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On 25th of December, 2884 the SDR ground forces started their massive offensive campaign on Torifujiograd, one of few and controlled towns held by mercenary's forces. This massive battle should remain among other things in recollection, because it should come to the first contact between the unmanned Nutcracker tank of the SDR forces and SAFS unit of the mercenarys' army.
The fights at thr fringes and later in the snow-packed port area were violent and protracted. The outer districts had already been bombed during two weeks before over and over again by artillery fire and from the air - indeed, with only little military success. On the 25th of December a big ground offensive started, to finally penetrate to the harbour and the mercenary forces' command bases entrenched there.
The PzKGr. 45 took part in this campaign with a dozen light vehicles under the code name „Dead Snow“. The small group's prime task was to conquer the long distance communcation centres in Torifujiograds outer districts, or at least their elimination to further weaken the defence of the town.
This command enterprise was taken seriously by the army SDR and only the most modern material was used. While on the one hand the PKH 103 Nutcracker was used for the first time in the city centre to storm the strongly defended harbour areas, the new P.K.A Ausf M was used by commando troops like the PzKGr. 45. Additionally, light, mobile support vehicles like the HX-39 "Krampus" walking tanks, which were optimised for urban use, saw front line service. However, with strong losses only a partial success could be achieved after two days of violent street fights, before the PzKGr. 45 was de facto chafed - only achieving the destruction of Torifujiograd's telecommunication tower.
Remark:
The story is completely fictive, however, the events stick to the semi-official timeline of the Ma. K. universe and indicate the circumstances of the diorama's scenery.
Inspiration:
This diorama originated after long brooding for the "Dead Snow" competition in 2010/11, initiated by a local web forum similar to starshipmodelers.com. That it finally became a Ma.K. subject has several reasons. For once, my basic interest in the Ma. K. universe and Kow Yokoyamas designs. However, so far I had never had built something in this genre. But then the competition was a good occasion to connect this latent fascination with the basic subject of winter and violence. It was also helpful that I had recently acquired a box with Hobby Base Ma.K. collectible figures in 1:35 scale. These 'Melusine' combat suits in winter camouflage were basically the starting point around which I designed this diorama scene.
The draught:
All in all I had eight figures at disposal, partly even with open bonnets (but unfortunately, without inner life), and I wanted to use this pure mass for the diorama. Basic idea was an advance scene of Melusine suits in the snow. While rummaging in the literature I came across the SDR raid on Torifujiograd as a „historical event“. Consequently, the idea of a wintry street scene with house walls/ruins hardened.
The base plate should not be greater than 30x20cm – a personal standard measure for my glass cabinets at home. With first arrangement tests it became quickly clear fast that an exclusive display of Melusine suits would not "work". An additional focus object was needed, as a visual and thematic counterpart. The problem: in 1:35 there is hardly anything suitable "from the rack". Even though Hasegawa's brand new Nutcracker kit would have been an option, it was too large too expensive, too dominant, and its date of delivery to Germany would have been too uncertain... So only manual labour remained, and the idea of a self-built, small retro walking tank in the style of MiG Production's KV-2X took life.
A walking tank as an extra:
Concerning the HX-39, see also the more detailed separate pictures and comments on that kit. The model was vaguely inspired by the Ma.K. "Gladiator" from the mercenary's troops: a four-legged vehicle of compact size. Because time was scarce, however I decided not to build completely from scratch but rather use 'material from the shelve', combining primarily two models with each other. What sounds simple, however, took quite a lot of search time in order to find suitable donation kits which would match stylistically. The result has become quite consistent in my opinion and from the lines at least not unplausible for the Ma.K. universe: the HX-39 "Krampus".
The body of this small walking tank comes from a Hotchkiss H-39, a light French artillery tank from the early 2nd world war period. The polystyrene model in 1:35 comes from TRUMPETER. The legs and their complete suspension come from a resin kit, a recast of a small SF walking tank from the Japanese 'Junk tank rock '-model series, a TACO-34M 'Beetle'.
Some spare parts from this kit like the commander's cupola or the laser weapon found their way on the new small tank in services of the SDR army. Numerous other individual parts also found their way into the model, among other things generic parts of a 'Roof Details'-set in HO scale from Coernerstone Modulars. From these elements, e.g., the machine block was built.
Reference for the painting of the "Krampus" were the Melusine figures. They carry a winter camouflage which reminds of airplanes of the German air force during the second world war at the eastern front: White/light grey tempera colour on dark green, with yellow marking stripes. The Krampus should just become a minor element in the diorama, however, and, therefore not stick out with exotic extras or flashy colours. Though the model was a piece of work of its own, however, it is only to be seen as an accessory in the bigger diorama ensemble.
The Melusine figures are reworked:
The Hobby Base figures are unexpectedly well printed and hardly leave open wishes. Basically there are three bodies/poses, three weapons/arms and three painting variations available. The suits are even marked with individual numbers!
However, one major disadvantage is that the figures are made out of soft vinyl and show now and then downpour burrs which are hardly to be mended on account of the soft, tough material. Arms and legs are simply connected to the figures' body, so they can be modified and exchanged with little effort – what I have partly used to simulate running figures or to change an arm for a better pose in the scenery.
Only little was changed concerning the figures' paint finish. Merely some of the numbers have been painted by hand to avoid doubles, assigning individual numbers to every figure. Furthermore, the interior of the open suits has been refined – among other things, pilots figure busts were "implanted". For these, some rummaging was necessary, too, but I made a find, finally, with a modern Israeli tank crew from ACADEMY.
In order to make the troops not to look too uniformly, the camouflage of two suits was changed: One Melusine (number 7) received a grey pattern, another (number 8, with open bonnet) a mottled pattern in green grey.
Moreover, almost all figures received personal markings with decals from the scrap box, e.g., nose art like comic eyes, mascots, even a Coraya heart, "kill marks" even a "Kölle Alaaf" banner for the commander with the number 1. Everything only little things, but these details make the diorama look much more lively.
From the total pool of eight figures I chose seven for the diorama which were arranged in three thematic scenes, together with the walking tank:
Commander of the troop (number 1) with two subordinates in direct conversation, partly with open hatches.
Two Melusine with hand weapons marching past in front of the HX-39 at a trot, to the frontline of the battle which is not shown in the diorama but ideally to the left „beyond the picture“.
A Melusine stands with the back to the viewer and instructs the HX-39 driver to wait, until the foot troop has explored and secured the next corner. Another Melusine stands beside HX-39 – he has no active function in the scene, fills primarily the emptiness under the bay window.
Building the diorama:
The base is formed by a 10mm MDF board. On it a 10mm-layer of styrofoam was glued – the soft subsoil would later permit "blows" to the street, creating an uneven surface. Around this base skirt from 2mm balsa wood was glued and later painted black.
Themantically, a street scenery with fight tracks should be shown, after light snowfall in winter. A house ruin which should overlook a street corner came to the left, rear corner. This outer wall is a prepainted plaster kit which was adapted, however, to the circumstances and refined, e.g., with nailed up windows in the ground floor (with the low depth behind the windows I found the "installation" of rubble impractical) and the rubble in the 1st floor bay window. Additionally I applied a new/better painting and ageing with easy watercolors and brick-drilling dust. The smoke traces are real!
In front of and around the building came an approx. 5 cm wide sidewalk which was brought on higher level to the street with 3mm balsa wood. For the surface finish I simply used pre-printed cardboards from Busch - actually for HO scale, but these looked very realistic and "non-uniform" that I ventured the application here instead of a complete do-it-yourself construction with plaster and paint. Most of it would disappear layter under rubble and snow, anyway.
The bay window of the house defined the position for the planned street lights on the sidewalks, on the left and on the right in the streets. The lamps are scratch constructions from brass and polystyrene pipes, the luminous bodies at the top are protective bonnets for syringes...
In order to hold figures and lamps, vertical drillings were put through the MDF base plate into which soft iron wires were glued as holders. Especially the running Melusine figures needed this extra hold. The Krampus stands on own legs, the kit is simply removable.
The HX-39 stands on the street on the right side and forms a counterpole to the building to the left. It serves at the same time as optical divider between the three Melusine scenes.
Small stone and rubble heaps as well as snowy heaps on the street from broken plaster leftovers, sand, shell shards as well as a few resin bricks also support the visual structure of the diorama. Spanish riders (Italieri) and barbed wire barricades (specialised trade) on the street provide offer additional details and enhance spatial separation. Fine sand and drilling dust bring mess on the street (and cover the good-looking paving, unfortunately, almost completely...), some longer grass from paintbrush bristle on the house wall and dry moss which forms ivy tendrils "animates" the hopeless scenario and fills some empty places beside the figures. I tried to fill almost and spot with a minor detail in order to enhance the impression of density and hurry. Consequently, the figures have been consciously distributed rather evenly across the area, so that the viewer cannot grasp the whole scenery at once – it should "resonate" with the whole arrangement a sort of hectic rush in the front section.
The snow comes to the country:
After basic work was done, everything was to be sealed under a thin layer of snow. To enhance the winter impression, even self-made icicles from white glue were used for decoration.
For the "snowfall process" everything was made wet with relaxed water and was sprinkled carefully, in many thin layers, with white joint mortar, resulting in a fluffy, thin snowy cover. A clinical-kitschy snow cover was to be avoided, though. I rather wanted to create the impression as if something had already happened there – thus as if already the first fight troop had passed through, and now the special command moves up to the front line.
Mush was formed by partial mixes of joint mortar with toned water. The puddles in the depressions in the road pavement have been poured out, finally, with brown coloured white glue what has a good, sculptural effect and light shine (like frozen water).
After drying everything was fixed with a water/white glue mixture as well as hair spray. Afterwards, the base of the diorama and its balsa skirt was painted, and as a final step a layer of acrylic matte varnish sealed everything.
Paper: Recollections White, patterned paper (Lawn Fawn Bokeh in the Snow)
Accessories: Kawaii stickers, large gold paper clip, dies (Memory Box Pinpoint Rectangle Layers, snowflakes - not sure, left over from another project)
Techniques: There are two layers of Recollections 110-lb cardstock behind the sticker for sturdiness, plus another layer to cover the clip.
These clips are each on an ATC (artist trading cards), 3.5” x 2.5”, the perfect size for tucking into a greeting card, stocking, or pocket letter as a little gift. I found inspiration here:
Winter Coffee Lovers Blog Hop – Winter-themed Coffee, Tea, Cocoa Project
coffeelovingcardmakers.com/5342
Allsorts 445 – Snowflakes
allsortschallenge.blogspot.ca/2017/12/week-445-snowflakes...
ATC Around the World 36 - Anything Goes Optional Winter
atcaroundtheworld.blogspot.ca/2017/12/challenge-36.html
Choux Choux Paper Arts – Visions of Sugar Plums
www.chouxchouxpaperart.com/2017/12/visions-of-sugarplums-...
Crafty Hazelnut’s Christmas Extra – December
craftyhazelnutschristmaschallenge2.blogspot.ca/2017/12/ch...
Crafty Hazelnut’s Christmas 363 – Optional Touch of Sparkle
craftyhazelnutschristmaschallenge.blogspot.ca/2017/12/chn...
Crafty Hazelnut’s Patterned Paper – December
craftyhazelnutspatternedpaper.blogspot.ca/2017/12/craftyh...
Cupcake Inspirations CIC435 – Holiday
cupcakeinspirations.blogspot.ca/2017/12/cic435-poppy-stam...
Cute Card Thursday 507 – Anything Goes
cutecardthursday.blogspot.ca/2017/12/challenge-507-anythi...
D.L.ART – December Linky – Anything Goes
dianamlarson.blogspot.ca/2017/12/dlart-december-linky.html
Happy Little Stampers - ATC - Christmas
www.happylittlestampers.com/2017/12/hls-december-atc-chal...
Not Just Cards - December
notjustcardschallenges.blogspot.ca/2017/12/anything-goes....
Pammie’s Inky Pinkies 1750 – Anything Goes
pammiesinkypinkieschallenges.blogspot.ca/2017/12/pip-chal...
SUYP Cats Only 25 – Furrything Goes/Meowy Christmas
showusyourpussies.blogspot.ca/2017/12/show-us-your-pussie...
Simon Says Stamp Monday - Christmas/Winter Holiday
www.simonsaysstampblog.com/mondaychallenge/?p=10935
Simon Says Stamp Wednesday – Gift It
www.simonsaysstampblog.com/wednesdaychallenge/simon-says-...
The Outlawz Twisted Thursday TT120717– Polka Dot Christmas
outlawzchallenges.ning.com/group/prismaandothermediums/fo...
Titus, Lisa, and Michael Hall. Recollections of a Twentieth-Century Odalisque. New York, N.Y.: L. Titus, 1997.
See MCAD Library's catalog record for this book.
Someday," I said to myself, "when I am rich and have nothing to do, I think I shall try and ride on every passenger train I can--and go to as many cities as I can, spending very little time in the city itself, but more in the clubcars and the elevated observation cars of the different trains." No, I didn't say it quite that way, but you get my drift if you are an adult reading this text.
We had so many dreams in youth, too many. There was no way they could all materialize, right? Sometimes I wonder if, as Americans, we create too many goals and dreams for ourselves, concentrating on one goal and then another, filling our minds with ambitions that would take several lifetimes to fulfill.
A wonderful collection designed by Katarina Roccella for Art Gallery Fabrics. The colors are so unusual and amazing at the same time!
April 15, 2020 #BIRTHDAY RECOLLECTIONS.
PHOTO 1 (UPPER LEFT HAND CORNER): This is Joyce, my #biological #birthMother. She gave birth to me on this day, April 15, so long ago.
My Mom said Joyce’s decision to let her and my Dad #adopt me was the greatest #gift anyone ever gave her. Joyce trusted my Mom and Dad to give me a good #life, which they did.
I’m glad my parents were always honest with me about the fact I was adopted, I knew from an early age. Joyce passed away in the early 90s, and I never got the chance to meet her. And I don’t know who my biological #Father was. I wish I did and at some point I am going to take further steps to try and find out.
But again, I just wanted to thank Joyce for giving me life. I love you. And I know a part of your soul has always been with me and I thank you for watching over me all these years.
This photo was originally posted on Instagram.
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PHOTOS 2-5 (UPPER RIGHT HAND CORNER): I was a tiny #baby! And my adopted Dad, the only Dad I’ve ever known, he was Joyce’s doctor and as such, he was the doctor in charge of my delivery. Which I always thought was so cool. Not many can say that. I wish he was here today so I could thank him for it. I miss him everyday. I love him.
I was born Steven Robert Han Lee, and I forget why (I’ll have to ask my Mom why). Anyway, my adopted Dad was Korean. He came to Canada in 1952. Some of his family, including his parents were stuck in what became the North. He wouldn’t be able to contact his family in the North until the 1980s. I can’t imagine going thirty years without talking to my folks and unfortunately he never got to talk to them again, but he did reconnect with his siblings who were in the North. But when they wrote him - it was always addressed “Hanju Lee,” not “Han Choo Lee.” Apparently when he came to Canada, immigration services screwed up his name and recorded it as “Han Choo,” not “Hanju.” Many who know me today, know that I go by Steven Hanju Lee. I changed it legally as a teenager to get rid of Robert, which from what I recall, had no deep meaning in terms of say, representing some kind of a personal family history, and I chose to use Hanju as my only middle name as a way to honour my Dad’s birth name, that his parents gave him.
These photos were originally posted on Instagram.
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PHOTOS 6-12 (LOWER LEFT HAND CORNER): April 15, 2020: An assortment of photos of baby me. The fifth photo is of me with my adopted parents, from birth - my parents, the only parents I’ve ever known: Hanju and Beverly Jean Lee.
It’s been 1 day since my last emotional breakdown.
And this #photo is a part of my subverted selfie project of 2020, photo 106/366, originally posted on Instagram.
