Farrier or Black Smith Impression

[UnicornForge]

Re: Farrier or Black Smith Impression

All I can say is that I have been doing historic blacksmithing as a hobby for over 35 years. I am currently finishing up constructing two 190lb- each-No1-wheels for a reproduction Traveling Forge, I am at around page 130 of a book on Civil War blacksmithing, and picked up this years volunteer ribbon for use when demonstrating at the historic forge at the local museum.

I would post a picture of the Traveling Forge here as an Avatar, but apparently I am not permitted to do that. The only option for an Avatar allowed on my profile apparently is "Guest".

Over the many years I have seen "smiths" come and go, both in the various blacksmithing guilds/clubs, but especially at Civil War living history events. There is only one other smith at the museum and guild that has been a member for over 21 years. Based on experience, I can pretty much guarantee one thing, that a smith at a reenactment or living history site, probably will stop doing reenactments and probably also blacksmithing in a couple of years.

If you search the Official Records, ordnance manuals of 1861 and 1863, and other sources, you will find only mention of bellows. No mention is made of hand cranked blowers. Three types of blacksmithing forges were documented and I mention them in order of numbers: most common were the forges called Traveling Forges or Battery Forges and are documented extensively in books, sketches, and photographs. Second, was the "Portable Forge" mentioned in both the Ordnance Manuals of 1861 and 1863, as well as letters in the Official Records. Lastly were the "box" forges used by Sherman's army in his march to the sea, as well as at least one box forge photographed in use by the confederates. Many "smiths" rationalize the non-period equipment they drag to a living history event, but it is pretty much the same as how engineer's boots and cowboy hats were rationalized at reenactments 35 years ago.

Class structure and behavior was extremely rigid during the mid-1800s regardless and in extreme contrast to attitudes and behavior that is found acceptable today. That is a fact. People can ignore it or not understand it, but it is still a fact.

The blacksmith clubs that I am a member of support several historical museum blacksmith shops. At the museum shops, a *lot* of the common processes used in a mid 1800's shop are not allowed because of safety issues for the welfare of the public observers, who are usually very close to the smith's anvil. If we were to actually do forge welding, a necessary step in making most stuff of the period, your clothing would be either on fire, in shreds, and/or have holes in it. Hot liquid iron, slag, and other debris shoots out to an impressive distance. That is why were are protected by heavy leather aprons. Soot also settles over everything in a blacksmith shop, but yes probably less in the safe and sanitized environment of a museum shop, and yes probably less as you get further away from the forge.

Women did not hang around blacksmith shops back then, because it was not the safest place to hang around, women as every other adult had busy lives, and and believe it or not, it was not socially acceptable.

David Einhorn

I've spent over an hour on numerous occasions at historic villages loitering around the blacksmith shop. Talking to the smithy about what he's currently working on, looking at numerous things hanging on his walls, the architecture, and that sort of thing, we usually get into some long interesting conversations. Oftentimes I step back while other visitors come and go and then return to our discussion. I don't recall ever walking out of the museum with soot on me.

Linda.

[LindaTrent]

Re: Farrier or Black Smith Impression

Women did not hang around blacksmith shops back then, because it was not the safest place to hang around, women as every other adult had busy lives, and believe it or not, it was not socially acceptable.

Hi David,

You’ve quoted me, but I don’t see anyone arguing that women hung out at the forge. I was only talking about when I visit museums with a blacksmith shop, and my amazement that I didn’t get covered with soot.

If we were to actually do forge welding, a necessary step in making most stuff of the period, your clothing would be either on fire, in shreds, and/or have holes in it… Soot also settles over everything in a blacksmith shop, but yes probably less in the safe and sanitized environment of a museum shop, and yes probably less as you get further away from the forge.

