Hello and welcome to my blog. What I'm doing here is documenting my personal expression of "hands-on history" from a craftsman's perspective. I've been on this path for a large part of my life and it's taken me to some interesting and challenging places. I hope to share the processes and the historically inspired objects I've crafted along this journey into our past. This adventure has deepened my appreciation for past craftsmanship and the intelligence of common place things in Early America. Besides, now I have all this cool stuff to play (teach) with.


Jim Miller




Wednesday, June 12, 2013

Making a Working Model of Eli Whitney's Cotton Gin

    My wife's consuming interest in history rivals mine at times and her latest endeavor is a good case in point. She is currently raising a mini-crop of naturally colored organic cotton to learn about the plant and its product. Further along into this project she hopes to become a good cotton spinner as well. Since cotton comes with seeds mixed in the fibers, my part in all this is to build her a working model of Eli Whitney's Cotton Gin .That way, she can process her anticipated cotton bolls with historic flair and eventually do demonstrations as well.


 Patent Drawing for Eli Whitney's
Cotton Gin
Image Courtesy en.wikipedia.org

    Patented in 1794, the Cotton Gin in retrospect has a dark side to its history. Before its invention, cotton seeds had to be laboriously removed from the fiber by hand. In general, this time-consuming process held back any large scale production of cotton until Whitney's revolutionary machine arrived.

    Once mechanical ginning was established, cotton production soared in the South. Some historians today name the Cotton Gin as the root cause of the Civil War. I think that's a bit of a stretch but it did play a part in the expansion of slavery even though it was intended to reduce labor.

    In order to build a working model, I had to understand the basic function of the Gin. The three key elements in Whitney's design are the rotating claw-like hooks (that grab the cotton fiber), the slotted comb that they rotate through (the narrow width of the comb's spacing keeps the seeds from being pulled through by the hooks) and the rotating brushes that remove the seedless (ginned) fiber from the hooks.

               
Original Patent Model
Note the Ginned Seeds in the Lower Front and
the Cleaned Cotton in the Upper Rear
Image Courtesy history.com

    I started by studying the 1794 patent drawing but was disappointed to learn that the accompanying description is unavailable. Two original models of the Gin have survived, one is the patent model and the other a later version used in the court battles against infringement. After studying the few pictures of the models online, I finally figured out the mysterious curved, springy comb that allows the ginned seeds to fall through.


Close-up View of Another Early Model
Note the Hooks, Slotted Comb and Springy Wire Comb
Image Courtesy of newsdesk.si.edu

    My first attempt at making a wooden drum with hooks was a dismal failure. I drove wire nails into a large dowel and cut them to length. After bending them all into directional hooks, it started to look pretty good. What I discovered was, the hooks tended to rotate, which doomed their chances of proper alignment with the all important comb. Whitney had used flat metal hooks but I didn't see myself cutting out a bazillion of those little things.


My Version of the Hook Drum
Photos Courtesy Lindy Miller
2013

     Instead, I created little circular saws in sheet steel used in a latter patent improvement by Hogden Holmes. In order to build up a cylinder, I sandwiched my little sawblades between discs of 3/8" plywood. Once stacked, I ran two rods through and riveted the ends over washers to assure stability. I squared the center shaft hole by driving a piece of 1/4" square stock through the existing 1/4" round hole. The finished drum turned out to be about 4  3/4" long by 3" in diameter.




View From the Top
Showing Hook Drum in Place, Spring Comb
and One Brush Section
    The rotating drum is the heart of the machine and everything else is built around it. I constructed the housing box of 1" x 6" #2 pine and sized the inside to accomodate the length of the drum. I could only guess at the overall size of the box as this was quickly becoming a design as-you-go project. Next came cutting out the steel comb, which had to be curved to hug the drum but still allow the free motion of the hooks.

    The rotating brush drum was created using a 2" dowel and four sawed out sections of a new scrub brush. Little by little, it was starting to come together. The previously mentioned curved, spring comb thingy had to angle into the rotating hook drum at such a degree to cradle the raw cotton. I made mine removable as that's what the orignal model appears to have.


The Finished Model Cotton Gin
Showing the Completed Brush Drum and Pulleys

   Last but not least was the crank handle (mounted on the hook drum shaft) on one side and the two pulleys on the other.  The ratio of my pulleys is approximately 2.5 to 1. For a belt, I used a rubber band and twisted it in the middle to reverse the direction of the brush drum pulley as per the orignal design.