#selfies #SubvertedSelfies #366daychallenge #2020Selfies #livingmybestlife #pansexual #bodyneutrality #selflove #selfacceptance #growth #iweigh #light #love #acceptance #stayhome #dailyinspiration #dailymotivation #day #postoftheday #instagood #empowerment #male #introspection #lookinginward #photooftheday #baby #babyboy #babylife
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PHOTO 13 (LEFT SIDE, LOWER RIGHT HAND CORNER): It’s my #birthday and I should feel on top of the world but don’t. Don’t get me wrong, I’ve had a lot of great moments and breakthroughs lately. But I still feel like I let others down, maybe even creep them out. I dunno.
I know I’m not a creep. I know I have so many amazing people in my life that care deeply for me. I know I’d never hurt another soul intentionally. I’ve let people down, but I wouldn’t ever look to cut another person down. I have love and reverence for all people, I always have. What I haven’t had was self-love. In fact I had years of self-loathing. There were times I couldn’t stand the skin I was born in. It’s why I’ve had suicidal ideation in the past and have attempted it in the past, and came close to wanting to try again this year. I even found Tuesday morning on my browser that I’d googled it the night before. I don’t remember doing it. But I want people to know and trust from the bottom of my heart that while I’ve had a history of difficulty loving me, I’d never hurt someone else. I could never harm someone else. It’s not who I am. If I ever had to, I’d never have a second thought about laying down my life to save others.
I want everyone to know this.
I’ve been talking to people about things in the past where I’ve let them down, as part of my healing. I’m slowly getting around to many people. I’ve had some amazing conversations with many already and those have been wonderful.
On another hand I have a history of spoiling my friends. And I’m learning more that none of that matters. A heartfelt homemade painting given as a gift resonates more because of the passion I put into it than say giving a camera or even a stuffed toy to someone I care for. In some of my past relationships I’d buy them half a hallmark store to try and to express my love but it didn’t result in love staying because I was filled with doubt and fear. The gifts I have were karmically tainted because of my sense of unworthiness. This is what I’m struggling to resolve by shifting my reality - that I know I’m a good man, a strong man, someone with lots to give the world. I’m tired of being afraid of rejection. I’m tired of rejection. I’m tired of feeling lost and alone.
This photo was originally posted on Instagram.
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PHOTO 14 (RIGHT SIDE, LOWER RIGHT HAND CORNER): There’s a deeper problem I’ve kept hidden, for two months now. For years now. I was so sick in January, with bronchitis and high fever. It took almost two months to get over. I thought I was over it at one point but it came back and knocked me down again. Overall my teachers were all great and were very accommodating to help me succeed. All but one.
I’ve had trouble in the past with this one, we just don’t always communicate well I guess. My education over the last decade has been up and down. I know at times it likely seemed I didn’t give it my all. After my ex left me, I ended up bombing out altogether and I know I let teachers who cared about me down.
Since I returned though, it’s been largely positive. With the odd exception I’ve gotten grades in the A range, between A- and A+. Up until the reading break, in spite of my bronchitis I was getting similar grades again, on track to getting through a full course load.
But as I’ve documented here, in addition to my bronchitis the depression has loomed over me. And in one class, I ended up being late with one important assignment. It was when the fever came back. I thought well, the teacher docks a certain percent per day so I thought I’ll take the hit and hand it in late as long as I got better. But then I didn’t get better. And two became three days, three became five, and then after seven days the assignment is worth nothing. It’s what has happened before with the same teacher and I know this teacher hates excuses and I retreated. I ignored them. But I saw my doctor for the physical and bloodwork, the first since 2017... and I even got a note just for that one assignment. And I reached out to them. I laid my case bare with honesty which is all I knew to do.
And I was rejected. I was told it was inappropriate to have told them what I had been going through. They were referring me to Kwantlen’s early alert. They were cancelling a meeting cause they felt unsafe and I was not to contact them until I spoke with counselling. This was something they did before years ago. And at that time counselling got back to me within like 48 hours. I actually genuinely like and respect this teacher, and wanted to do well. I got “A” range grades on the first three or four assignments for them. I feel like I’ve just let them down again.
Anyway, I didn’t hear from counseling. I went to the class, but sat at the back And kept mostly quiet Although I answered a few questions during class discussion, and the teacher acknowledge me whenever I raised my hand, letting me talk. But I was absolutely terrified.
Another week went by, and I had still heard nothing from the university about the situation. I actually wondered if she had even sent anything to the early alert. So, as I was finishing the homework for the next class, I received an email from the professor. In the email, the sharply told me that they were failing me in the class, As they had not received the outstanding assignment (even though I had attached what I had completed in my email to them the week before, along with several doctors notes: the ones I received from the walk-in clinic in January when I was originally very sick; and a new one from my primary care physician, written directly for them and asking that they grant me allowance). In their email, they said the decision had been made in consultation with the Dean, and the Office for Student Support. It’s funny, because after I got her first email the week before, I had thought about approaching the Dean, but didn’t. I decided to wait for counselling to contact me about the situation, as I didn’t want to be seen as going over their head. They finished their email by also saying I was to not contact them again about this situation, as that would be viewed as a violation of Kwantlen’s Student Code of Conduct. They then unfriended me and blocked me on social media, including Facebook, Instagram, and Twitter.
So this latest run-in with this teacher just brought back a flood of insecurity, doubt and depression. I stopped going to my other classes, and I slept a lot. At one point I even ended up on the phone with the suicide hotline, which I’ve spoken to before on my feed, also sharing about the attempt during a Kwantlen speaker’s series. I also got into Kwantlen counselling, who I called immediately the same afternoon I got the professor’s email. I was heartbroken and in tears when I finally went to counseling for an assessment, the same week I spoke.
And sadly, I can’t take these classes with anyone else as this professor is the only person teaching the upper level courses I need. But what upset and disturbed me the most was how the professor said that they were afraid of me. That sentence was like a knife to the gut, tearing it open like a Japanese warrior would tear themselves apart during Seppuku, a ritualized suicide by disembowelment. I remember telling all of this to my aesthetician, and when I mentioned they were scared of me, she exclaimed, “What?! You’re the biggest teddy bear I know!”
So I let March and April slip away. I did start on the final project for this class. I should have reached out to the Dean, but I really hate confrontation. Which has made me feel spineless, and asking myself when I became so weak… I’ve just never been good at confrontation, I fucking hate it. What’s worse is that it’s mainly rooted in the fact I’ve never been good at standing up for me. If I can’t get this class, I can’t even graduate. Which pains me, because if I had been able to get this class done, I’d be on track to graduate in spring 2021 (COVID concerns aside). But now, all that’s in limbo.
Counselling said I should appeal to the Dean. Everyone I’ve discussed this with has said I should fight it. But I haven’t. I build up resolve, and then crumble. I build up courage, and then crumble. In fact, today is likely the very last possible day to appeal to the Dean… having said that, I have been able to reach out to some of my other teachers, one of whom has already given me an incomplete contract, to finish outstanding work over the next month or so. Getting that did boost my confidence.
But still, I’m paralyzed when it comes to approaching the Dean. School is supposed to leave you feeling inspired, and ready to take on the world. It’s not supposed to leave you feeling broken, stupid, and suicidal. It’s not supposed to make you hate yourself even more than you did before you started. It’s not supposed to make you feel like you’ll never succeed if you don’t get that piece of paper that says Bachelor of Fine Arts. What’s worse is how this has just in general, clamped down hard on my desire to create new work. I’m devastated, and so angry at myself for not having handled any of this better. I even lied to my counsellor about having already approached the dean. And I felt so guilty doing that, and I ended up skipping a session because I was so embarrassed.
I sadly see no positive outcome for any of this. And that breaks my heart.
This photo was originally posted on Instagram.
This alley is called "Omoide Yokocho".
"Omoide" means recollections and "Yokocho" means an alley.
Many pubs (Izakaya) gather here. Also, many people gather here.
Not only Japanese, but also many foreign travelers come here.
For travelers it is a place of exoticism.
And for the Japanese it is a place of healing and enjoyment.
Anyhow people coming here look back over their recollections, and also refresh themselves for tomorrow.
To infinity, and beyond!
No recollection of taking this.
(Fancy hotels don't use paper towels -- you get REAL towels, which go in a hamper [or your pocket] afterward.)
taking picture.
Twin Peaks shirt, camera, feet, reflection, washcloth.
drunk. funny face. intoxication.
bathroom, Chatham Bars Inn, Chatham, Cape Cod, Massachusetts.
August 2, 2010.
... Read my blog at ClintJCL.wordpress.com
BACKSTORY: Carolyn's family reunion was at Cape Cod this year. We stayed at the Chatham Bars Inn. It was a lot of fun, and we were happy to see everyone.
For Vicky's recount of the trip, visit: tgaw.wordpress.com/2010/08/11/cape-cod-day-1/
RECOLLECTIONS OF THE OLD DEDHAM BRANCH RAILROAD Via READVILLE
George F Fisher
Dedham Historical Society - Article from 1890
Fifty years ago the average small boy of Dedham Village gave his strict personal attention to the conduct of the affairs of the Dedham Branch Railroad The first depot was destroyed by fire January 30 1837 with a locomotive and several cars Its successor on the same site opposite the present Reunion Hotel was of stone with an extension later of wood The building was car house and engine house combined and was also destroyed by fire The other building on the grounds was one of two and a half stories occupied as a freight house and by Oliver Capen a dealer in grain and coal It stood a little northwest of the present station with a spur track on the southerly side South of the depot was a lot occupied as a lumber yard Northeast of the freight house was the paper mill of Mr Frederic A Taft afterwards occupied by Holmes and Dunbar millwrights and still later with the freight house by Russell & Baker furniture manufacturers One straight track ran directly from the depot to the top of the hill at what is now Stone Haven station A switch at the bridge over Dwight's Brook gave entrance to the second track into the depot the track to the freight house and one to the lumber yard rather different from the maze of tracks of today The main track was what was known as strap rail a flat bar of iron about three inches wide The above cut is from a Dedham bank bill iu circulation previous to 1843 aud gives a view of the vicinity of the Roxbury station on the Boston & Providence Railroad A ledge of Roxbury pudding stone was cut through the left or western side being removed but a few years since As there was only a single track and there had been several collisions in the vicinity a flag staff was placed on the top of the western rock and when the boat train whicli was very irregular was near a flag was hoisted to warn the train men at Boston This view is probably somewhat ideal 1890 141 EEADVILLE BRANCH
and less than half an inch thick spiked to long joists Heavy iron rails were afterwards laid of what was known as the fish belly pattern the bearings being mainly on the chairs and not as now having the full weight of the rail on the sleepers The turn table was only large enough to take on the small four wheeled locomotives in use then so the tender was detached and each turned separately The operation was exceedingly laborious as it was done by muscle alone After the first depot was burned the directors had a spasm of economy Steam was given up and a pair of horses driven tandem hauled the cars to Boston a change of horses being made at Toll Gate now Forest Hills station Afterwards for a time the car was attached to the steam passenger or freight trains to and from Boston to Low Plain and then by horses to and from Dedham The earliest cars those destroyed in the first fire were much like the old style of stage coaches but my recollection of them is very indistinct so I will describe their successors They were short four wheeled affairs with doors at the sides a narrow foot board for the conductor to scramble along upon and an iron rod overhead to hold on to which enabled him to keep his footing They seated twenty six passengers the backs of the middle seats reversing as now when the direction of the car was changed There were no stoves in the cars in those days so the ride was a cold one in winter The driver or brakeman sat on the top and controlled the car by a long rod coming up to his feet from the bottom of it and connected with the brake Later we had one eight wheeled car of the English style with compartments each seating ten passengers and a small one for baggage Then came the eight wheeled car much like those now in use but with no roof over the platforms nor monitor top and some of them had a deep trench through the centre of the floor for reasons unknown into which the passenger stepped or pitched according as he entered slowly or in haste For lighting the car there was enclosed in each end a seven by nine lantern holding a small oil lamp which deepened rather than diminished the gloom at night The brake seems peculiar at this distance of time a man applying his weight by standing on the end of a rod projecting above the platform It took a long time to stop a train running at full speed The locomotives were all four wheeled wood burners and weighed less than ten tons I recall the names of a few only among them the Providence Lowell and Philadelphia One of the two first named was changed to a six wheeler by substituting a four wheeled truck for the forward pair of wheels and it was then named Tiot How very tired we became of seeing that old machine year after year on our train but Master Mechanic Griggs said that Engineer Standish never ran his locomotive into the shop unless he could make the repairs himself Standish was a thoroughbred mechanic 142 Oct HEADVILLE
and served some years in the shop of the corporation before he stepped foot on an engine as fireman as was the custom in the old days A post outside the second depot supported a small bell which before the departure of each train was rung twice and tolled once at intervals of five minutes When the Branch was first opened there were no tickets fares being paid in the cars The fare was 37 cents Those were the days of Spanish and Mexican silver ninepence 12 J cents and fourpence hapenny 0 cents Since then fares have fluctuated until now the price is cheap enough to suit all At one time about 1840 on due notice being given a small omnibus was sent to residences to convey passengers to the depot free of charge As late as 1845 there were but three trains each way daily The stations between Dedham and Boston were Mill Village now Walnut Hill Low Plain now Read ville Kenney's Bridge now Hyde Park Toll Gate now Forest Hills Jamaica Plain and Roxbury Passengers were not plenty in those days and the inward trains in the afternoon often passed Kenney's Bridge and Jamaica Plain without stopping I recall but few men now living who were connected with the Branch in the early days Mr Abner Alden as conductor in 1840 and for many years past station agent at Dedham Mr Moses Boyd conductor since 1843 Mr James 11 Prince for many years an engineer now at the repair shops at Roxbury The reader must bear in mind that these Recollections are solely from memory and refer to matters forty five years distant so that there must necessarily be some errors though in the main correct The present generation may find something of interest as showing the changes that have occurred during the last half century George F Fisher Dedham September 1890 1800 143 BRANCH
This composition for the Last Selfie of the Year best captured my feelings: As the sun set for the last time I mused warmly about the nicest bits of it - before the long winter commenced in November.
23/365 So some guy just told me that I couldn't take pictures in this area, So I had to stop there but be fore he could stop me I already took this one.
Note to self: try without the shoes.
1917 postmarked postcard view of the “DIXIE FLYER” trolley car parked at the interurban station in Franklin, Indiana. This was the I. C. & S. (Indianapolis, Columbus and Southern) Traction Company Station. It was located on the southwest corner at the intersection of North Main and West Madison Streets. This view was looking southwest from that intersection. A baggage handcart and a trunk were sitting in front of the station. According to the 1910 Sanborn™ fire insurance map set for Franklin, the brick building in the background on Madison was a telephone office.
The sign in the window of the trolley car indicated its destination was LOUISVILLE. The DIXIE FLYER designation applied to all cars traveling from Indianapolis to Louisville. The northbound cars had the “Hoosier Flyer” designation. As explained below, this car belonged to the I. & L. (Indianapolis & Louisville) Traction Company of Louisville.
The interurban line between Indianapolis and Louisville was complicated. Initially, there was the I. C. & S. line extending south from Indianapolis. It originally ended at Greenwood, but an extension to Columbus followed soon thereafter. This was the first interurban line to reach Indianapolis from outside Marion County. Separately, there was the L. & N. R. & L. (Louisville & Northern Railway & Lighting) Company that operated from Louisville up to Sellersburg. In 1907, the I. C. & S. extended its line to Seymour while a third company, the I. & L. Traction Company of Louisville, was building the connecting link between Seymour and Sellersburg.¹ As if the operation of the line by three separate companies wouldn’t be complicated enough, this new link between Seymour and Sellersburg used a newer electrical innovation. That innovation prevented the cars of the I. C. & S. and the L. & N. R. & L. from operating on the new link. Only the I. & L. cars, with their newer technology, would be able to operate on the entire line between Indianapolis and Louisville. Consequently, the I. & L. would be the operator of all trolley cars running between the two cities while the other two companies would run trolleys on their respective segments of the line. In fact, the general manager of the I. C. & S. was also named general manager of the I. & L. in order to combine operations of the two companies.