So I think we may be in agreement here – the further away from the forge one stands the less the chances of getting covered with soot or having your clothing destroyed. I’ve never pictured people coming right up to the forge and standing around it like they would the stove in the store. I’ve always pictured something more like the Currier and Ives lithograph “Trotting Cracks at the Forge.” The lithograph shows a gentleman who I presume is the owner of a horse (wearing spats, carrying a fancy cane, and smoking a pipe). He’s sitting on a stool with his back to the forge talking to a smith as the smith shoes the horse. That may be the groom (another owner or townsman perhaps?) sitting at the head of the horse, and then there’s the little boy, two horses standing there and a man and a third horse being led in. Surely all these people are far enough away to be safe. There’s even an idler leaning up at the entry against the shop door. So, if your only contention is that people didn’t hang out at the shop is because of the soot or the damage that can be done to clothing, it appears to not have been an issue.

Like Hank, I’ve found several pre-war instances where people visited a smith and watched him work. One such was The American Whig Review, "Western Prairies," May 1850

… a small frontier village… A cheerful glow streams across the highway; it is the village smithy. The smith welcomes us warmly with his fire-seamed hand which makes our own snap again, though used to the plough and axe-handle, and motions us to a vacant anvil for a seat. Fast the blows fall, fast the sparks fly, and fast from his mouth come words of fate, free-will, and the ways of God to man. Copious of village gossip, at home in theology, oracular in politics, the blacksmith is your true radical. His business lying with those only of his own class, and his shop being a choice village lounge, he bitterly contemns all authority but his own.

This is basically what we’ve been saying. That the village blacksmith’s shop was a “village lounge,” and that people would stop by to get the latest gossip, or talk politics, and/or watch the smith work. While the village smith may not have associated with the Astors and the Lees, he was influential among his own. Of course, as in all things there are exceptions to every rule, but he was generally pretty much respected among his peers.

One other source I found, which is British, but I find it fun to read. This is about two young children probably just leaving childhood and entering their teens. From The Charm. National Art Library (Great Britain), 1854

But, above all things, we delighted in the forge. Bion would sit for an hour at a time, perched on some unused anvil, with the glare of the fire lighting up his quiet, intent, un-childlike face, watching the wonderful process of making nails, or horse-shoes, or iron bolts for the railroad waggons. I, too, liked the blacksmith’s shop amazingly; it was so beautiful to see the red-glowing iron beat out into form as easily as clay – so grand to see the sparks flying, and hear the measured musical fall of the hammers, which gave Handel the first idea of the tune that Bion thinks so fine, ‘The Harmonious Blacksmith.’

And of course we’re all familiar with Longfellow’s poem, published in 1841

And children coming home from school,
Look in at the open door;
They love to see the flaming forge,
And hear the bellows roar,
And catch the burning sparks that fly
Like chaff from a thrashing floor.

Currier and Ives lithograph is cute as it shows both boys and girls standing at the door peering in. This is not an indication that ladies would hang out at the smith, but it does make me wonder if my 19th century persona (the character I portray) may have stood there and watched the smith plying his trade when she was a lttle girl, and perhaps she tried to catch the sparks along with her friends! So this thread has taught me something right there.

Class structure and behavior was extremely rigid during the mid-1800s regardless and in extreme contrast to attitudes and behavior that is found acceptable today. That is a fact. People can ignore it or not understand it, but it is still a fact.

The more I study the past, the more I see they really aren’t that much different than we are today. The upper-echelons of society today don’t hang out with the working class people any more than they did in the mid-19th century. Those not born with the silver spoon in their mouth were freer to do what they pleased when among their own class. Etiquette books weren’t written for the upper-echelons of society they knew what was expected of them -- while those who wished to climb up the social ladder needed a road map to learn how to be proper ladies and gentlemen.

Even amongst the upper-echelons there were differences of opinion how one should behave. Some were very aristocratic and turned up their nose at those less fortunate while others found that sort of behavior utterly ridiculous. One such was a lady who wrote the following in the American Citizen [Canton, MS] September 28, 1861, p. 2, c. 2-3

Matilda Sophrina Delancey, my most inimate friend is so aristocratic, that her nose (naturally retroussee,) turns up instinctively as she passes a mechanic on the street, and she would much rather entertain a rattle snake than invite such a person to her house, yet she has given several parties to the soldiers that have stopped here from time to time in town, and invites them to ride out with her in her splendid coach, besides riding on horseback. (Now, horror of horrors! suppose she should discover that she had been riding with a baker or a blacksmith and actually had entertained, nursed, or cooked for a shoe-maker or carpenter, and had invited such vulgar individuals to her house!) These little unaccountable freaks of my fair friends must be overlooked, I suppose. We are all frail creatures.