View From the Other Side
Showing the Crank and Slotted Comb

    Now came the test. Luckily, my wife had some unginned cotton bolls so we didn't have to wait months for her crop to mature. Cranking away,  it made this great primitive machine noise and the best part was.....................the darn thing WORKED and................. my wife is happy. Mission accomplished !

Wednesday, May 8, 2013

Making a Spectacle "for" Myself, A Revisit to 17th Century America

   Once apon a time I was quite the collector of old stuff. Apparently I had more disposable income back then or antiques were more affordable. Much of my accumilation focused on early to mid 19th century personal items like men's clothing and accessories. One of my favorite accessory catagories was historical eyewear. I still have a nice, small collection of spectacles including the oldest pair I could every find or afford, circa mid-18th century. Spectacles have been around for 700 years but the further back you go, the rarer and pricier they become.
  
   Lately I've been interested in the kinds of spectacles that might have been worn in 1600's Colonial America. With auction prices around $3,000.00 to $4,000.00 for early Nuremberg wire or leather nose-bow spectacles, it's pretty certain they won't find their way into my humble collection. Oh darn !! But then, would I deny myself the fun of replicating a pair ?....... not likely.


A Sweet Pair of Nuremberg Wire Nose Specs
 From a Recent Online Auction
 $3,000.00 + !!

    Every successful project begins with research and luckily I have a few good books on the subject. "A Spectacle of Spectacles", Carl-Zeiss-Stiftung Jena 1988, has some nice representative replica pairs. Pierre Marly's "Spectacles & Spyglasses" 1988, documents many 17th century nose besicles in whalebone, horn and brass wire. "Eyeglass Retrospective", Nancy Schiffer 2000, has a whole page devoted to 17th century leather frames. Most of them appear to be rather crudely made but I have seen more carefully crafted examples, like the one below.


A Nice Original Leather Pair With Green Lenses
Image Source Unknown


       An amazing opportunity for studying leather spectacles, is in the recovered cargo from what is known as the Gnalic shipwreck. Lost in a storm in 1583, near the rocky islet of Gnalic,south of Croatia,  archaeologist began recovering its cargo in 1967. Included in that recovery, were 20 boxes of Nuremberg type leather spectacles in an amazing state of preservation. Each box contained 12 pairs, which greatly increased the number of know surviving examples in the entire world.


Treasure from the Sea
Image Courtesy
 The Institute of Nautical Archaeology


      Today there are some pretty awesome online resources for studying spectacle history. One recent discovery that I've been revisiting is "The Online Museum and Encyclopedia of Vision Aids".


German Masterpiece Spectacles
The Inspiration for My Case
Image Courtesy
The British College of Optometrists
      I finally decided on replicating a pretty typical leather Nose Bow Spectacle that might have originated in Germany (or what would become Germany) in the 17th century but made its way to America. For the leather I chose vegetable tanned cowhide, approx. 4mm thick. First I used a 1 1/4" punch to knock out the circles that would accept the lenses. Luckily, I had some vintage lenses that worked as "readers" for my weak eyes. To cut out the outside shape of the frames, I used a No. 11 xacto and carefully followed my pencil marks. The lens holes were slightly smaller than my lenses and that tension kept them in place. I then dampened the leather and molded it nicely around the lens edge. When you carefully study the Gnalic specs, it appears that they might have been two pieces of leather,sandwiched together but I'm no expert.


My Case Closed
Photo by Author 2013
Note the Stapled Hinge Pins and Hook

     The case I decided on was a simple wooden version with some typical features that I had seen in several original examples. I found that wire loop-pin hinges and a simple wire hook closure suited my needs. For the body, pine seemed like a good choice for carving because it's a common wood that's easy to work.



      I couldn't resist the look of the marbled paper for a lining. This shows my replica leather specs inside their case.


And Outside Their Case





Thanks for looking !

    

Sunday, May 5, 2013

Eureka Moments Revisited, Part 7, A Gold Rush Gun Rig for a Colt Navy

     When I recently aquired an Uberti 1851 Colt Navy, it occured to me that the belt and holster that I made for it might make an interesting blog posting. This story starts several years ago, when I was researching the common use of web belts and military style buckles in Gold Rush California.

     Stamped or cast brass tongue and wreath (aka spoon and wreath) buckles are fairly common artifacts found in gold rush camp sites. I have several  friends with large and varied collections, which is strong evidence of their popular use in the period. Dagguereian scholars consider them a key element when trying to identify "Gold Rush" portraits. In fact, it was one of those incredible, documented images that actually inspired this project.