It came as no surprise that reports of a possible merger began to circulate in 1908, but I. & L. was in default on their bonds and no merger was concluded. In 1912, a new corporation, the Indianapolis & Louisville Traction Railway Company, was formed to acquire the assets of the bankrupt I. & L. Both I. C. & S. and L. & N. R. & L. continued to operate independently.² By 1915 the I. C. & S. system had been leased to the Interstate Public Service Company. The popularity of the automobile and the Depression hit the entire industry very hard. The line south of Seymour was abandoned in the late 1930s. The Indianapolis to Seymour segment continued to operate until 1941. It was the last surviving interurban line into Indianapolis.
1. Electric Railway Review, Vol. XVII (Chicago, IL: The Wilson Co., 1907), page 599. Available online at books.google.com/books?id=tEQ_AQAAMAAJ&printsec=front....
2. Frederic Nicholas, Editor, McGraw Electric Railway Manual: The Red Book of American Street Railway Investments, 19th Annual Number (New York, NY: McGraw Publishing Company, 1912), page 81. Available online at books.google.com/books?id=Pj0_AQAAMAAJ&printsec=front....
From the collection of George Mitchell.
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1911 postmarked postcard view of Randolph Street in Garrett, Indiana. This view was looking south from the Quincy Street intersection. Some of the buildings in this view are shown in the 1901 Sanborn™ fire insurance map set for Garrett while other buildings in this view replaced older (mostly wood frame) buildings that are shown in that map set. Horse-drawn buggies and wagons were the sole mode of vehicular transportation portrayed in this scene. There were no automobiles in sight. The pedestrians, including two young girls, were wearing their winter coats.
The first three lots on the southeast corner of the intersection were vacant when the 1901 map set was published. In this scene, the first two of those lots were occupied by a building with a GARAGE sign, but the third lot was still vacant. The 1901 map set shows a saloon in the building on the fourth lot south of Quincy Street. This building had some artistic advertising painted on the side when this photograph was taken. The painter’s name or company name was painted at the bottom of the wall. M. D. McCONARY? Next door, the small wood frame building was a barbershop in 1901. In this scene a barber’s pole is mostly hidden by the parked wagon. The map set shows a two-story wood frame building occupied by the City Hotel. That building appears to have been replaced by a two-story brick structure. The LEM. ON LAUNDRY sign is on a building that was a lunch room in 1901. The next two brick buildings are in the map set. The first was a cigar store and the second was a grocery. The map set shows three small single-story wood frame buildings south of that grocery. However, only two of those buildings are visible in this scene. The COVERDALE RESTAURANT sign was on the first building and advertised SHORT ORDERS A SPECIALTY. A restaurant was in that building in 1901 as well. A jeweler’s trade symbol (an oversized pocket watch) was hanging from the second of the two visible buildings. However, the map set shows a barbershop and then an unidentified office south of the restaurant. In this scene, a gasoline pump was standing on the sidewalk in that vicinity, but It’s unclear which business it was associated with.
In 1901, there were no two-story brick buildings in that block on the east side of Randolph Street south of King Street. In this scene, the sign on the two-story building advertised __D CLARK DRUGS, PAINTS, OILS & WALL PAPER. A 1905 directory of druggists¹ listed O. F. Clark as one of four druggists in Garrett. A similar 1912 directory² listed the Clark & Smith business in Garrett. The 1910 census listed a Garrett druggist whose name appears to be Orelin F. Clark. The bottom line of the sign advertised ACME STOCK FOOD. It was cattle feed, and was produced in Chicago by the Acme Food Co. Nearby, another barber’s pole stood at the curb. In 1901, a barbershop occupied one of the small single-story wood frame buildings in that area.
The KEYSER sign appears to be on the large three-story building that was located on the southeast corner at Keyser Street. The 1901 map set shows a three-story brick building on that corner occupied by the Ross Hotel.
On the west side of the street, several signs were located in the vicinity of the King Street intersection. They included HALTER’S PHARMACY. This was A. F. Halter. The 1901 map set shows a drugstore on the fourth lot south of King Street. Another sign advertised J. S. PATTERSON DRUGGIST. This business sign may be on the northwest corner at King Street, but the map set shows a toy store at that location. Both of these druggists were listed as Garrett druggists in the 1905 directory. The sign advertising BOSTON CLOTHING AND SHOE STORE appears to be on the second building north of King Street. The map set shows a furniture store in the south half of that building and a dry goods business in the north half.
The J. L. GEHRUM TAILORS sign was hanging from a small single-story wood frame building. The map set shows a tailor and a barber in just such a small wood frame building sandwiched between two-story brick buildings. A barber’s pole at that location was mostly hidden by one of the horses. A small sign below the tailors’ sign (and above the horse’s head) advertised _____ _____ DENTIST. However, that sign was hanging on the next building south.
According to the map set, the two-story brick building north of the tailoring business was occupied by a hardware store. The gasoline pump (visible above the nearest horse) and other items in the two adjacent vacant lots were probably associated with the hardware store.
North of the vacant lots (they weren’t vacant in 1901), the F. O. E. sign identified the Fraternal Order of Eagles hall. The map set shows simply a “club” on the second floor of that third building south of Quincy Street. The map set shows the Masonic Hall on the third floor. Next door to the north was the Wagner Opera House. According to the 1901 map set, the opera house was on the second floor. On the main level, a clothing store occupied the south side of the building and a restaurant occupied the north side. The opera house entrance was in the center between the two businesses. One window next to the restaurant entrance advertised THE GAS ____.
The business on the southwest corner at Quincy Street was a saloon in 1901. The painted sign on the window at the right edge of this scene was cut off, but may advertise a LUNCH ROOM.
1. The Era Druggists Directory, Eleventh Edition (New York, NY: D. O. Haynes & Co., 1905). Available online at books.google.com/books?id=bantAAAAMAAJ&printsec=front....
2. Ezra J. Kennedy, ed. The Pharmaceutical Era, Volume 39 (New York, NY: D. O. Haynes & Co., 1912). Available online at books.google.com/books?id=-MDmAAAAMAAJ&printsec=front....
Copyright 2009-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
LLWYNYPIA COLLIERY, LLWYNYPIA, RHONDDA.
Any recollection of this colliery and its workforce is inseparable from the name of Archibald Hood, a Scotsman who bestrode mid-Rhondda and elsewhere as a colossus of the mining world, and beyond that distinction too. A brief summary of this man’s career –where to do justice, a volume is needed – is that in 1860, when he arrived in Wales from Kilmarnock, Ayrshire, he was merely thirty-seven, but in a brief twenty-five of those years in Scotland, he achieved more than most men of that time would achieve in a lifetime, becoming a qualified mining engineer and coal-owner, genuinely highly-respected in both spheres by his mining peers and workforce. His interest and concern in the latter extended beyond their daily duties, with the provision of good accommodation complete with gardens for food production, and also encouraging their purchase of domestic needs from co-operative initiatives. But, as illustrious as he was in Scotland, he would, over the next forty-two years in Wales, carve a second career that would overtake his first.
Hood’s first Welsh mining involvement was at Tylcha Fach Level in Coed Ely, which exploited the thin bituminous Ty Du seam of less than a yard thickness. The colliery was owned by the Ely Valley Coal Company, and its office and winding-engine house are still in existence, modified into three residences, sitting above Tylcha Fach Estate, an elevated, relatively-new housing development which sits on the valley-side opposite the former Coedely Colliery. He had arrived there in 1860, commissioned by Messrs. Campbell and Mitchell-Innes to determine if a proposed investment in small mines in the area would be profitable, but in an interim period and inexplicably not seeking Hood’s advice, Campbell and Mitchell-Innes were persuaded, unwisely, to buy the level. Although Hood later joined them there, his thoughts were focussed on deep mining at Llwynypia, and when the Ely Valley Coal Company was liquidated, he, Campbell and Mitchell-Inness formed the new Glamorgan Coal Company and began shaft sinkings at Llwynypia Colliery. Eventually, under Hood’s leadership two more deep mines were established at Penrhiwfer and Gilfach Goch.
Evidence of the beginning of Llwynypia Colliery, dated February 27th,1861, is shown on page four (pages 1-3 missing) of Glamorgan Coal Company’s Cash Book, which over the following twenty-eight days showed directors’ cash injections of £3,600, including £300 by Archibald Hood. It provides early-years evidence that though Hood was undoubtedly the driving force at Llwynypia, his periodical purchase of company shares was always much less than his fellow directors! A search for this colliery through officially-recognised sources will be unsuccessful if ‘Glamorgan’ or ‘Scotch’ is used as a search-word, for the correct name is ‘Llwynypia’, which broadly translates as ‘Magpies Grove’. However, for good reason, ‘Glamorgan’ and ‘Scotch’ soon became every-day alternatives, and they are unquestioned and accepted to this day – but why did they originate? Imagine, you are a Scot, beginning work as a miner in a very sparsely populated area, where the native language is predominantly Welsh, a tongue completely foreign to you. Inevitably, at some time, you will be asked your place of residence or employment: do you invite ridicule, by attempting to pronounce ‘Llwynypia’, or do you use your wits, replying with the easily-pronounced ‘Scotch’, a reference to the colliery’s predominantly Scottish workforce imported by Archibald Hood – or the equally easy ‘Glamorgan’, the name of the company owning the colliery?
To accommodate his workforce, Hood found it necessary to build, and eventually, 271 homes were constructed in fifteen terraces adjacent to, and overlooking the colliery, of which 256 are still in occupied existence, together with several impressive managers’ residences built in the proximity of the colliery. More dwellings were built near his Penrhiwfer and Gilfach Goch mines, and to this day, in all three villages, there remain references to the Glamorgan Coal Company, Hood’s nationality, and Scottish landmarks. Sherwood (several), Gilmour, Anderson, Thistle, St. Andrew, Ayton, Campbell, Argyll, Grange, Holyrood, Rosedale, Bruce (Penrhiwfer), Scotch and Dundonnell (both at Gilfach Goch), all are overtly Scottish-influenced place-names, but there were acknowledgements to Wales, with Cambrian, Glamorgan, Llewelyn, Glandwr, Llwynypia, Glyncornel, Iscoed, etc. Missing from all these is a landmark dubbed ‘Hood’ by Hood himself, and perhaps this remarkable, extraordinary man knew there was no need for self-acclaim, for in his modest way he probably realized that his achievements in South Wales would render that self-perpetuation superfluous.
There were six vertical shafts and two levels at Llwynypia. On the Llwynypia side of the River Rhondda Fawr were shafts 1, 2, 3 and 4. Nos 1, and 2 shafts were sunk to exploit the shallow Nos. 2 and 3 Rhondda seams but were eventually deepened to exploit the steam coals in the deeper seams; No. 3 shaft worked the shallow seams too, but, whilst reportedly sunk to also exploit the lower seams, it closed in 1908. The coal in the Nos. 2 and 3 Rhondda seams was bituminous, used as a domestic fuel and also as the basic element in coke production, fuelling the 281 ovens at Llwynypia and Gilfach Goch collieries, where an impressive 1,400 tons was produced weekly. Additionally important, at the floor of these seams was fireclay, a mineral consisting of the roots of dead plants, extracted along with the coal, the decayed vegetation above the plant-roots, both having undergone change, metamorphosis, through heat and deep burial over millions of years. This clay was a valuable by-product, an essential constituent of the 10,000 or so bricks made daily by women in the colliery’s above-ground brick-making plant.
The three shafts (1, 2 and 3) were sunk in a line, parallel to and near the Taff Vale Railway, their extremes contained within an incredible 35.33 yards. No. 4 shaft did not conduct minerals, it was sunk purely to accommodate water pumped from the whole of the colliery’s workings, and its former location is today bordered by a fast-food outlet adjacent to Llwynypia Road. When the colliery ceased production in 1945, the yard remained in use as a rescue-station and central workshop, and the shaft remained open at the No. 3 Rhondda seam, 108 yards level, for water-pumping only until 1966, when total colliery closure took place. The writer recalls, during the mid-1960s, many times travelling to his ventilation duties there, in a very small, single-deck cage, the only one that could be accommodated in this extremely narrow shaft. No. 5 shaft, on the Trealaw side of the river, did not conduct minerals, it was sunk purely to conduct the whole of the colliery’s stale air to the surface, but at times through the colliery’s life this function was fulfilled by other shafts, including No. 6, when No. 5 closed. No. 6 shaft, close to the Collier’s Arms at Ynyscynon Road, was sunk to exploit the deep, steam coals.
In descending order, the seams worked at Llwynypia Colliery were: No. 1 Rhondda (only at an inconsequential, almost mountaintop level, see below); No. 2 Rhondda; No. 3 Rhondda; Pentre; Two Feet Nine Inches; Lower Six Feet; Upper Nine Feet (Red Vein): Lower Nine Feet and Bute; Bute; Five Feet; Lower Five Feet. The Lower Five Feet was the deepest-worked seam and was found at 517 yards in the 525 yards deep No. 1 shaft. The two levels were established on the Trealaw side of the river, with the highly-productive Sherwood Level, whose entrance was adjacent to No. 5 shaft, shallowly traversing under Ynyscynon Nursery as it commenced its 950 yard journey into Rhondda Fach, extracting the No. 2 Rhondda seam. It was opened in 1905, in anticipation of the closure of No. 3 shaft, thereby maintaining the essential supply of bituminous coal and fireclay for the production of coke and bricks, but it closed in 1923 when those reserves were exhausted. That year also saw the closure of Llwynypia Colliery Mountain Level, situated high on the Trealaw mountainside; it was a largely-exploratory, short-lived venture into the No. 1 Rhondda seam for its much-sought bituminous coal and fireclay, but one which was of limited presence due to glacial action and erosion by the elements. Reliable and complete manpower and production figures for Llwynypia are not available, but the colliery was certainly prolific in both, with 4,200 employees in 1902, and 700,000 tons output in 1923 being quoted, although the latter figure, is much lower than the widely-held figure of one million tons per annum.
Archibald Hood was that rarity, a truly-respected coal-owner. He was canny and conservative but also a humanitarian, and at Llwynypia, as in Scotland, he sought to beneficially influence the lives of his workmen and their families. Whereas D. A Thomas, Chairman of Cambrian Collieries Ltd, injected nothing into the Clydach Valley communities, Hood’s hand was everywhere in Llwynypia, manifested by the provision of schools, St. Andrews Church, a Miners Institute, complete with library and billiards tables — a swimming pool, tennis courts, cricket, football and rugby fields, and even the winter-time provision of a large, outdoor ice-skating area! He encouraged his workforce to grow food by providing large garden areas at the fronts of their dwellings, simultaneously seeking to divert the male occupants from alcohol, an imperative, given the volatile temperaments of the Welsh, Scots, and the Irish that later inhabited the community! He was known for his attention to detail, often involved in matters which his minions might have been expected to supervise – the writer’s grandmother lost an arm at Llwynypia when sixteen in 1893, amputated when caught in brick-making machinery, and Hood, then seventy, personally attended the matter, obtaining a job for the one-armed girl at the Tonypandy ironmongery of John Cox – Hood, probably not needing to remind Cox of Glamorgan Coal Company’s patronage!
When he died, aged 79, in 1902, a fund was established to erect a statue, the first in Rhondda, and this likeness, with an arm horizontal, pointing to his colliery, stands to this day, overlooking Llwynypia Road. Such was the respect of his workmen that the fund was heavily over-subscribed, with the surplus being used to provide a gas-lit statue and animal drinking-trough, now modified and situated near Tonypandy Library, removed from its original site at Tonypandy Square. Six years after his death, Llwynypia Colliery was taken under the control of D. A. Thomas’s Cambrian Collieries Ltd, of whom Leonard Llewelyn was General Manager. Today, it is known that Llewelyn was a liar, impostor and opportunist, but when he and Llwynypia Colliery became newspaper headlines in the Tonypandy Coal Strike and the associated rioting of 1910-11, he excelled in concealing and distorting the truth, by manipulating Establishment-based newspapers, the only information source of those times. To expose Llewelyn, one needed mining experience and a source of publication, both possessed by, and available to the writer, but not so in the latter-essential to miners in the 1910-11 period. So, critically, the untruths in those newspapers passed unchallenged, and became immediate history, creating false perceptions of events that deceived many historians and others to the present day. Llewelyn’s lies would not have sat well with Hood, and one wonders, when at the peak of his powers, would he have vetoed the Cambrian purchase of Llwynypia? Had it been possible to configure that time-span, he might have prevented the immense suffering that occurred in mid-Rhondda in 1910-11.
