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Re: [medievalsawdust] Tools

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  • Danial Roy
    There is a hole in the head and it is hard to tell if there is a taper. I am using the book on the anglo-saxon wood-working ( I do not have the actual book
    Message 1 of 86 , Jun 4, 2003
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      There is a hole in the head and it is hard to tell if there is a taper. I am
      using the book on the anglo-saxon wood-working ( I do not have the actual
      book here to reference it).

      I am thinking that it is a taper.


      >From: "James W. Pratt, Jr." <cunning@...>
      >Reply-To: medievalsawdust@yahoogroups.com
      >To: <medievalsawdust@yahoogroups.com>
      >Subject: Re: [medievalsawdust] Tools
      >Date: Wed, 4 Jun 2003 14:18:15 -0400
      >
      >The head shape should give you the big hint on how the handle should work.
      >Does the head have a hole in it? Does the hole taper in any direction(top
      >to bottom and/or front to back)? A picture would help.
      >
      >A current mattock/pick handle is tapered from butt to head. The iron head
      >is slid on and holds like a hawk head(tomahawk) without any additional
      >effort. I have used this type of mattock to dig trenches though 6 inch
      >diameter maple roots. Some times the head gets loose but tapping the head
      >on the ground re-sets the head where it belongs.
      >
      >James Cunningham
      >
      >
      >a
      >----- Original Message -----
      >From: "unclefox2001" <unclefox@...>
      >To: <medievalsawdust@yahoogroups.com>
      >Sent: Wednesday, June 04, 2003 9:17 AM
      >Subject: [medievalsawdust] Tools
      >
      >
      > > I have a question for the group.
      > >
      > > I am attempting to build some saxon farm tools and have stumbled
      > > upon a stopping point.
      > >
      > > I am building a mattock and have good documentation on the headf
      > > shpe, but not how the attached the handle.
      > >
      > > Does anyone have any documentation on how this would be done ?
      > >
      > > It also leads me to the question when were wedges first used to hold
      > > the head on a tool ?
      > >
      > > These are just some of my questions.
      > >
      > >
      > >
      > > To unsubscribe from this group, send an email to:
      > > medievalsawdust-unsubscribe@yahoogroups.com
      > >
      > >
      > >
      > > Your use of Yahoo! Groups is subject to
      >http://docs.yahoo.com/info/terms/
      > >
      > >
      >
      >
      >
      >To unsubscribe from this group, send an email to:
      >medievalsawdust-unsubscribe@yahoogroups.com
      >
      >
      >
      >Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
      >
      >

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    • JBRMM266@aol.com
      Some years ago, I visited the Virginia Museum in Richmond with the lady who is now my wife. In the Mediaeval section there were several religious statues,
      Message 86 of 86 , Feb 16, 2007
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        Some years ago, I visited the Virginia Museum in Richmond with the lady who is now my wife. In the Mediaeval section there were several religious statues, including one of St. Denis with his head tucked underneath his arm (cue music about Anne Boleyn's ghost).
         
        When my lady friend asked why he was so depicted, I explained that martyrs were often depicted in ways that identified how they were martyred . . . at that time I hadn't heard the legend about him picking his head up and carrying it back to the church.
         
        A docent heard me and asked if I knew why another statue (I forget who it depicted) had these little glass or crystal panels in the chest. The identifying sign clearly described it as a reliquary statue, and I explained how the statue had at least originally contained some part of the saint's skeleton, probably a rib or two, considering where the panels were.  She appreciated the explanation, and it left me wondering how much more about the works in that section she didn't know.
         
        When we visited the Treasure Houses of Britain exhibit at the National Gallery of Art, there were no docents anywhere in the Mediaeval/Renaissance area.  I spent a lot of time explaining the armour, and both of us spent even more time explaining that the children in the family portraits were not all girls despite wearing dresses (boys not yet breeched) or that that was not a noble but a royal family (Henry VIII and all his children, who were never all together in one room like that), and so forth.
         
        But the armor and the paintings were right out there, and one could easily have touched them. My wife almost fainted a couple of times when I pointed out a detail in a painting, my finger about an inch away from the surface. "Don't touch it, don't touch it!"  Well, I wasn't going to, but there were no barriers to it.
         
        Ruefully
        Donal
         

        -----Original Message-----
        From: tstar2000@...
        To: medievalsawdust@yahoogroups.com
        Sent: Thu, 15 Feb 2007 5:15 PM
        Subject: RE: [MedievalSawdust] Tools

        I will have to agree with you, Will. The museums I have visited in the US have the attitude that you shouldn't touch or photograph anything. This was a real shock to me when my wife and I managed a trip to London a few years ago. Unless it was cordoned off or behind glass, the British museum didn't seem to care if you were to actually touch such sculptures as the Discus Thrower or some of the carved lids on various Medieval tombs. This became especially apparent when the Egyptian exhibit came to Oklahoma city form the British Museum. The very same sculptures that I was permitted to touch in London were so off limits in my home town that I was given a hard time for leaning in too close. Also, the curators here on the States don't seem to know much, or they just won't sacrifice the time to talk with a mere amateur historian. Both at the British Museum and the Tower of London I was able to engage into in depth conversations with the experts, even to the point of being introduced to the curator of the Crown Jewels at the Tower. Most enjoyable and informative - and in London they were QUITE familiar with the SCA, showing enthusiasm for someone who obviously had a genuine interest. ; )
         
        In Magical Service,
        Malaki
         
         

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