Image Courtesy Cowan's Auction

     What I love about this image is how it captures the spirit of the age. These guys knew they were making history and proudly left us a record of their part in it. I feel that the buckle on his belt is likely a stamped brass version, possibly Taussig - Pollack & Co., San Francisco, similar to the example below.


Image Courtesy of
findmall.com

     The belt in the image appears to be made of webbing and a clue to it's actual weave and color came from an associated artifact that I had previously blogged about. The contemporary "gold porter" below, has what looks like the same webbing to join the two buckskin halves of the vest, as you can see in the picture. The most compelling evidence that it's the same webbing, comes from the historic record that Taussig - Pollack & Co. were selling gold porters in San Francisco. The only flaw in my theory is that the original porter below is unmarked.


Photo by Lindy Miller

     With this evidence, I proceeded to make a facsimile of a classic miner's web belt and buckle. The buckle was the easy part as Hanover Brass has been casting copies of Gold Rush buckles for years. The belt on the other hand, would take some thought. I knew I wasn't going to weave a belt from scratch but instead settled on dyeing modern cotton webbing that had a similar pronounced woven pattern. After the webbing was dyed a dark indigo blue, I picked-out the woven threads along its borders to make room for the two white stripes. I carefully wove white cotton cord back into the webbing to simulate the stripes of the original. All in all, it didn't turn out too bad. To improve the overall appearance of the belt, I applied another length of dyed webbing to the back to hide where my white stitches came through.


My Facsimile Belt and Reproduction Buckle
Photo by Author 2013

     After I made a brass keeper slide, I assembled the belt around the repro buckle. It's not a perfect replica but I consider it a good impression. Before I had started the belt part of the project, I had made what collectors call a "Slim Jim" (no relation) holster for the Colt Navy. Using origninal examples form Richard Rattenbury's classic book "Packing Iron" for the pattern, I made mine in veg tan leather, sewn with linen thread. I like the look of the straight throat on many documented examples (including the one in the daguerreotype above) and left mine unadorned as many of the earlier holsters appear to be. One last detail was to wet mold it to the revolver.


Photo by Author 2013

    So there you have it. Now, if I choose, I can sport my shooting iron in a style not commonly seen today but very much a part of our California history.

Thursday, April 25, 2013

I Never Knew I Could Inspire

Well, this certainly came out of the blue. Andrew of Victorian Tailoring has nominated me for The Very Inspiring Blogger Award. I am shocked. I never knew that I inspired anything except the wrath of the impatient. Thank you Andrew, you are one very inspiring self-taught tailor my friend. Keep it up !

To comply with the awarding process, you must

                                            - Display the award and link back to the nominator
                                            - State 7 things about yourself
                                            - Nominate 15 bloggers to the award
                                            - Notify the winners




                                        1.  I am a California native and love my State's
                                             rich history and natural beauty.

                                        2.  When people ask me if there's anything I can't make
                                              I reply, Yes.......money !
                                        3.   I'm happily married to a tolerant, like-minded woman.
                     
                                        4.   I'm not really expert in anything but I do have a great
                                              library.

                                        5.   I know a little bit about a lot of things.

                                        6.   I'll always be in awe of the accomplishments of our
                                              forebearers.

                                        7.   The older I get the more I realize there's not enough
                                               time.
                                            
                                   My 15 nominees for the Very Inspiring Blogger Award are : 
                                             :

                                  
 Fishing for History  Dr. Todd's entertaining look at out collective fishing heritage.


 Commitment to Costumes   A visit to Sara's work as a Museum Professional but with tips on managing
   a personal collection. Very helpful.


 Robin's Egg Bleu   If you are going to do one thing, then do it well. This lady's replica Izannah Walker
   dolls are amazing. A total dedication to details.


 The Reverend's Big Blog of Leather  Medieval and later leatherwork with more than the usual
    "history nut" take on things. No surprise from the UK !


 Ready to Wear ( 1640's style)  Just what it sounds like. The Vicar doesn't post often but when he does
   it's always interesting. More fun from the UK !


 A Woodrunner's Diary  Keith has a very active 18th Century Living History blog from "down under".
   Excellent research and lots of info.


Bear Flag Museum  Bill's very active blog on all things Bear Flag. Ties to his online Bear Flag
   Museum. The ultimate source for those that need to know.


 Contemporary Makers   A great way to keep up-to-date with the best of historical arms craftsmen.
  Lots of eye candy thanks to Jan.


 Dressing the 1840's   My friend Chandra's pesonal devotion to "getting it right". In love with
   the 1840's (give or take) and it shows.


 Frontier Carpenter  Ron proves that the homegrown, carpenter/blacksmith of the past,is alive  
   and well today. Great work that has inspired me !