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LLWYNYPIA COLLIERY, LLWYNYPIA, RHONDDA.
Any recollection of this colliery and its workforce is inseparable from the name of Archibald Hood, a Scotsman who bestrode mid-Rhondda and elsewhere as a colossus of the mining world, and beyond that distinction too. A brief summary of this man’s career –where to do justice, a volume is needed – is that in 1860, when he arrived in Wales from Kilmarnock, Ayrshire, he was merely thirty-seven, but in a brief twenty-five of those years in Scotland, he achieved more than most men of that time would achieve in a lifetime, becoming a qualified mining engineer and coal-owner, genuinely highly-respected in both spheres by his mining peers and workforce. His interest and concern in the latter extended beyond their daily duties, with the provision of good accommodation complete with gardens for food production, and also encouraging their purchase of domestic needs from co-operative initiatives. But, as illustrious as he was in Scotland, he would, over the next forty-two years in Wales, carve a second career that would overtake his first.
Hood’s first Welsh mining involvement was at Tylcha Fach Level in Coed Ely, which exploited the thin bituminous Ty Du seam of less than a yard thickness. The colliery was owned by the Ely Valley Coal Company, and its office and winding-engine house are still in existence, modified into three residences, sitting above Tylcha Fach Estate, an elevated, relatively-new housing development which sits on the valley-side opposite the former Coedely Colliery. He had arrived there in 1860, commissioned by Messrs. Campbell and Mitchell-Innes to determine if a proposed investment in small mines in the area would be profitable, but in an interim period and inexplicably not seeking Hood’s advice, Campbell and Mitchell-Innes were persuaded, unwisely, to buy the level. Although Hood later joined them there, his thoughts were focussed on deep mining at Llwynypia, and when the Ely Valley Coal Company was liquidated, he, Campbell and Mitchell-Inness formed the new Glamorgan Coal Company and began shaft sinkings at Llwynypia Colliery. Eventually, under Hood’s leadership two more deep mines were established at Penrhiwfer and Gilfach Goch.
Evidence of the beginning of Llwynypia Colliery, dated February 27th,1861, is shown on page four (pages 1-3 missing) of Glamorgan Coal Company’s Cash Book, which over the following twenty-eight days showed directors’ cash injections of £3,600, including £300 by Archibald Hood. It provides early-years evidence that though Hood was undoubtedly the driving force at Llwynypia, his periodical purchase of company shares was always much less than his fellow directors! A search for this colliery through officially-recognised sources will be unsuccessful if ‘Glamorgan’ or ‘Scotch’ is used as a search-word, for the correct name is ‘Llwynypia’, which broadly translates as ‘Magpies Grove’. However, for good reason, ‘Glamorgan’ and ‘Scotch’ soon became every-day alternatives, and they are unquestioned and accepted to this day – but why did they originate? Imagine, you are a Scot, beginning work as a miner in a very sparsely populated area, where the native language is predominantly Welsh, a tongue completely foreign to you. Inevitably, at some time, you will be asked your place of residence or employment: do you invite ridicule, by attempting to pronounce ‘Llwynypia’, or do you use your wits, replying with the easily-pronounced ‘Scotch’, a reference to the colliery’s predominantly Scottish workforce imported by Archibald Hood – or the equally easy ‘Glamorgan’, the name of the company owning the colliery?
To accommodate his workforce, Hood found it necessary to build, and eventually, 271 homes were constructed in fifteen terraces adjacent to, and overlooking the colliery, of which 256 are still in occupied existence, together with several impressive managers’ residences built in the proximity of the colliery. More dwellings were built near his Penrhiwfer and Gilfach Goch mines, and to this day, in all three villages, there remain references to the Glamorgan Coal Company, Hood’s nationality, and Scottish landmarks. Sherwood (several), Gilmour, Anderson, Thistle, St. Andrew, Ayton, Campbell, Argyll, Grange, Holyrood, Rosedale, Bruce (Penrhiwfer), Scotch and Dundonnell (both at Gilfach Goch), all are overtly Scottish-influenced place-names, but there were acknowledgements to Wales, with Cambrian, Glamorgan, Llewelyn, Glandwr, Llwynypia, Glyncornel, Iscoed, etc. Missing from all these is a landmark dubbed ‘Hood’ by Hood himself, and perhaps this remarkable, extraordinary man knew there was no need for self-acclaim, for in his modest way he probably realized that his achievements in South Wales would render that self-perpetuation superfluous.
There were six vertical shafts and two levels at Llwynypia. On the Llwynypia side of the River Rhondda Fawr were shafts 1, 2, 3 and 4. Nos 1, and 2 shafts were sunk to exploit the shallow Nos. 2 and 3 Rhondda seams but were eventually deepened to exploit the steam coals in the deeper seams; No. 3 shaft worked the shallow seams too, but, whilst reportedly sunk to also exploit the lower seams, it closed in 1908. The coal in the Nos. 2 and 3 Rhondda seams was bituminous, used as a domestic fuel and also as the basic element in coke production, fuelling the 281 ovens at Llwynypia and Gilfach Goch collieries, where an impressive 1,400 tons was produced weekly. Additionally important, at the floor of these seams was fireclay, a mineral consisting of the roots of dead plants, extracted along with the coal, the decayed vegetation above the plant-roots, both having undergone change, metamorphosis, through heat and deep burial over millions of years. This clay was a valuable by-product, an essential constituent of the 10,000 or so bricks made daily by women in the colliery’s above-ground brick-making plant.
The three shafts (1, 2 and 3) were sunk in a line, parallel to and near the Taff Vale Railway, their extremes contained within an incredible 35.33 yards. No. 4 shaft did not conduct minerals, it was sunk purely to accommodate water pumped from the whole of the colliery’s workings, and its former location is today bordered by a fast-food outlet adjacent to Llwynypia Road. When the colliery ceased production in 1945, the yard remained in use as a rescue-station and central workshop, and the shaft remained open at the No. 3 Rhondda seam, 108 yards level, for water-pumping only until 1966, when total colliery closure took place. The writer recalls, during the mid-1960s, many times travelling to his ventilation duties there, in a very small, single-deck cage, the only one that could be accommodated in this extremely narrow shaft. No. 5 shaft, on the Trealaw side of the river, did not conduct minerals, it was sunk purely to conduct the whole of the colliery’s stale air to the surface, but at times through the colliery’s life this function was fulfilled by other shafts, including No. 6, when No. 5 closed. No. 6 shaft, close to the Collier’s Arms at Ynyscynon Road, was sunk to exploit the deep, steam coals.
In descending order, the seams worked at Llwynypia Colliery were: No. 1 Rhondda (only at an inconsequential, almost mountaintop level, see below); No. 2 Rhondda; No. 3 Rhondda; Pentre; Two Feet Nine Inches; Lower Six Feet; Upper Nine Feet (Red Vein): Lower Nine Feet and Bute; Bute; Five Feet; Lower Five Feet. The Lower Five Feet was the deepest-worked seam and was found at 517 yards in the 525 yards deep No. 1 shaft. The two levels were established on the Trealaw side of the river, with the highly-productive Sherwood Level, whose entrance was adjacent to No. 5 shaft, shallowly traversing under Ynyscynon Nursery as it commenced its 950 yard journey into Rhondda Fach, extracting the No. 2 Rhondda seam. It was opened in 1905, in anticipation of the closure of No. 3 shaft, thereby maintaining the essential supply of bituminous coal and fireclay for the production of coke and bricks, but it closed in 1923 when those reserves were exhausted. That year also saw the closure of Llwynypia Colliery Mountain Level, situated high on the Trealaw mountainside; it was a largely-exploratory, short-lived venture into the No. 1 Rhondda seam for its much-sought bituminous coal and fireclay, but one which was of limited presence due to glacial action and erosion by the elements. Reliable and complete manpower and production figures for Llwynypia are not available, but the colliery was certainly prolific in both, with 4,200 employees in 1902, and 700,000 tons output in 1923 being quoted, although the latter figure, is much lower than the widely-held figure of one million tons per annum.
Archibald Hood was that rarity, a truly-respected coal-owner. He was canny and conservative but also a humanitarian, and at Llwynypia, as in Scotland, he sought to beneficially influence the lives of his workmen and their families. Whereas D. A Thomas, Chairman of Cambrian Collieries Ltd, injected nothing into the Clydach Valley communities, Hood’s hand was everywhere in Llwynypia, manifested by the provision of schools, St. Andrews Church, a Miners Institute, complete with library and billiards tables — a swimming pool, tennis courts, cricket, football and rugby fields, and even the winter-time provision of a large, outdoor ice-skating area! He encouraged his workforce to grow food by providing large garden areas at the fronts of their dwellings, simultaneously seeking to divert the male occupants from alcohol, an imperative, given the volatile temperaments of the Welsh, Scots, and the Irish that later inhabited the community! He was known for his attention to detail, often involved in matters which his minions might have been expected to supervise – the writer’s grandmother lost an arm at Llwynypia when sixteen in 1893, amputated when caught in brick-making machinery, and Hood, then seventy, personally attended the matter, obtaining a job for the one-armed girl at the Tonypandy ironmongery of John Cox – Hood, probably not needing to remind Cox of Glamorgan Coal Company’s patronage!
When he died, aged 79, in 1902, a fund was established to erect a statue, the first in Rhondda, and this likeness, with an arm horizontal, pointing to his colliery, stands to this day, overlooking Llwynypia Road. Such was the respect of his workmen that the fund was heavily over-subscribed, with the surplus being used to provide a gas-lit statue and animal drinking-trough, now modified and situated near Tonypandy Library, removed from its original site at Tonypandy Square. Six years after his death, Llwynypia Colliery was taken under the control of D. A. Thomas’s Cambrian Collieries Ltd, of whom Leonard Llewelyn was General Manager. Today, it is known that Llewelyn was a liar, impostor and opportunist, but when he and Llwynypia Colliery became newspaper headlines in the Tonypandy Coal Strike and the associated rioting of 1910-11, he excelled in concealing and distorting the truth, by manipulating Establishment-based newspapers, the only information source of those times. To expose Llewelyn, one needed mining experience and a source of publication, both possessed by, and available to the writer, but not so in the latter-essential to miners in the 1910-11 period. So, critically, the untruths in those newspapers passed unchallenged, and became immediate history, creating false perceptions of events that deceived many historians and others to the present day. Llewelyn’s lies would not have sat well with Hood, and one wonders, when at the peak of his powers, would he have vetoed the Cambrian purchase of Llwynypia? Had it been possible to configure that time-span, he might have prevented the immense suffering that occurred in mid-Rhondda in 1910-11.
LLWYNYPIA COLLIERY, LLWYNYPIA, RHONDDA.
Any recollection of this colliery and its workforce is inseparable from the name of Archibald Hood, a Scotsman who bestrode mid-Rhondda and elsewhere as a colossus of the mining world, and beyond that distinction too. A brief summary of this man’s career –where to do justice, a volume is needed – is that in 1860, when he arrived in Wales from Kilmarnock, Ayrshire, he was merely thirty-seven, but in a brief twenty-five of those years in Scotland, he achieved more than most men of that time would achieve in a lifetime, becoming a qualified mining engineer and coal-owner, genuinely highly-respected in both spheres by his mining peers and workforce. His interest and concern in the latter extended beyond their daily duties, with the provision of good accommodation complete with gardens for food production, and also encouraging their purchase of domestic needs from co-operative initiatives. But, as illustrious as he was in Scotland, he would, over the next forty-two years in Wales, carve a second career that would overtake his first.
Hood’s first Welsh mining involvement was at Tylcha Fach Level in Coed Ely, which exploited the thin bituminous Ty Du seam of less than a yard thickness. The colliery was owned by the Ely Valley Coal Company, and its office and winding-engine house are still in existence, modified into three residences, sitting above Tylcha Fach Estate, an elevated, relatively-new housing development which sits on the valley-side opposite the former Coedely Colliery. He had arrived there in 1860, commissioned by Messrs. Campbell and Mitchell-Innes to determine if a proposed investment in small mines in the area would be profitable, but in an interim period and inexplicably not seeking Hood’s advice, Campbell and Mitchell-Innes were persuaded, unwisely, to buy the level. Although Hood later joined them there, his thoughts were focussed on deep mining at Llwynypia, and when the Ely Valley Coal Company was liquidated, he, Campbell and Mitchell-Inness formed the new Glamorgan Coal Company and began shaft sinkings at Llwynypia Colliery. Eventually, under Hood’s leadership two more deep mines were established at Penrhiwfer and Gilfach Goch.
Evidence of the beginning of Llwynypia Colliery, dated February 27th,1861, is shown on page four (pages 1-3 missing) of Glamorgan Coal Company’s Cash Book, which over the following twenty-eight days showed directors’ cash injections of £3,600, including £300 by Archibald Hood. It provides early-years evidence that though Hood was undoubtedly the driving force at Llwynypia, his periodical purchase of company shares was always much less than his fellow directors! A search for this colliery through officially-recognised sources will be unsuccessful if ‘Glamorgan’ or ‘Scotch’ is used as a search-word, for the correct name is ‘Llwynypia’, which broadly translates as ‘Magpies Grove’. However, for good reason, ‘Glamorgan’ and ‘Scotch’ soon became every-day alternatives, and they are unquestioned and accepted to this day – but why did they originate? Imagine, you are a Scot, beginning work as a miner in a very sparsely populated area, where the native language is predominantly Welsh, a tongue completely foreign to you. Inevitably, at some time, you will be asked your place of residence or employment: do you invite ridicule, by attempting to pronounce ‘Llwynypia’, or do you use your wits, replying with the easily-pronounced ‘Scotch’, a reference to the colliery’s predominantly Scottish workforce imported by Archibald Hood – or the equally easy ‘Glamorgan’, the name of the company owning the colliery?
To accommodate his workforce, Hood found it necessary to build, and eventually, 271 homes were constructed in fifteen terraces adjacent to, and overlooking the colliery, of which 256 are still in occupied existence, together with several impressive managers’ residences built in the proximity of the colliery. More dwellings were built near his Penrhiwfer and Gilfach Goch mines, and to this day, in all three villages, there remain references to the Glamorgan Coal Company, Hood’s nationality, and Scottish landmarks. Sherwood (several), Gilmour, Anderson, Thistle, St. Andrew, Ayton, Campbell, Argyll, Grange, Holyrood, Rosedale, Bruce (Penrhiwfer), Scotch and Dundonnell (both at Gilfach Goch), all are overtly Scottish-influenced place-names, but there were acknowledgements to Wales, with Cambrian, Glamorgan, Llewelyn, Glandwr, Llwynypia, Glyncornel, Iscoed, etc. Missing from all these is a landmark dubbed ‘Hood’ by Hood himself, and perhaps this remarkable, extraordinary man knew there was no need for self-acclaim, for in his modest way he probably realized that his achievements in South Wales would render that self-perpetuation superfluous.
There were six vertical shafts and two levels at Llwynypia. On the Llwynypia side of the River Rhondda Fawr were shafts 1, 2, 3 and 4. Nos 1, and 2 shafts were sunk to exploit the shallow Nos. 2 and 3 Rhondda seams but were eventually deepened to exploit the steam coals in the deeper seams; No. 3 shaft worked the shallow seams too, but, whilst reportedly sunk to also exploit the lower seams, it closed in 1908. The coal in the Nos. 2 and 3 Rhondda seams was bituminous, used as a domestic fuel and also as the basic element in coke production, fuelling the 281 ovens at Llwynypia and Gilfach Goch collieries, where an impressive 1,400 tons was produced weekly. Additionally important, at the floor of these seams was fireclay, a mineral consisting of the roots of dead plants, extracted along with the coal, the decayed vegetation above the plant-roots, both having undergone change, metamorphosis, through heat and deep burial over millions of years. This clay was a valuable by-product, an essential constituent of the 10,000 or so bricks made daily by women in the colliery’s above-ground brick-making plant.
