cost of a simple pair of foam ‘flip flops’ was equal to roughly  * one week’s * wages for a high school teacher (paid roughly 25 CU / month).

3) I did see a reasonable amount of ongoing construction, mainly additional floors being added to existing homes at what seemed a snails pace. I found out that that same teacher’s monthly wage would only pay for 4 bags of concrete. The building blocks where commonly 4 inches wide, by roughly 18 inches (or more) long, with some only 3 inches wide. I rarely saw any metal re-enforcing in place in wall construction. Given occasional hurricane force winds, most certainly the slab roofs would lift, walls collapse - to the destruction of those living inside. This is in fact what happens on a regular basis in Cuba.

from England - 1989 (Wanna see some slides?)

Those of you old enough may remember that.
The meal dishes cleared, the coffee out. 
The host says 'Come and see my (vacation) slides!'

I can hear the groans back over the 40 + years...

Close friends know I'm still not over this. At least now I tend to just leave the computer set on a rotation, in the background corner (mainly, ok?).
Photography was the on consistent class I undertook during my 4 years at art school. I used to purchase black and white film in bulk, and wind my own cans. Developing chemicals were available in the film lab at no cost. We did have to purchase our photo paper. As a result I have thousands of negatives, maybe a dozen prints mounted and saved.
Colour Slides?
A few from first year OCA - which would be 1975.
Got serious on colour in 1976. Almost exclusively as slides.
Switched to Digital in 2008.*

the Horror...
On a fast guess - there must easily be 5000 slides. 

In terms of 'art' shots, my objective has always been to attempt 'one good out of five'. Sometimes I managed this (but there is a lot more junk than good image making).
As I got interested in History, I took increasingly large numbers of reference images. Bets are off on that stuff. I count at least 500 images just from specific museum collections. The trip to England referenced in the title here saw me shoot 20 rolls of 20 exposures (about 375 retained images).

So - that all being said :

Here are a few images from the 1989 'all museums' trip to London, York and Dublin. This set from the Yorkshire County Museum (roughly a block from the more famous Coppergate site.)
(by the way - I am going to be kind, and keep the images to the ongoing theme of Viking Age / Blacksmithing.) **

Yorkshire Museum - Roman period

Interesting because of the cut location. Possible strike from the right side, or more likely as a second blow in a series, the first a typical head shot blocked by the shield, the killing blow from a flip of the wrist, returning the sword across the head (left to right) just as the shield was lowered. (??)
(I can't remember if the damage to the right face was weapon or after deposit.)

Yorkshire Museum - Viking Age leather shoe

One of the features of the archaeology of York is the long occupation of the site (at least to Roman times). The occupation is along the river - so the excavations go down to waterlogged soil. This has permitted the excellent preservation of many organic materials; wood, leather, even textiles.

Yorkshire County Museum - Celtic Iron Age cast bronze mounts

What amazed me here was the D shaped mount to the lower left in this image. I had seen a virtually identical mount in the British Museum - only rendered in gold. Given the similarity in colour of the bronze mount seen here, is this a 'lower end' copy? (You can just imagine the artisan saying 'Look - just like the one the King has...')

More to come...


* I was pretty much forced into Digital.
My much loved, trusty, and almost industructible Yashica TL Electro, became unusable. The camera was fine. I could no longer find the battery required to run the light meter (despite frantic on line searches). Coupled with Kodak stopping making the Ectacrome 400 slide film (or almost anyone else). In Canada, only Carmen's Photo was still even processing slide film at that point. 

** Through this series, I will be generally posting the 'raw scans':
- From original 35 mm colour slides 
- Given the age of many of these, there may show excessive dust / scratching / etc
- Scanned using Epson C370 flatbed photo scanner
- Output image is at 150 dpi at 6 x 4 inch size
- The only correction has been to rotate as needed (unless noted)

Stone Circle...

... outside Aberfeldy, Scotland.

The Croft Moraig stone circle lays west of Aberfeldy, about 6 km along the road that takes you to Loch Tae and the Scottish Crannog Centre.

'Sacred Oak' : The 'old' oaks around the circle were in fact planted by the Victorians!

'Stone Circle' : view from the southern edge of the circle, looking roughly south west.

'Within the Circle' : Kelly visits the stones (giving a measure of scale).

Another description of Croft Moraig can be found on the Megalithic Portal web site.

Art at SSW 1 - Object & Age

'When does Old Junk - become Archaeology?'

Regular Readers will know that  I am often commenting on the Object within a Material Culture, especially within a Historic framework.

The grouping in the image above was used to illustrate the point on our 'working table' over the current Artist Residency at the Scottish Sculpture Workshop.

The upper group of five objects was gathered on a field walk through farm land to the east of SSW at Lumsden (from  left to right) :
- A broken piece of roofing slate
(Age unknown, as slate roofs have been built in scotland from at least from Historic (if not to Ancient) times through to modern construction.)
-  An iron (?) wagon or farm machine hitch fitting, with a much decayed block of wood still attached
(Use of a hex head bolt suggests post 1860. The nails are 'semi wire' type, with cylindrical bodies but flat and tapered 'cut' points, again suggesting post about 1860 to about 1880.)
- Unknown material as waste
(Has the appearance of a brown glazed ceramic, but is much to light weight to be composed of clay. Top side is smooth and semi polished looking, underside course texture with embedded sand grains. Too hard for a wax, may be some kind of resin?)
- Fragment of glazed ceramic
(A course grained light grey clay body topped with a white glaze, decorated with light blue lines. )
- Broken piece of ceramic pipe
(A very rough textured clay with simple mottled brown glaze on the surface, a section of a cylinder. Other pieces were found - including a full S bend fitting that would suit installing a toilet. Suggests Victorian / +1880 manufacture.)
This group was found in a steeply sloped corner of a recently plowed field. To my eye this looks like an area only recently turned to cultivation. Perhaps once the 'corner dump' area for the current farm. Could also be the plowed over remnants of a much older farm cottage?

The lower group of three were gathered while breaking up scrap cast iron (left to right) :
- Ring of lead seal
- Joint section of cast iron pipe, showing many paint layers on the exterior
- Lengths of what appears to be hemp (?) fibre cording / packing

Although other than the mystery material, the rough dating for the found objects would appear to place them to some point between 1860 - 1880.
In Scotland, all are clearly nothing more than 'old trash'.
In Canada, objects of that age are often placed in museums.

How old, how removed from current popular culture, must an object be before it is considered 'History'?
How far past before it's recovery becomes Archaeology?

Stone Foundations - East of Lumsden / SSW (view uphill towards South)

 Further up that same hill, just about 500 m to the East of SSW (to the north end of Lumsden) we came across a group of what certainly appeared to be three square stone outlines with interior depressions. It was hard not to see these features as the foundation lines for three small, linked structures. The interior sizes were about 4 x 4 meters.

Stone Foundation - North end of group - Kelly for scale

I took most note of the most northerly positioned of the group. Two large stones were inside, the larger laying flat and about 1.5 + metres long. The second was set upright, with the roughly flat surface set at what I would have found comfortable 'striking height'. There was a clear gap in the line   of outlining stones in the SE corner - suggesting an entrance (?)

I certainly found these features to be worthy of 'Archaeology'.

????