 The Village Carpenter Kari is amazing ! When I want to be inspired, I go visit what a truly gifted
   woodworker is capable of.


 Steamboat Arabia: A Historian's Blog   Elizabeth shares her affection for one of the greatest
   treasures in America. The Steamboat Arabia Museum in Kansas City.


 Minstrel Banjo  Where early banjo geeks go to learn and share. All fun, with no fretting !


 Peter Follansbee, joiner's notes 17th Century joinery beautifully executed.


 The Van Buren Boy's Blog  Documents a truly incredible project.


                                            Thanks for looking !

Thursday, March 14, 2013

How They Kept Their Clays Safe, Revisited

   I recently stumbled across an interesting example of an antique tin pipe case, on an online auction. You often see late 19th and early 20th century tin cases in the shape of the clay pipes they protect, but this one was different. Not only did it safely stow the pipe but housed the tobacco as well. There's even enough room in it for a match safe which suggests it might have been a sort of traveling smoker's kit. From the construction details, I would date it early to mid-19th century.


Picture Source Online Auction

   The design is pretty straightforward, so replication was not going to be a problem. Luckily, I had a nice English clay that I purchased from Columbia Booksellers. It was one of the last Pollock pipes that he had. I decided to build my replica around this pipe instead of copying the exact dimensions of the original.



    The original case is 6  1/2" long by 2" wide. It's an elongated box with one closed end and the other with a hinged lid. Under the lid, you find a compartment sized for the pipe's bowl. Inside, at the back of this compartment, is a panel with an attached and extended tube, to protect the pipe's stem. On the top center of the box, there is an opening for access to the tobacco etc. and a hinged lid to cover it. That's pretty much it, a simple yet effective way to keep your fragile clay pipe safe and your tobacco handy.



     In some of the pictures of the original case, you will notice a fire steel and flint. At one point in this object's history, it had been repurposed as a tinder box or..................was the smoker lighting his pipe with flint and steel, hmmm?



    Here you see the beginings of my replica with the shaped and tapered tube and the above mentioned panel. I had to keep in mind that the pipe shouldn't rattle, so my dimensions were determined by the space occupied by the pipe bowl, while it rested in the tube. Do you follow ?


Photos by Author 2013

    Further along now, you see the beginings of the case body. It ended up being 7" long and 2 1/4" wide.  Note the raised ring on the right, that will be the seat for the pending lid. You can also see the tube running along the inside back.



    Now we have the end closed and we are ready to craft a hinged lid. It's starting to look like something.



    The smaller hinged lid is in place and all that remains is the large, hinged lid on top, with its latching device.



     All finished and good for service and ready to claim it's place in my growing collection of replicated odds-n-ends  from our past.

Friday, February 8, 2013

A Replica Artifact To Illuminate Young Minds

     As Education Coordinator of the Angels Camp Museum, it's my job to translate and present information about the past in an interesting and informative way. For my money, one of the best ways to enhance the learning experience is through the use of replica artifacts. While developing the gold mining lesson for our 4th grade education program, I realized that our interpeter could use a special prop to help with a critical point in the story.


Classic Combination
An Original Cap and Lamp, Circa Late 1800's
Image Courtesy lebint.com

    During the early phase of the California Gold Rush, most of the mining activity involved surface deposits of Placer Gold.  As these deposits grew scarce, some miners began exploring for Lode or Vein Gold deposits below the earth's surface. Miners literally had to change hats and that simple fact lead to my idea for the perfect prop.


A Original Cap Sans Lamp
Note the Leather Peak and Metal Part to Secure the Lamp
Image source inknown
      I'm familiar with the classic cloth cap of the late 19th century underground miner, as we have a nice example in our Museum's collection similar to the one above. We also have a rather comprehensive collection of the lamps that were worn on the front of these caps, from oil burners to later battery operated versions. After studying several examples of caps online, it seems that a generic style with a cloth covered peak, might have been most common.

My Version of a Miner's Cap and Lamp
Ready for Work
Photo by author


    Most of the original caps seem to be made of canvas or some stout cotton, in colors ranging from tan to grey or grey/green. For my version, I chose blue denim. The fixture that affixed the lamp safely to the cap's front, seems to vary more in materials than in shape.  Some examples are leather only, others are metal and some appear to be metal and composition (?). I decided to laminate several layers of leather for stiffness in making my lamp mount and riveted it to the cap's peak and body with copper harness rivets.