The three shafts (1, 2 and 3) were sunk in a line, parallel to and near the Taff Vale Railway, their extremes contained within an incredible 35.33 yards. No. 4 shaft did not conduct minerals, it was sunk purely to accommodate water pumped from the whole of the colliery’s workings, and its former location is today bordered by a fast-food outlet adjacent to Llwynypia Road. When the colliery ceased production in 1945, the yard remained in use as a rescue-station and central workshop, and the shaft remained open at the No. 3 Rhondda seam, 108 yards level, for water-pumping only until 1966, when total colliery closure took place. The writer recalls, during the mid-1960s, many times travelling to his ventilation duties there, in a very small, single-deck cage, the only one that could be accommodated in this extremely narrow shaft. No. 5 shaft, on the Trealaw side of the river, did not conduct minerals, it was sunk purely to conduct the whole of the colliery’s stale air to the surface, but at times through the colliery’s life this function was fulfilled by other shafts, including No. 6, when No. 5 closed. No. 6 shaft, close to the Collier’s Arms at Ynyscynon Road, was sunk to exploit the deep, steam coals.
In descending order, the seams worked at Llwynypia Colliery were: No. 1 Rhondda (only at an inconsequential, almost mountaintop level, see below); No. 2 Rhondda; No. 3 Rhondda; Pentre; Two Feet Nine Inches; Lower Six Feet; Upper Nine Feet (Red Vein): Lower Nine Feet and Bute; Bute; Five Feet; Lower Five Feet. The Lower Five Feet was the deepest-worked seam and was found at 517 yards in the 525 yards deep No. 1 shaft. The two levels were established on the Trealaw side of the river, with the highly-productive Sherwood Level, whose entrance was adjacent to No. 5 shaft, shallowly traversing under Ynyscynon Nursery as it commenced its 950 yard journey into Rhondda Fach, extracting the No. 2 Rhondda seam. It was opened in 1905, in anticipation of the closure of No. 3 shaft, thereby maintaining the essential supply of bituminous coal and fireclay for the production of coke and bricks, but it closed in 1923 when those reserves were exhausted. That year also saw the closure of Llwynypia Colliery Mountain Level, situated high on the Trealaw mountainside; it was a largely-exploratory, short-lived venture into the No. 1 Rhondda seam for its much-sought bituminous coal and fireclay, but one which was of limited presence due to glacial action and erosion by the elements. Reliable and complete manpower and production figures for Llwynypia are not available, but the colliery was certainly prolific in both, with 4,200 employees in 1902, and 700,000 tons output in 1923 being quoted, although the latter figure, is much lower than the widely-held figure of one million tons per annum.
Archibald Hood was that rarity, a truly-respected coal-owner. He was canny and conservative but also a humanitarian, and at Llwynypia, as in Scotland, he sought to beneficially influence the lives of his workmen and their families. Whereas D. A Thomas, Chairman of Cambrian Collieries Ltd, injected nothing into the Clydach Valley communities, Hood’s hand was everywhere in Llwynypia, manifested by the provision of schools, St. Andrews Church, a Miners Institute, complete with library and billiards tables — a swimming pool, tennis courts, cricket, football and rugby fields, and even the winter-time provision of a large, outdoor ice-skating area! He encouraged his workforce to grow food by providing large garden areas at the fronts of their dwellings, simultaneously seeking to divert the male occupants from alcohol, an imperative, given the volatile temperaments of the Welsh, Scots, and the Irish that later inhabited the community! He was known for his attention to detail, often involved in matters which his minions might have been expected to supervise – the writer’s grandmother lost an arm at Llwynypia when sixteen in 1893, amputated when caught in brick-making machinery, and Hood, then seventy, personally attended the matter, obtaining a job for the one-armed girl at the Tonypandy ironmongery of John Cox – Hood, probably not needing to remind Cox of Glamorgan Coal Company’s patronage!
When he died, aged 79, in 1902, a fund was established to erect a statue, the first in Rhondda, and this likeness, with an arm horizontal, pointing to his colliery, stands to this day, overlooking Llwynypia Road. Such was the respect of his workmen that the fund was heavily over-subscribed, with the surplus being used to provide a gas-lit statue and animal drinking-trough, now modified and situated near Tonypandy Library, removed from its original site at Tonypandy Square. Six years after his death, Llwynypia Colliery was taken under the control of D. A. Thomas’s Cambrian Collieries Ltd, of whom Leonard Llewelyn was General Manager. Today, it is known that Llewelyn was a liar, impostor and opportunist, but when he and Llwynypia Colliery became newspaper headlines in the Tonypandy Coal Strike and the associated rioting of 1910-11, he excelled in concealing and distorting the truth, by manipulating Establishment-based newspapers, the only information source of those times. To expose Llewelyn, one needed mining experience and a source of publication, both possessed by, and available to the writer, but not so in the latter-essential to miners in the 1910-11 period. So, critically, the untruths in those newspapers passed unchallenged, and became immediate history, creating false perceptions of events that deceived many historians and others to the present day. Llewelyn’s lies would not have sat well with Hood, and one wonders, when at the peak of his powers, would he have vetoed the Cambrian purchase of Llwynypia? Had it been possible to configure that time-span, he might have prevented the immense suffering that occurred in mid-Rhondda in 1910-11.
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The small size of the above image doesn't do a very good job of presenting the print details. This link will take you to another Flickr page where a close-up section of this print gives a much clearer view of the detail.
www.flickr.com/photos/hoosier_recollections/1542363258/in...
An image of the postcard upon which this print is based can be seen here.
www.flickr.com/photos/hoosier_recollections/6950432203/in...
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Indiana History Prints
I created my first Indiana History Prints in 2002. The early prints were digital collages based on authentic original antique postcards, advertisements, and other paper items. I have continued to make a few collage prints, but also began creating prints from a few individual postcards and advertisements. All of the prints have been based on items from the late 19th and early 20th centuries. That was the era when railroads already crisscrossed the state and provided the primary means of transporting passengers, freight and the mail. However, around the turn of the century, the interurban system arose and expanded rapidly. The interurban lines and the railroads were competing in some respects and, together, these two rail systems provided excellent service throughout much of the state. Their importance has been memorialized in hundreds of postcard scenes of trains, trolleys, bridges, stations and passengers. Then, just as the interurban system was becoming an integral part of Hoosiers’ lives, the automobile arrived and changed everything. Initially, it displaced the horse-drawn vehicles that were the primary means of local transportation. As roads were improved between communities to accommodate the automobiles, the interurban system began a fairly rapid decline followed by passenger service on the railroads. These changes were well documented by the photographers and postcard manufacturers and by the advertising from that era. The best examples of the postcards and photographs offer some amazing views of that era.
Personal and business communications were changing as well. The telephone was not yet widely available. The Post Office Department began selling the first postal cards at post offices in 1873, but businesses were the primary users. Picture postcards first appeared in Europe and eventually in the U.S. after the turn of the century. Those postcards quickly became a convenient method for personal communication, especially after the postal regulations changed in 1906 to allow messages on half of the back side of the postcard. The postcards were also collectible.
In those days, mail delivery within the state often took no more than a day. Post Office Department clerks processed some of the mail on specially designed rail cars as the trains traveled from one destination to the next. Several postcard scenes from that era show postal clerks standing on the railroad station platforms with mail pouches. A few postcards show the mail cars, but there are very few views of the interiors of those cars.
I am entirely responsible for the creation and production of the prints. They have been produced with care and each element used in the prints looks at least as good as the original. Each print is produced in very small quantities on 100% cotton rag watercolor paper (Hahnemühle Photo Rag®). The paper has a slight warm tone rather than being bright white, making it particularly suitable for printing historical objects. The prints will look good for decades, but need to be matted, framed and displayed behind glass to protect them from physical and environmental damage.
Print Description
c1910 postcard view of Ohio Street in Rockville, Indiana. This view was looking west-northwest on the north side of the Parke County Courthouse square after a snowfall. The Market Street intersection is in the background. Numerous buggies were parked along the courthouse square. Pedestrians were dodging shop owners who were busy clearing snow from the sidewalk across the street.
The 1910 Sanborn™ fire insurance map set for Rockville shows a bank on the southeast corner at East Ohio and South Jefferson streets. The building faced Jefferson Street and had an exterior stairway and balcony on the side facing Market Street. The photographer probably took this photograph from that stairway or balcony. The building and stairway/balcony were still there as of August 2015. In fact, all the buildings in this scene are still standing and have been restored and/or remodeled.
The Sanborn™ map set identified 14 businesses along the north side of Ohio Street across from the courthouse, but the three businesses at the east end of the block are not visible in this view. Beginning at the west end of the block on the northeast corner, the map set shows a bank and then next door a jewelry store with the fire department in the basement. The three-story building near that end of the block in 1910 housed a clothing store (with a boots and shoes department in the back) and an unidentified lodge hall upstairs. The sign on that building in this scene advertised the E. S. BRUBECK ONE PRICE CLOTHING AND SHOES store. The BRUBECK name was also printed on the awning.
The next building east was a two-story brick building with three businesses inside. The 1910 map set identified them as a grocery, a millinery shop and a haberdashery with a photographer’s studio above the grocery and millinery shop. In this postcard scene, the location of the millinery shop has an awning that appears to read DAN D. JONES. In the next building east, the map set shows a furniture business and a hardware store/tin shop. The awning and business sign on that building advertised the H. R. NEVINS FURNITURE [and] UNDERTAKING business. A partially hidden sign below a display window next door advertised DO_EY. That was the location of the hardware store shown in the map set. The map set shows a drug store and a clothing store in the next building east. One of the awnings on that building advertised DRUGS, but any other information on that awning is unreadable. The sign and awning next door clearly identified the MARKS & BUTLER CLOTHING store. The last store in this view was the OTT HARDWARE CO. store. Their awning advertises IMPLEMENTS, FENCE & CEMENT. Another sign near the top of the building advertised STOVES & RANGES.
Most of the horses were covered with blankets. A wrought iron fence surrounded the courthouse square and a hand water pump stood near the platform at the bottom of this scene.
The map set shows the Parke Hotel on the southwest corner at Ohio and Market Streets. That building is visible in this scene and a partially visible sign on Ohio Street advertised __AB__S. The map set shows a livery and feed business west of the hotel and that sign may have been advertising STABLES.
From a private collection.
Copyright 2004-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
This is a digital rescue of a severely overexposed holga double exposure at the Yakama Tribal Center campgrounds in Toppenish, Washington.
LLWYNYPIA COLLIERY, LLWYNYPIA, RHONDDA.
Any recollection of this colliery and its workforce is inseparable from the name of Archibald Hood, a Scotsman who bestrode mid-Rhondda and elsewhere as a colossus of the mining world, and beyond that distinction too. A brief summary of this man’s career –where to do justice, a volume is needed – is that in 1860, when he arrived in Wales from Kilmarnock, Ayrshire, he was merely thirty-seven, but in a brief twenty-five of those years in Scotland, he achieved more than most men of that time would achieve in a lifetime, becoming a qualified mining engineer and coal-owner, genuinely highly-respected in both spheres by his mining peers and workforce. His interest and concern in the latter extended beyond their daily duties, with the provision of good accommodation complete with gardens for food production, and also encouraging their purchase of domestic needs from co-operative initiatives. But, as illustrious as he was in Scotland, he would, over the next forty-two years in Wales, carve a second career that would overtake his first.
Hood’s first Welsh mining involvement was at Tylcha Fach Level in Coed Ely, which exploited the thin bituminous Ty Du seam of less than a yard thickness. The colliery was owned by the Ely Valley Coal Company, and its office and winding-engine house are still in existence, modified into three residences, sitting above Tylcha Fach Estate, an elevated, relatively-new housing development which sits on the valley-side opposite the former Coedely Colliery. He had arrived there in 1860, commissioned by Messrs. Campbell and Mitchell-Innes to determine if a proposed investment in small mines in the area would be profitable, but in an interim period and inexplicably not seeking Hood’s advice, Campbell and Mitchell-Innes were persuaded, unwisely, to buy the level. Although Hood later joined them there, his thoughts were focussed on deep mining at Llwynypia, and when the Ely Valley Coal Company was liquidated, he, Campbell and Mitchell-Inness formed the new Glamorgan Coal Company and began shaft sinkings at Llwynypia Colliery. Eventually, under Hood’s leadership two more deep mines were established at Penrhiwfer and Gilfach Goch.
Evidence of the beginning of Llwynypia Colliery, dated February 27th,1861, is shown on page four (pages 1-3 missing) of Glamorgan Coal Company’s Cash Book, which over the following twenty-eight days showed directors’ cash injections of £3,600, including £300 by Archibald Hood. It provides early-years evidence that though Hood was undoubtedly the driving force at Llwynypia, his periodical purchase of company shares was always much less than his fellow directors! A search for this colliery through officially-recognised sources will be unsuccessful if ‘Glamorgan’ or ‘Scotch’ is used as a search-word, for the correct name is ‘Llwynypia’, which broadly translates as ‘Magpies Grove’. However, for good reason, ‘Glamorgan’ and ‘Scotch’ soon became every-day alternatives, and they are unquestioned and accepted to this day – but why did they originate? Imagine, you are a Scot, beginning work as a miner in a very sparsely populated area, where the native language is predominantly Welsh, a tongue completely foreign to you. Inevitably, at some time, you will be asked your place of residence or employment: do you invite ridicule, by attempting to pronounce ‘Llwynypia’, or do you use your wits, replying with the easily-pronounced ‘Scotch’, a reference to the colliery’s predominantly Scottish workforce imported by Archibald Hood – or the equally easy ‘Glamorgan’, the name of the company owning the colliery?
To accommodate his workforce, Hood found it necessary to build, and eventually, 271 homes were constructed in fifteen terraces adjacent to, and overlooking the colliery, of which 256 are still in occupied existence, together with several impressive managers’ residences built in the proximity of the colliery. More dwellings were built near his Penrhiwfer and Gilfach Goch mines, and to this day, in all three villages, there remain references to the Glamorgan Coal Company, Hood’s nationality, and Scottish landmarks. Sherwood (several), Gilmour, Anderson, Thistle, St. Andrew, Ayton, Campbell, Argyll, Grange, Holyrood, Rosedale, Bruce (Penrhiwfer), Scotch and Dundonnell (both at Gilfach Goch), all are overtly Scottish-influenced place-names, but there were acknowledgements to Wales, with Cambrian, Glamorgan, Llewelyn, Glandwr, Llwynypia, Glyncornel, Iscoed, etc. Missing from all these is a landmark dubbed ‘Hood’ by Hood himself, and perhaps this remarkable, extraordinary man knew there was no need for self-acclaim, for in his modest way he probably realized that his achievements in South Wales would render that self-perpetuation superfluous.
There were six vertical shafts and two levels at Llwynypia. On the Llwynypia side of the River Rhondda Fawr were shafts 1, 2, 3 and 4. Nos 1, and 2 shafts were sunk to exploit the shallow Nos. 2 and 3 Rhondda seams but were eventually deepened to exploit the steam coals in the deeper seams; No. 3 shaft worked the shallow seams too, but, whilst reportedly sunk to also exploit the lower seams, it closed in 1908. The coal in the Nos. 2 and 3 Rhondda seams was bituminous, used as a domestic fuel and also as the basic element in coke production, fuelling the 281 ovens at Llwynypia and Gilfach Goch collieries, where an impressive 1,400 tons was produced weekly. Additionally important, at the floor of these seams was fireclay, a mineral consisting of the roots of dead plants, extracted along with the coal, the decayed vegetation above the plant-roots, both having undergone change, metamorphosis, through heat and deep burial over millions of years. This clay was a valuable by-product, an essential constituent of the 10,000 or so bricks made daily by women in the colliery’s above-ground brick-making plant.
The three shafts (1, 2 and 3) were sunk in a line, parallel to and near the Taff Vale Railway, their extremes contained within an incredible 35.33 yards. No. 4 shaft did not conduct minerals, it was sunk purely to accommodate water pumped from the whole of the colliery’s workings, and its former location is today bordered by a fast-food outlet adjacent to Llwynypia Road. When the colliery ceased production in 1945, the yard remained in use as a rescue-station and central workshop, and the shaft remained open at the No. 3 Rhondda seam, 108 yards level, for water-pumping only until 1966, when total colliery closure took place. The writer recalls, during the mid-1960s, many times travelling to his ventilation duties there, in a very small, single-deck cage, the only one that could be accommodated in this extremely narrow shaft. No. 5 shaft, on the Trealaw side of the river, did not conduct minerals, it was sunk purely to conduct the whole of the colliery’s stale air to the surface, but at times through the colliery’s life this function was fulfilled by other shafts, including No. 6, when No. 5 closed. No. 6 shaft, close to the Collier’s Arms at Ynyscynon Road, was sunk to exploit the deep, steam coals.
In descending order, the seams worked at Llwynypia Colliery were: No. 1 Rhondda (only at an inconsequential, almost mountaintop level, see below); No. 2 Rhondda; No. 3 Rhondda; Pentre; Two Feet Nine Inches; Lower Six Feet; Upper Nine Feet (Red Vein): Lower Nine Feet and Bute; Bute; Five Feet; Lower Five Feet. The Lower Five Feet was the deepest-worked seam and was found at 517 yards in the 525 yards deep No. 1 shaft. The two levels were established on the Trealaw side of the river, with the highly-productive Sherwood Level, whose entrance was adjacent to No. 5 shaft, shallowly traversing under Ynyscynon Nursery as it commenced its 950 yard journey into Rhondda Fach, extracting the No. 2 Rhondda seam. It was opened in 1905, in anticipation of the closure of No. 3 shaft, thereby maintaining the essential supply of bituminous coal and fireclay for the production of coke and bricks, but it closed in 1923 when those reserves were exhausted. That year also saw the closure of Llwynypia Colliery Mountain Level, situated high on the Trealaw mountainside; it was a largely-exploratory, short-lived venture into the No. 1 Rhondda seam for its much-sought bituminous coal and fireclay, but one which was of limited presence due to glacial action and erosion by the elements. Reliable and complete manpower and production figures for Llwynypia are not available, but the colliery was certainly prolific in both, with 4,200 employees in 1902, and 700,000 tons output in 1923 being quoted, although the latter figure, is much lower than the widely-held figure of one million tons per annum.
Archibald Hood was that rarity, a truly-respected coal-owner. He was canny and conservative but also a humanitarian, and at Llwynypia, as in Scotland, he sought to beneficially influence the lives of his workmen and their families. Whereas D. A Thomas, Chairman of Cambrian Collieries Ltd, injected nothing into the Clydach Valley communities, Hood’s hand was everywhere in Llwynypia, manifested by the provision of schools, St. Andrews Church, a Miners Institute, complete with library and billiards tables — a swimming pool, tennis courts, cricket, football and rugby fields, and even the winter-time provision of a large, outdoor ice-skating area! He encouraged his workforce to grow food by providing large garden areas at the fronts of their dwellings, simultaneously seeking to divert the male occupants from alcohol, an imperative, given the volatile temperaments of the Welsh, Scots, and the Irish that later inhabited the community! He was known for his attention to detail, often involved in matters which his minions might have been expected to supervise – the writer’s grandmother lost an arm at Llwynypia when sixteen in 1893, amputated when caught in brick-making machinery, and Hood, then seventy, personally attended the matter, obtaining a job for the one-armed girl at the Tonypandy ironmongery of John Cox – Hood, probably not needing to remind Cox of Glamorgan Coal Company’s patronage!
When he died, aged 79, in 1902, a fund was established to erect a statue, the first in Rhondda, and this likeness, with an arm horizontal, pointing to his colliery, stands to this day, overlooking Llwynypia Road. Such was the respect of his workmen that the fund was heavily over-subscribed, with the surplus being used to provide a gas-lit statue and animal drinking-trough, now modified and situated near Tonypandy Library, removed from its original site at Tonypandy Square. Six years after his death, Llwynypia Colliery was taken under the control of D. A. Thomas’s Cambrian Collieries Ltd, of whom Leonard Llewelyn was General Manager. Today, it is known that Llewelyn was a liar, impostor and opportunist, but when he and Llwynypia Colliery became newspaper headlines in the Tonypandy Coal Strike and the associated rioting of 1910-11, he excelled in concealing and distorting the truth, by manipulating Establishment-based newspapers, the only information source of those times. To expose Llewelyn, one needed mining experience and a source of publication, both possessed by, and available to the writer, but not so in the latter-essential to miners in the 1910-11 period. So, critically, the untruths in those newspapers passed unchallenged, and became immediate history, creating false perceptions of events that deceived many historians and others to the present day. Llewelyn’s lies would not have sat well with Hood, and one wonders, when at the peak of his powers, would he have vetoed the Cambrian purchase of Llwynypia? Had it been possible to configure that time-span, he might have prevented the immense suffering that occurred in mid-Rhondda in 1910-11.
LLWYNYPIA COLLIERY, LLWYNYPIA, RHONDDA.
Any recollection of this colliery and its workforce is inseparable from the name of Archibald Hood, a Scotsman who bestrode mid-Rhondda and elsewhere as a colossus of the mining world, and beyond that distinction too. A brief summary of this man’s career –where to do justice, a volume is needed – is that in 1860, when he arrived in Wales from Kilmarnock, Ayrshire, he was merely thirty-seven, but in a brief twenty-five of those years in Scotland, he achieved more than most men of that time would achieve in a lifetime, becoming a qualified mining engineer and coal-owner, genuinely highly-respected in both spheres by his mining peers and workforce. His interest and concern in the latter extended beyond their daily duties, with the provision of good accommodation complete with gardens for food production, and also encouraging their purchase of domestic needs from co-operative initiatives. But, as illustrious as he was in Scotland, he would, over the next forty-two years in Wales, carve a second career that would overtake his first.
Hood’s first Welsh mining involvement was at Tylcha Fach Level in Coed Ely, which exploited the thin bituminous Ty Du seam of less than a yard thickness. The colliery was owned by the Ely Valley Coal Company, and its office and winding-engine house are still in existence, modified into three residences, sitting above Tylcha Fach Estate, an elevated, relatively-new housing development which sits on the valley-side opposite the former Coedely Colliery. He had arrived there in 1860, commissioned by Messrs. Campbell and Mitchell-Innes to determine if a proposed investment in small mines in the area would be profitable, but in an interim period and inexplicably not seeking Hood’s advice, Campbell and Mitchell-Innes were persuaded, unwisely, to buy the level. Although Hood later joined them there, his thoughts were focussed on deep mining at Llwynypia, and when the Ely Valley Coal Company was liquidated, he, Campbell and Mitchell-Inness formed the new Glamorgan Coal Company and began shaft sinkings at Llwynypia Colliery. Eventually, under Hood’s leadership two more deep mines were established at Penrhiwfer and Gilfach Goch.
Evidence of the beginning of Llwynypia Colliery, dated February 27th,1861, is shown on page four (pages 1-3 missing) of Glamorgan Coal Company’s Cash Book, which over the following twenty-eight days showed directors’ cash injections of £3,600, including £300 by Archibald Hood. It provides early-years evidence that though Hood was undoubtedly the driving force at Llwynypia, his periodical purchase of company shares was always much less than his fellow directors! A search for this colliery through officially-recognised sources will be unsuccessful if ‘Glamorgan’ or ‘Scotch’ is used as a search-word, for the correct name is ‘Llwynypia’, which broadly translates as ‘Magpies Grove’. However, for good reason, ‘Glamorgan’ and ‘Scotch’ soon became every-day alternatives, and they are unquestioned and accepted to this day – but why did they originate? Imagine, you are a Scot, beginning work as a miner in a very sparsely populated area, where the native language is predominantly Welsh, a tongue completely foreign to you. Inevitably, at some time, you will be asked your place of residence or employment: do you invite ridicule, by attempting to pronounce ‘Llwynypia’, or do you use your wits, replying with the easily-pronounced ‘Scotch’, a reference to the colliery’s predominantly Scottish workforce imported by Archibald Hood – or the equally easy ‘Glamorgan’, the name of the company owning the colliery?
To accommodate his workforce, Hood found it necessary to build, and eventually, 271 homes were constructed in fifteen terraces adjacent to, and overlooking the colliery, of which 256 are still in occupied existence, together with several impressive managers’ residences built in the proximity of the colliery. More dwellings were built near his Penrhiwfer and Gilfach Goch mines, and to this day, in all three villages, there remain references to the Glamorgan Coal Company, Hood’s nationality, and Scottish landmarks. Sherwood (several), Gilmour, Anderson, Thistle, St. Andrew, Ayton, Campbell, Argyll, Grange, Holyrood, Rosedale, Bruce (Penrhiwfer), Scotch and Dundonnell (both at Gilfach Goch), all are overtly Scottish-influenced place-names, but there were acknowledgements to Wales, with Cambrian, Glamorgan, Llewelyn, Glandwr, Llwynypia, Glyncornel, Iscoed, etc. Missing from all these is a landmark dubbed ‘Hood’ by Hood himself, and perhaps this remarkable, extraordinary man knew there was no need for self-acclaim, for in his modest way he probably realized that his achievements in South Wales would render that self-perpetuation superfluous.
There were six vertical shafts and two levels at Llwynypia. On the Llwynypia side of the River Rhondda Fawr were shafts 1, 2, 3 and 4. Nos 1, and 2 shafts were sunk to exploit the shallow Nos. 2 and 3 Rhondda seams but were eventually deepened to exploit the steam coals in the deeper seams; No. 3 shaft worked the shallow seams too, but, whilst reportedly sunk to also exploit the lower seams, it closed in 1908. The coal in the Nos. 2 and 3 Rhondda seams was bituminous, used as a domestic fuel and also as the basic element in coke production, fuelling the 281 ovens at Llwynypia and Gilfach Goch collieries, where an impressive 1,400 tons was produced weekly. Additionally important, at the floor of these seams was fireclay, a mineral consisting of the roots of dead plants, extracted along with the coal, the decayed vegetation above the plant-roots, both having undergone change, metamorphosis, through heat and deep burial over millions of years. This clay was a valuable by-product, an essential constituent of the 10,000 or so bricks made daily by women in the colliery’s above-ground brick-making plant.
The three shafts (1, 2 and 3) were sunk in a line, parallel to and near the Taff Vale Railway, their extremes contained within an incredible 35.33 yards. No. 4 shaft did not conduct minerals, it was sunk purely to accommodate water pumped from the whole of the colliery’s workings, and its former location is today bordered by a fast-food outlet adjacent to Llwynypia Road. When the colliery ceased production in 1945, the yard remained in use as a rescue-station and central workshop, and the shaft remained open at the No. 3 Rhondda seam, 108 yards level, for water-pumping only until 1966, when total colliery closure took place. The writer recalls, during the mid-1960s, many times travelling to his ventilation duties there, in a very small, single-deck cage, the only one that could be accommodated in this extremely narrow shaft. No. 5 shaft, on the Trealaw side of the river, did not conduct minerals, it was sunk purely to conduct the whole of the colliery’s stale air to the surface, but at times through the colliery’s life this function was fulfilled by other shafts, including No. 6, when No. 5 closed. No. 6 shaft, close to the Collier’s Arms at Ynyscynon Road, was sunk to exploit the deep, steam coals.
In descending order, the seams worked at Llwynypia Colliery were: No. 1 Rhondda (only at an inconsequential, almost mountaintop level, see below); No. 2 Rhondda; No. 3 Rhondda; Pentre; Two Feet Nine Inches; Lower Six Feet; Upper Nine Feet (Red Vein): Lower Nine Feet and Bute; Bute; Five Feet; Lower Five Feet. The Lower Five Feet was the deepest-worked seam and was found at 517 yards in the 525 yards deep No. 1 shaft. The two levels were established on the Trealaw side of the river, with the highly-productive Sherwood Level, whose entrance was adjacent to No. 5 shaft, shallowly traversing under Ynyscynon Nursery as it commenced its 950 yard journey into Rhondda Fach, extracting the No. 2 Rhondda seam. It was opened in 1905, in anticipation of the closure of No. 3 shaft, thereby maintaining the essential supply of bituminous coal and fireclay for the production of coke and bricks, but it closed in 1923 when those reserves were exhausted. That year also saw the closure of Llwynypia Colliery Mountain Level, situated high on the Trealaw mountainside; it was a largely-exploratory, short-lived venture into the No. 1 Rhondda seam for its much-sought bituminous coal and fireclay, but one which was of limited presence due to glacial action and erosion by the elements. Reliable and complete manpower and production figures for Llwynypia are not available, but the colliery was certainly prolific in both, with 4,200 employees in 1902, and 700,000 tons output in 1923 being quoted, although the latter figure, is much lower than the widely-held figure of one million tons per annum.
Archibald Hood was that rarity, a truly-respected coal-owner. He was canny and conservative but also a humanitarian, and at Llwynypia, as in Scotland, he sought to beneficially influence the lives of his workmen and their families. Whereas D. A Thomas, Chairman of Cambrian Collieries Ltd, injected nothing into the Clydach Valley communities, Hood’s hand was everywhere in Llwynypia, manifested by the provision of schools, St. Andrews Church, a Miners Institute, complete with library and billiards tables — a swimming pool, tennis courts, cricket, football and rugby fields, and even the winter-time provision of a large, outdoor ice-skating area! He encouraged his workforce to grow food by providing large garden areas at the fronts of their dwellings, simultaneously seeking to divert the male occupants from alcohol, an imperative, given the volatile temperaments of the Welsh, Scots, and the Irish that later inhabited the community! He was known for his attention to detail, often involved in matters which his minions might have been expected to supervise – the writer’s grandmother lost an arm at Llwynypia when sixteen in 1893, amputated when caught in brick-making machinery, and Hood, then seventy, personally attended the matter, obtaining a job for the one-armed girl at the Tonypandy ironmongery of John Cox – Hood, probably not needing to remind Cox of Glamorgan Coal Company’s patronage!
When he died, aged 79, in 1902, a fund was established to erect a statue, the first in Rhondda, and this likeness, with an arm horizontal, pointing to his colliery, stands to this day, overlooking Llwynypia Road. Such was the respect of his workmen that the fund was heavily over-subscribed, with the surplus being used to provide a gas-lit statue and animal drinking-trough, now modified and situated near Tonypandy Library, removed from its original site at Tonypandy Square. Six years after his death, Llwynypia Colliery was taken under the control of D. A. Thomas’s Cambrian Collieries Ltd, of whom Leonard Llewelyn was General Manager. Today, it is known that Llewelyn was a liar, impostor and opportunist, but when he and Llwynypia Colliery became newspaper headlines in the Tonypandy Coal Strike and the associated rioting of 1910-11, he excelled in concealing and distorting the truth, by manipulating Establishment-based newspapers, the only information source of those times. To expose Llewelyn, one needed mining experience and a source of publication, both possessed by, and available to the writer, but not so in the latter-essential to miners in the 1910-11 period. So, critically, the untruths in those newspapers passed unchallenged, and became immediate history, creating false perceptions of events that deceived many historians and others to the present day. Llewelyn’s lies would not have sat well with Hood, and one wonders, when at the peak of his powers, would he have vetoed the Cambrian purchase of Llwynypia? Had it been possible to configure that time-span, he might have prevented the immense suffering that occurred in mid-Rhondda in 1910-11.