Original 1885 Bill of Sale
Showing Classic Miner's Cap-Lamp
Image source unknown

    Now came the fun part, the minature oil lamp, apparently (by one period account) called a "pet" lamp. These little lamps are highly collectable and well documented as untold variations exist in form and materials. To see an amazing collection, go visit miningartifacts.homestead.com . For the most part, these lamps have the appearance of tiny teapots with there spouts functioning as wick guides. They also universally have a hook device on the rear, to engage the mount on the cap.


Another View of My Cap and Lamp

      For my close copy, I went with a basic style lamp in tinplate, with a moderately long spout. The important thing to me was to create a functioning authentic version of the miner's cap, rather than an exact replica of a known example.



Photo by Lindy Miller 2013

   Speaking of function, as you can see, I couldn't resist trying the darn thing out. Contrary to my wife's opinion, having a flame coming out of your head was the least risky part of a hard-rock miner's life.


This is my 50th post and with that in mind, I would like to thank all of the viewers who have found my ramblings of some interest. I appreciate your curiosity and positive comments too.

Friday, February 1, 2013

"Flags of California History Project" Revisited One More Time

    One of the great things about pursuing historical topics is that the subjects are rarely exhausted. Just when I thought my California Flag Project was complete, I rediscovered one more historic banner, begging to be reproduced and blogged about. There are enough books written on the Gold Rush to fill a small library but near the top of the list of "must reads", is the celebrated Shirley Letters written by Louise Clappe.


The Shirley Letters
1949 Edition

     "The Shirley Letters" were first published in a San Francisco periodical called The Pioneer, starting in January of 1854. They continued as a series of 23 letters written by Louise Amelia Knapp Smith Clappe to her sister, under the pen name Dame Shirley. Louise Clappe had followed her husband Dr. Fayette Clappe to California in 1849 in pursuit of his heath and their fortune. By 1851 the Clappes found themselves in the remote mining camp of Rich Bar on the American River at the height of the "Rush". Dame Shirley's accounts of life in a mining camp, rank as one of the most incomparable documents of that rustic and wild society. Thanks to Shirley's keen powers of observation, it's also an invaluable primary resource for reconstructing mining camp culture.


An Undated Lithograph of Rich Bar
on the Feather River

     In "Letter Eighteenth", from her log cabin on Indian Bar, July 5, 1852, she writes:
"Dear M:- Our Fourth of July celebration, which came off at Rich Bar, was quite a respectable affair. I had the honor of making a flag for the occasion. The stripes were formed of cotton cloth and red calico, of which last gorgeous material, no possible place in California is ever destitute. A piece of drilling, taken from the roof of the Humbolt, which the rain and sun had faded from its original, somber hue, to just that particular shade of blue, whcih you and I admire so much - served for a Union. A large star in the center, covered with gold leaf, represented California. Humble as were the materials of which it was composed, this banner made quite a gay appearance floating from the top of a lofty pine, in front of the Empire, to which it was suspended."


The Canton Finished

      So now I had my challenge. What did Dame Shirley's 4th of July flag possibly look like?  In previous letters, she remarks about the overuse of red calico for finishing the interior walls of the temporal, ramshackle canvas and stick shanties that passed for boarding houses, saloons and restaurants. For my flag's red stripes, I decided to use classic mid-19th century cotton prints (from my wife's stash) and plain muslin for the white. To reproduce the canton, I dyed a piece of canvas light blue, simulating the faded scrap Shirley had secured from the roof of the canvas covered building named the "Humbolt".


My Version of Dame Shirley's Flag
Finished Dimensions 60" x 48"

    What set this project apart from my previous flag replications, was the lack of visual clues. In order to manage the conjectural elements, I relied on my basic knowledge of flag history. When considering the time constraint of making a flag for the occasion, I feel that Dame Shirley may have just painted the stars on the canvas, rather than sewed them on. Even though she doesn't mention the full field of 31 stars (official after July 4, 1851), a lone, gilded star would have been a little odd. For my rendition, I chose to run the painted stars in circles, surrounding the dominant "large" star in the center. This arrangement was very popular in antebellum America. Her mention of "gold leaf" came as no surprise as it's a documented fact that even in remote camps, the saddest excuse for a building, might still sport a beautiful sign, supplied by a journeyman signpainter. She no doubt secured some "leaf" from a local craftsman to decorate that dominant, proud star. I used pigmented shellac for the white stars and 23 karat gold leaf for the center star. When assembling the elements by hand, I used a running stitch and decided not to turn any of the seams. All in all, I think it turned out swell and can now takes its place in the collection as an honest reconstruction,  celebrating the lost folk traditon of homemade flags.