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The small size of the above image doesn't do a very good job of presenting the print details. This link will take you to another Flickr page where a close-up section of this print gives a much clearer view of the detail.
www.flickr.com/photos/hoosier_recollections/2682876590/in...
An image of the postcard upon which this print is based can be seen here.
www.flickr.com/photos/hoosier_recollections/5271679375/in...
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Indiana History Prints
I created my first Indiana History Prints in 2002. The early prints were digital collages based on authentic original antique postcards, advertisements, and other paper items. I have continued to make a few collage prints, but also began creating prints from a few individual postcards and advertisements. All of the prints have been based on items from the late 19th and early 20th centuries. That was the era when railroads already crisscrossed the state and provided the primary means of transporting passengers, freight and the mail. However, around the turn of the century, the interurban system arose and expanded rapidly. The interurban lines and the railroads were competing in some respects and, together, these two rail systems provided excellent service throughout much of the state. Their importance has been memorialized in hundreds of postcard scenes of trains, trolleys, bridges, stations and passengers. Then, just as the interurban system was becoming an integral part of Hoosiers’ lives, the automobile arrived and changed everything. Initially, it displaced the horse-drawn vehicles that were the primary means of local transportation. As roads were improved between communities to accommodate the automobiles, the interurban system began a fairly rapid decline followed by passenger service on the railroads. These changes were well documented by the photographers and postcard manufacturers and by the advertising from that era. The best examples of the postcards and photographs offer some amazing views of that era.
Personal and business communications were changing as well. The telephone was not yet widely available. The Post Office Department began selling the first postal cards at post offices in 1873, but businesses were the primary users. Picture postcards first appeared in Europe and eventually in the U.S. after the turn of the century. Those postcards quickly became a convenient method for personal communication, especially after the postal regulations changed in 1906 to allow messages on half of the back side of the postcard. The postcards were also collectible.
In those days, mail delivery within the state often took no more than a day. Post Office Department clerks processed some of the mail on specially designed rail cars as the trains traveled from one destination to the next. Several postcard scenes from that era show postal clerks standing on the railroad station platforms with mail pouches. A few postcards show the mail cars, but there are very few views of the interiors of those cars.
I am entirely responsible for the creation and production of the prints. They have been produced with care and each element used in the prints looks at least as good as the original. Each print is produced in very small quantities on 100% cotton rag watercolor paper (Hahnemühle Photo Rag®). The paper has a slight warm tone rather than being bright white, making it particularly suitable for printing historical objects. The prints will look good for decades, but need to be matted, framed and displayed behind glass to protect them from physical and environmental damage.
Print Description
c1910 postcard view of South Walnut Street in Muncie, Indiana. This postcard was based on one of a series of photographs taken by the Galion View Co. of Galion, Ohio. The photographer was looking north from the Howard Street intersection. The street was very busy, but there were no automobiles in sight. A streetcar, a few buggies and a wagon were in the street along with a couple of people on bicycles. Several pedestrians were in the scene as well.
Numerous business signs are readable in this scene. The nearest was the DR. COFFMAN sign painted on the second-floor window at the left edge of the postcard. This building with the turret was on the northwest corner at Howard Street and Dr. John S. Coffman was listed in the 1913 Emerson directory¹ at this location (425½ South Walnut Street). The sign above the awnings on that corner advertised PEOPLE’S CREDIT CLOTHING CO. The business was listed in the 1913 directory at this location (425 South Walnut Street). A large HARDWARE sign next door identified the nature of that business. The name GORDON & BISHOP was painted on both display windows and a sign partially hidden by the awning appears to advertise GLASS and PAINTS. A bicycle was mounted above the sidewalk at the store entrance. The 1913 directory didn’t list a hardware store in this block, but the 1905 Emerson directory did list Gordon & Bishop at this location (421-423 South Walnut Street).
A little farther north, a sign above the sidewalk advertised the MAJESTIC THEATRE. The 1911 Sanborn™ fire insurance map set for Muncie shows the theatre on the south side of the alley between Howard and Charles Streets (415-417 South Walnut Street). The sign at the theatre’s entrance was hidden partially by a pole at the curb, but appears to advertise TO-NIGHT AN OUTCAST ROMANCE.
A sign behind the wagon advertised the BENZENBOWER MEAT MARKET. The 1905 directory listed the business address as 411 South Walnut Street. When the 1913 directory was published, this meat market was owned by the Hoffer Brothers. The large BRIDGMAN sign advertised a saloon owned by Harry Bridgman at 413 South Walnut Street. This business wasn’t listed in the 1905 directory, but was listed in the 1913 directory. A barely readable sign hanging above the sidewalk at the corner advertised _ _ FUDGE CO. Listings in the 1905 directory included Indiana Business College and Muncie Business College at Fudge’s Corner (southwest corner at Charles Street). The 1913 directory listed only the Muncie Business College on this same corner without mentioning the Fudge name.
Across the street, on the northwest corner at Charles Street, the sign on the south side of the building advertised a DRUGS store. The 1905 directory listed E. P. Whinrey as the druggist at this location (325 South Walnut Street). The 1913 directory listed Emily P. Whinrey as the druggist. A 1905 directory of druggists³ listed her at this address and at 103 West Main Street. A short distance north of that corner, a partially hidden sign advertised VAUDEVILLE. The 1911 map set shows a 5c theatre as the third business north of Charles Street at 321 South Walnut Street. On the side of a building above the Vaudeville sign, another sign advertised _____ANE & CO. ______ FURNISHINGS. That building’s address was 315-317-319 South Walnut Street according to the map set. The 1913 directory listed DeViney and Weir at 317-319 South Walnut Street selling furniture and house furnishings. Farther up the street, a barely visible black and white sign with an elf (?) advertised FURNISHINGS BEITMAN’S CLOTHING. This name wasn’t listed in either Emerson directory. According to the 1911 map set, the address was 305-307 South Walnut Street. The 1913 directory listed “Stillman’s” at that address in the retail clothing category. (Another postcard shows this Beitman’s sign more clearly.)
The buildings north of Adams Street had large advertisements painted on the south sides of the buildings. The top one advertised the H. Walter Jones grocery business. Both Emerson directories listed this business at 217 South Walnut Street. The other large sign advertised HINKLEY’S [MAKER?] OF CANDIES [AND ICE?] CREAM. A smaller sign on the front of that building advertised HINKLEY’S CANDY. The 1905 directory listed Charles E. Hinkley across the street at 214 South Walnut Street while the 1913 directory listed his business at 219 South Walnut Street.
The building with the dome atop the building’s corner was the Anthony Building on the northwest corner at Jackson Street. The tall building farther north was the Wysor Building.
Additional business signs were visible on the east side of South Walnut Street. The most distant sign was at the top of the building on the northeast corner at Adams Street. The 1911 map set shows the building address as 300-302 South Walnut Street. Both Emerson directories listed Hickman Bros. as furniture dealers at that address. The next tall building to the south (toward the camera) was The Johnson Building on the northeast corner at Charles Street. On the southeast corner, the sign advertised McNAUGHTON’S Department Store. The Bishop Block (412-414-416-418-420 South Walnut Street) occupied the remainder of the block to the south.
The next sign south of McNaughton’s included the street number. This was 414 South Walnut Street. The 1913 directory listed I. B. Manilla with a retail clothing business at that address, but the business was not in the 1905 directory. The sign above the awning at 416 South Walnut isn’t quite readable (____ & ____SON CO.), but probably advertised the Sperry & Hutchinson Co. The company (later known for S & H Green Stamps) was listed in the 1913 directory at that address. The next business sign to the north included the street number. It was 418 South Walnut Street and the sign advertised the UNION CLOTHING CO. This business was not listed in the 1905 directory, but was listed at this address in 1913 as the Union Credit Clothing Co. The nearby round sign advertised the office of DR. SURBER. The bicycle rack at the curb also advertised his practice. The 1905 directory listed his practice as Suite 11 in the Bishop Block. He wasn’t listed in the 1913 directory. The other sign beside the bicycle rack advertised BICY__ KIRK’S DEPT. ___. Kirk’s Department Store was a few blocks away at 121 East Main Street, but both directories listed them as bicycle dealers.
1. Emerson Directory Company, Emerson’s Muncie Directory 1913-1914 (Cincinnati, OH: Williams Directory Co., 1913). Available online at libx.bsu.edu/cdm/compoundobject/collection/MunCityDirs/id....
2. Emerson Directory Company, Emerson’s Muncie Directory 1905-1906 (Cincinnati, OH: Williams Directory Co., 1905). Available online at libx.bsu.edu/cdm/compoundobject/collection/MunCityDirs/id....
3. The Era Druggists Directory, Eleventh Edition (New York, NY: D. O. Haynes & Co., 1905). Available online at books.google.com/books?id=bantAAAAMAAJ&printsec=front....
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LLWYNYPIA COLLIERY, LLWYNYPIA, RHONDDA.
Any recollection of this colliery and its workforce is inseparable from the name of Archibald Hood, a Scotsman who bestrode mid-Rhondda and elsewhere as a colossus of the mining world, and beyond that distinction too. A brief summary of this man’s career –where to do justice, a volume is needed – is that in 1860, when he arrived in Wales from Kilmarnock, Ayrshire, he was merely thirty-seven, but in a brief twenty-five of those years in Scotland, he achieved more than most men of that time would achieve in a lifetime, becoming a qualified mining engineer and coal-owner, genuinely highly-respected in both spheres by his mining peers and workforce. His interest and concern in the latter extended beyond their daily duties, with the provision of good accommodation complete with gardens for food production, and also encouraging their purchase of domestic needs from co-operative initiatives. But, as illustrious as he was in Scotland, he would, over the next forty-two years in Wales, carve a second career that would overtake his first.
Hood’s first Welsh mining involvement was at Tylcha Fach Level in Coed Ely, which exploited the thin bituminous Ty Du seam of less than a yard thickness. The colliery was owned by the Ely Valley Coal Company, and its office and winding-engine house are still in existence, modified into three residences, sitting above Tylcha Fach Estate, an elevated, relatively-new housing development which sits on the valley-side opposite the former Coedely Colliery. He had arrived there in 1860, commissioned by Messrs. Campbell and Mitchell-Innes to determine if a proposed investment in small mines in the area would be profitable, but in an interim period and inexplicably not seeking Hood’s advice, Campbell and Mitchell-Innes were persuaded, unwisely, to buy the level. Although Hood later joined them there, his thoughts were focussed on deep mining at Llwynypia, and when the Ely Valley Coal Company was liquidated, he, Campbell and Mitchell-Inness formed the new Glamorgan Coal Company and began shaft sinkings at Llwynypia Colliery. Eventually, under Hood’s leadership two more deep mines were established at Penrhiwfer and Gilfach Goch.
Evidence of the beginning of Llwynypia Colliery, dated February 27th,1861, is shown on page four (pages 1-3 missing) of Glamorgan Coal Company’s Cash Book, which over the following twenty-eight days showed directors’ cash injections of £3,600, including £300 by Archibald Hood. It provides early-years evidence that though Hood was undoubtedly the driving force at Llwynypia, his periodical purchase of company shares was always much less than his fellow directors! A search for this colliery through officially-recognised sources will be unsuccessful if ‘Glamorgan’ or ‘Scotch’ is used as a search-word, for the correct name is ‘Llwynypia’, which broadly translates as ‘Magpies Grove’. However, for good reason, ‘Glamorgan’ and ‘Scotch’ soon became every-day alternatives, and they are unquestioned and accepted to this day – but why did they originate? Imagine, you are a Scot, beginning work as a miner in a very sparsely populated area, where the native language is predominantly Welsh, a tongue completely foreign to you. Inevitably, at some time, you will be asked your place of residence or employment: do you invite ridicule, by attempting to pronounce ‘Llwynypia’, or do you use your wits, replying with the easily-pronounced ‘Scotch’, a reference to the colliery’s predominantly Scottish workforce imported by Archibald Hood – or the equally easy ‘Glamorgan’, the name of the company owning the colliery?
To accommodate his workforce, Hood found it necessary to build, and eventually, 271 homes were constructed in fifteen terraces adjacent to, and overlooking the colliery, of which 256 are still in occupied existence, together with several impressive managers’ residences built in the proximity of the colliery. More dwellings were built near his Penrhiwfer and Gilfach Goch mines, and to this day, in all three villages, there remain references to the Glamorgan Coal Company, Hood’s nationality, and Scottish landmarks. Sherwood (several), Gilmour, Anderson, Thistle, St. Andrew, Ayton, Campbell, Argyll, Grange, Holyrood, Rosedale, Bruce (Penrhiwfer), Scotch and Dundonnell (both at Gilfach Goch), all are overtly Scottish-influenced place-names, but there were acknowledgements to Wales, with Cambrian, Glamorgan, Llewelyn, Glandwr, Llwynypia, Glyncornel, Iscoed, etc. Missing from all these is a landmark dubbed ‘Hood’ by Hood himself, and perhaps this remarkable, extraordinary man knew there was no need for self-acclaim, for in his modest way he probably realized that his achievements in South Wales would render that self-perpetuation superfluous.
There were six vertical shafts and two levels at Llwynypia. On the Llwynypia side of the River Rhondda Fawr were shafts 1, 2, 3 and 4. Nos 1, and 2 shafts were sunk to exploit the shallow Nos. 2 and 3 Rhondda seams but were eventually deepened to exploit the steam coals in the deeper seams; No. 3 shaft worked the shallow seams too, but, whilst reportedly sunk to also exploit the lower seams, it closed in 1908. The coal in the Nos. 2 and 3 Rhondda seams was bituminous, used as a domestic fuel and also as the basic element in coke production, fuelling the 281 ovens at Llwynypia and Gilfach Goch collieries, where an impressive 1,400 tons was produced weekly. Additionally important, at the floor of these seams was fireclay, a mineral consisting of the roots of dead plants, extracted along with the coal, the decayed vegetation above the plant-roots, both having undergone change, metamorphosis, through heat and deep burial over millions of years. This clay was a valuable by-product, an essential constituent of the 10,000 or so bricks made daily by women in the colliery’s above-ground brick-making plant.
The three shafts (1, 2 and 3) were sunk in a line, parallel to and near the Taff Vale Railway, their extremes contained within an incredible 35.33 yards. No. 4 shaft did not conduct minerals, it was sunk purely to accommodate water pumped from the whole of the colliery’s workings, and its former location is today bordered by a fast-food outlet adjacent to Llwynypia Road. When the colliery ceased production in 1945, the yard remained in use as a rescue-station and central workshop, and the shaft remained open at the No. 3 Rhondda seam, 108 yards level, for water-pumping only until 1966, when total colliery closure took place. The writer recalls, during the mid-1960s, many times travelling to his ventilation duties there, in a very small, single-deck cage, the only one that could be accommodated in this extremely narrow shaft. No. 5 shaft, on the Trealaw side of the river, did not conduct minerals, it was sunk purely to conduct the whole of the colliery’s stale air to the surface, but at times through the colliery’s life this function was fulfilled by other shafts, including No. 6, when No. 5 closed. No. 6 shaft, close to the Collier’s Arms at Ynyscynon Road, was sunk to exploit the deep, steam coals.
In descending order, the seams worked at Llwynypia Colliery were: No. 1 Rhondda (only at an inconsequential, almost mountaintop level, see below); No. 2 Rhondda; No. 3 Rhondda; Pentre; Two Feet Nine Inches; Lower Six Feet; Upper Nine Feet (Red Vein): Lower Nine Feet and Bute; Bute; Five Feet; Lower Five Feet. The Lower Five Feet was the deepest-worked seam and was found at 517 yards in the 525 yards deep No. 1 shaft. The two levels were established on the Trealaw side of the river, with the highly-productive Sherwood Level, whose entrance was adjacent to No. 5 shaft, shallowly traversing under Ynyscynon Nursery as it commenced its 950 yard journey into Rhondda Fach, extracting the No. 2 Rhondda seam. It was opened in 1905, in anticipation of the closure of No. 3 shaft, thereby maintaining the essential supply of bituminous coal and fireclay for the production of coke and bricks, but it closed in 1923 when those reserves were exhausted. That year also saw the closure of Llwynypia Colliery Mountain Level, situated high on the Trealaw mountainside; it was a largely-exploratory, short-lived venture into the No. 1 Rhondda seam for its much-sought bituminous coal and fireclay, but one which was of limited presence due to glacial action and erosion by the elements. Reliable and complete manpower and production figures for Llwynypia are not available, but the colliery was certainly prolific in both, with 4,200 employees in 1902, and 700,000 tons output in 1923 being quoted, although the latter figure, is much lower than the widely-held figure of one million tons per annum.
Archibald Hood was that rarity, a truly-respected coal-owner. He was canny and conservative but also a humanitarian, and at Llwynypia, as in Scotland, he sought to beneficially influence the lives of his workmen and their families. Whereas D. A Thomas, Chairman of Cambrian Collieries Ltd, injected nothing into the Clydach Valley communities, Hood’s hand was everywhere in Llwynypia, manifested by the provision of schools, St. Andrews Church, a Miners Institute, complete with library and billiards tables — a swimming pool, tennis courts, cricket, football and rugby fields, and even the winter-time provision of a large, outdoor ice-skating area! He encouraged his workforce to grow food by providing large garden areas at the fronts of their dwellings, simultaneously seeking to divert the male occupants from alcohol, an imperative, given the volatile temperaments of the Welsh, Scots, and the Irish that later inhabited the community! He was known for his attention to detail, often involved in matters which his minions might have been expected to supervise – the writer’s grandmother lost an arm at Llwynypia when sixteen in 1893, amputated when caught in brick-making machinery, and Hood, then seventy, personally attended the matter, obtaining a job for the one-armed girl at the Tonypandy ironmongery of John Cox – Hood, probably not needing to remind Cox of Glamorgan Coal Company’s patronage!
When he died, aged 79, in 1902, a fund was established to erect a statue, the first in Rhondda, and this likeness, with an arm horizontal, pointing to his colliery, stands to this day, overlooking Llwynypia Road. Such was the respect of his workmen that the fund was heavily over-subscribed, with the surplus being used to provide a gas-lit statue and animal drinking-trough, now modified and situated near Tonypandy Library, removed from its original site at Tonypandy Square. Six years after his death, Llwynypia Colliery was taken under the control of D. A. Thomas’s Cambrian Collieries Ltd, of whom Leonard Llewelyn was General Manager. Today, it is known that Llewelyn was a liar, impostor and opportunist, but when he and Llwynypia Colliery became newspaper headlines in the Tonypandy Coal Strike and the associated rioting of 1910-11, he excelled in concealing and distorting the truth, by manipulating Establishment-based newspapers, the only information source of those times. To expose Llewelyn, one needed mining experience and a source of publication, both possessed by, and available to the writer, but not so in the latter-essential to miners in the 1910-11 period. So, critically, the untruths in those newspapers passed unchallenged, and became immediate history, creating false perceptions of events that deceived many historians and others to the present day. Llewelyn’s lies would not have sat well with Hood, and one wonders, when at the peak of his powers, would he have vetoed the Cambrian purchase of Llwynypia? Had it been possible to configure that time-span, he might have prevented the immense suffering that occurred in mid-Rhondda in 1910-11.
Rebecca Solnit has devoted her memoir to anecdotes of growing up female in a male centered society that wishes to silence women, dominate them and sometimes terrify them. This made for grim reading that also made me see that straight women are between a rock and a hard place—having to put up with bullshit from men on the off chance that one might prove to be boyfriend material.
Given that nothing particularly terrible happens to her—no rape scene, no actual violence—this is really more of a feminist treatise on how women grow up already thinking they aren’t significant and what it might take to unlearn this and begin to take up space and be seen. A lot of this is insightful and worthwhile.
It is also a memoir about a woman writer’s life and the small triumphs that keep one writing. And since she lives in San Francisco it is a memoir of place and of her friendships with gay men. I was curious to see if she had any friendships with lesbians, but apart from some lesbian neighbors who are old so not of interest, none are mentioned. Gay men are great foils for straight women, but lesbians and straight girls don’t mix. Possibly because lesbians don’t have to live a life centered around men. And so there would be little to discuss between the two. (I'm being catty. I do of course have straight women friends who are colleagues with plenty to talk about between us.)
She does indeed understand the territory that keeps women silent and the title of this memoir is the most clever thing about it. But I did long for even a single note of defiance, subversiveness or out and out rebellion even humor about this territory that every woman in the West inhabits. At which point I was inspired to write such a chapter of my own. Which is why I read memoirs.
I did cling with glee to the line in chapter two about the engineer boots she favored as an eleven year old which she explains by saying “I was trying not to be that despised thing, a girl….” From this I can glean that some part of her does understand that the process of becoming a girl is a frustrating one of realizing that you must become that despised thing. And any possibility of escaping this destination will be tried in numerous options of self harming including not to become a girl at all. Which is why I expect women especially a feminist to understand when this opting not to be a girl in such large numbers is an aberration, but in her recent article to the Guardian trying to calm women about the fear of trans women in women only places, she dismisses this surge in transitioning girls with not even a pause to investigate. It just wouldn’t fit the progressive messaging. And besides such a transboy has emerged in her own family so not to swallow the trans cult messaging would be treasonous. Everyone has their blind spot.
Body Collectors - Recollections - Unmasking the Horror Tour - Universal Orlando Halloween Horror Nights 25 - Universal Orlando - Orlando, FL
Growing up in New York City, 1926-1938
Adolescent Years in New York City, 1934-1944
Robert Burghardt
1982-1984
Oil on canvas
Collection of Mrs. Robert Burghardt, 04.38.1-2
Robert Burghard's memories of growing up in Yorkville on Manhattan's Upper East Side in the 1920s, '30s and '40s inspired this colorful mural. His remembered street scenes show tenement houses and storefronts with New Yorkers captured in various daily occupations. Children use the city streets and sidewalks to play games of all kinds: they ride scooters, roll hoops, jump rope, play hop-scotch, hockey, and stickball, roller skate and spin tops, play marbles and paddle ball, invent games with homemade toys, and sled in the park.
The first part of the mural traces the artist's recollection of his school days at St. Stephen of Hungary on East 82nd Street and his travel by subway around the city to favorite destinations like Steeplechase Park at Coney Island and the 1939 World's Fair grounds in Flushing Meadows, Queens. Depicted throughout are local landmarks, including some that have since disappeared, such as the Jacob Ruppert Brewery and the Second and Third Avenue Els. The mural ends to Burghardt's transition to adulthood, as he is seen preparing to join the U.S. Merchant Marine.
The Museum of the City of New York (MCNY), founded in 1923 to present the history of New York City and its people, fills an imposing 5-floor brick and limestone building on the Museum Mile section of Fifth Avenue, between 103rd and 104th Streets. The Museum was originally housed in Gracie Mansion until this Neo-Georgian-Colonial style was built to the design of Joseph J. Freedlander from 1928-1930. The museum's collections include paintings, drawings, prints, and photographs featuring New York City and its residents, as well as costumes, decorative objects and furniture, toys, rare books and manuscripts, marine and military collections, police and fire collections, and a theater collection.
Cover photo: H.E. Burke. 1946. My Recollections of the First Years in Forest Entomology. Berkeley, California. 37 p. www.fs.fed.us/sites/default/files/recollections-on-forest...
Photo by: Unknown
Date: 1946
Credit: USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection.
Source: H.E. Burke Collection digital files; Regional Office; Portland, Oregon.
For additional historical forest entomology photos, stories, and resources see the Western Forest Insect Work Conference site: wfiwc.org/content/history-and-resources
Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
REMEMBER THE DAYS
Sweet recollections of back in the day
When children ran free in the streets as they played
Front doors left open to neighbours who cared
So few possessions to steal by who dared
Bicycle rides to the park with my mate
Stern words from father if I rolled up home late
Jumpers for goalposts and leather to boot
Life seemed so endless, one riotous hoot
Bandstand and deckchairs free to all souls
Bright coloured canvas and wood varnished, old
Chasing the squirrels and feeding the birds
Violence and vandals were words we'd not heard
No peadophile monsters to worry us so
No fast food obesity, limbs on the go
Three channel TV and eight track cassettes
No knife crime nor gangland, no drunken ladettes
Back in the day when kids could be kids
Joyful we laughed in the characters we hid
Board games and pistols, imagination rife
Out in the open and sampling life
Life was a game as we roll played with friends
Politically correct, non existent back then
Toy cigarettes, cowboy pistols such fun
Not one of us went wayward and killed with real guns
We ran like the wind with energy boundless
Exercised limbs and our minds although groundless
Were delusions of grandeur that children posses
Later we'd grow and discover life's mess
We were gleeful, contented, engrossed and so free
Not troubled by germs or the odd bloodied knee
Our parents could scold us without facing jail
No Play station needed, no Ipads, junk mail
Our garden my kingdom where I gaily played
Cowboys and Indians in the tents that I made
Cars were so few and the streets safe to roam
Night time was safe as you journeyed back home
Remember my childhood with such fondness, I do
And memories flood back with the deckchairs in view
In the days when the family bond was so strong
And childhood so precious in the summertime long
Back in the park as my bum takes the seat
Attendants want money to sit in the heat
Cutbacks and costs mean the band won't be showing
Guess life has changed some, so I'd better be going
.
Written May 20th 2011
Photograph taken at 10:28am on May 12th 2011 in St James Park, Central London, England.
Nikon D700 24mm 1/800s f/4.0 iso200
Nikkor AF-S 24-70mm f/2.8G ED IF. UV filter. MetaGPS geotag.
Latitude: N 51d 30m 12.95s
Longitude: W 0d 8m 0.70s
Altitude: 9.0m
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The small size of the above image doesn't do a very good job of presenting the print details. This link will take you to another Flickr page where a close-up section of this print gives a much clearer view of the detail.
www.flickr.com/photos/hoosier_recollections/4270275017/in...
An image of the postcard upon which this print is based can be seen here.
www.flickr.com/photos/hoosier_recollections/5285782611/
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Indiana History Prints
I created my first Indiana History Prints in 2002. The early prints were digital collages based on authentic original antique postcards, advertisements, and other paper items. I have continued to make a few collage prints, but also began creating prints from a few individual postcards and advertisements. All of the prints have been based on items from the late 19th and early 20th centuries. That was the era when railroads already crisscrossed the state and provided the primary means of transporting passengers, freight and the mail. However, around the turn of the century, the interurban system arose and expanded rapidly. The interurban lines and the railroads were competing in some respects and, together, these two rail systems provided excellent service throughout much of the state. Their importance has been memorialized in hundreds of postcard scenes of trains, trolleys, bridges, stations and passengers. Then, just as the interurban system was becoming an integral part of Hoosiers’ lives, the automobile arrived and changed everything. Initially, it displaced the horse-drawn vehicles that were the primary means of local transportation. As roads were improved between communities to accommodate the automobiles, the interurban system began a fairly rapid decline followed by passenger service on the railroads. These changes were well documented by the photographers and postcard manufacturers and by the advertising from that era. The best examples of the postcards and photographs offer some amazing views of that era.
Personal and business communications were changing as well. The telephone was not yet widely available. The Post Office Department began selling the first postal cards at post offices in 1873, but businesses were the primary users. Picture postcards first appeared in Europe and eventually in the U.S. after the turn of the century. Those postcards quickly became a convenient method for personal communication, especially after the postal regulations changed in 1906 to allow messages on half of the back side of the postcard. The postcards were also collectible.
In those days, mail delivery within the state often took no more than a day. Post Office Department clerks processed some of the mail on specially designed rail cars as the trains traveled from one destination to the next. Several postcard scenes from that era show postal clerks standing on the railroad station platforms with mail pouches. A few postcards show the mail cars, but there are very few views of the interiors of those cars.
I am entirely responsible for the creation and production of the prints. They have been produced with care and each element used in the prints looks at least as good as the original. Each print is produced in very small quantities on 100% cotton rag watercolor paper (Hahnemühle Photo Rag®). The paper has a slight warm tone rather than being bright white, making it particularly suitable for printing historical objects. The prints will look good for decades, but need to be matted, framed and displayed behind glass to protect them from physical and environmental damage.
Print Description
1914 postmarked postcard view of State Street in Pendleton, Indiana. There were a few pedestrians in this scene and a handful of horse-drawn buggies and wagons. One vehicle in the distance may be an automobile. The photographer was standing west of Main Street and facing east when he took the photograph. The Main Street intersection is in the foreground.
Although this postcard has a postmark from 1914, the photograph was taken prior to 1910. The K. of P. (Knights of Pythias) Building at 16-18 West State Street (using the old street address system) was built in 1910. That building did not yet exist when this photograph was taken.
The hand water pump on the northeast corner of the Main Street intersection is shown in the 1914 Sanborn™ fire insurance map set for Pendleton, but not in the 1908 map set. The sign above the awning on that corner advertised DRY GOODS, SELZ SHOES and GROCERIES. Both map sets show this type of business at that location (40 West State Street). The Redmen’s Hall was on the second floor of that building. The 1908 map set shows the small wood frame building with the barber’s pole, but the building had been replaced by a single-story brick structure by the time the 1914 map set was being prepared. The 1908 and the 1914 map sets both identify the next building east (single-story brick construction) as the Pendleton Post Office (36 West State Street). Beyond the post office, the single-story wood frame building was a 5c theatre according to the 1908 map set. However, that building had also been replaced by a single-story brick structure (34 West State Street) by 1914.
Farther east, very few business signs were visible. The name on the _______ OFFICE sign east of the 5c theatre isn’t quite readable. Both map sets show a millinery shop and a grocery store in that building (30 West State Street) with a stairway between the two businesses. The sign was probably hanging above the stairway entrance and advertising a professional office on the second floor. The only other visible sign on the north side of the street is the RESTAURANT sign. The 1908 map set shows a restaurant in a single-story wood frame building west of the IOOF (Independent Order of Odd Fellows) Building. The distinctive IOOF façade is easy to identify in this photograph. However, the four small wood frame buildings to the west of it are difficult to see in this scene. The K. of P. Building and a bank replaced those small buildings and businesses in 1910.
The railroad crossing arms in the background identify the location of the C. C. C. & St. L. (Cleveland, Cincinnati, Chicago & St. Louis) Railway crossing. The crossing is between Pendleton Avenue and Broadway Street. The location of the HARNESS sign on the south side of State Street matches a harness and implements business at 11 East State Street in the 1908 map set. The DENTIST sign may have been on the building at the southwest corner of Pendleton Avenue or possibly above the bank on the southeast corner. The 1908 map set shows two saloons in the building on the southwest corner (1 and 3 West State Street). A Third saloon was located at 11 West State Street, but none of the three was identifiable in this photograph. The CIGAR STORE sign advertised a store located at 5 West State Street when the 1908 map set was published. That building and several other wood frame buildings (5 West State to 15 West State) were gone by the time the 1914 map set was being prepared.
The large barber’s pole in this scene stood in front of the two-story brick building at 25 West State Street. A cigar store was located in that building when the 1908 map set was being prepared, but the 1914 map set shows a barbershop. It is unclear on which building the PENDLETON LAUNDRY sign is posted. Neither map set lists a laundry business in that vicinity. The name on the ______ OFFICE UP STAIRS sign is not quite readable. The three-story building (27-29 West State Street) housed a furniture store in 1908. The K. of P. Hall was on the second floor and the Masonic Hall was on the third floor. The small wood frame building next door (31 West State Street) was occupied by a confectionery business when both map sets were published. The word HAIR was painted on the next building west (35 West State Street). However, both map sets show a photo gallery in that building. The sign next door (37 West State Street) advertised a cobbler’s business that is shown in the 1908 map set, but was gone by the time the 1914 set was being prepared. The business sign used images of a boot and a shoe as part of the sign. A tailoring business occupied the building on the southeast corner at Main Street. The building also served as a dwelling.
Copyright 2010-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.