In the above, the italics are in the original text – thank you to Vicki Betts’ newspaper collection for the above quote.

If class structure was too rigid there would be no opportunity for the American Dream. Not all blacksmiths were poor, miserable wretches. Some were actually quite successful and among the wealthiest in their community. Well respected and considered to be excellent businessmen and politicians.

My gg grandfather was a blacksmith, and when the war broke out enlisted in three short term regiments fulfilling his obligations in each. While he didn’t rise up far he did obtain the rank of sergeant. When the war was over he returned to smithing and was elected to town clerk, and to Commander of the local GAR, he then tried his hand in dry goods and decided to return to smithing.

In the Brooklyn Eagle we find a Jacob Wortman who was running for “Commissioner of Taxes.”

Commissioner of Taxes. This new office, created by the charter, to all appearances will not go a begging. The Democracy have about ten candidates in the field, and the Republicans about the same number; but I will not take up your space with more than the two most prominent. Mr. Jacob Wortman hails from the 4th Ward, and holds the position of Master Blacksmith at the Navy Yard. He is active and energetic, and possesses the confidence of his party, and yet may be termed a ‘radical.’ He is now co-operating with several influential gentlemen in endeavoring to raise a regiment under the last call of the President. He possesses the bump of go-aheaditiveness, and is a good business man. That he would run well on the Republican ticket there can be no doubt.

The Evening Journal Almanac, Albany 1859. A blacksmith also held a seat in the New York state legislature in Chenango County. In fact, in a county with nearly 10,000 voters he got nearly 3/5ths of them! Apparently a lot of people really liked him, or really hated his opponent.

While I have found some instances of people holding tight to class structure, I have also found instances where their peers scoffed at their friends for being so aristocratic. I have more sources than I can type regarding men hanging out at the blacksmith shop to hear the latest town gossip, or discuss politics. Now I’m not saying that you’ll find Mr. Astor or General Lee hanging out at the smithy, but the position of the blacksmith in society is quite complex.

Just my two cents worth, :D

Linda

[malachi]

Re: Impression

This raises another authenticity issue. Anvils of the 18th and 19 centuries were wrought iron bodies and waists with a hard tool steel face welded on. Unless you have a trenton, hay budden, peter wright, or one of several others, you might be using a cast steel anvil or a cast iron anvil with tool steel face. Any anvil without a seperate face welded on would be incorrect. This is one of those things that only a smith would know, not the general public, but for the truest impression you would need to seek out a wrought iron based anvil, most likely of a London pattern. Cast iron with tool steel faces have the plate showing, but have notoriously short stubby bicks(horns) due to the brittle nature of cast. This would be a dead give away to its parent material to the educated eye. And by the way, did the confederacy have those cool smithing limbers like the union did??? I really like those things.
John G Tucker

[Outrider]

Re: Farrier or Black Smith Impression

Thats some good info on the anvils there Mr Tucker. I have several that I use. All are old . One is a WWI army anvil the other two I would have sworn were of "our period' but based on what you just wrote, probably not, but I have often wondered about what materials and such are correct for a period anvil. I was not aware about the wrought iron bodies w/attached steel face vs the castiron body etc etc.

Thanks for that..

[J.H.Berger]

Re: Farrier or Black Smith Impression

I am not sure if this is also correct for englsih pattern anvils but usually if you have a German, Bohemian or other patterns you can tell if they are wrought iron bodies. Look for a rectangular hole under the horn and the other end of the anvil. I am not talkking about the rectangular tool hole for hardie etc. . there could be another one in the bottom of the anvil. these holes were used to handle the anvils with long bars when the team of strikers was forge welding the parts together with sledge hammers. Cast anvils do not have these holes!

[fahnenschmied]

Re: Farrier or Black Smith Impression

Jan, you are right in regard to English pattern anvils; they have the same handling holes on the sides of the waist - sometimes on the bottom side too. I have a modern forged anvil - a 20 kg Peddinghaus I use with my Wehrmacht "Feldschmiede 17", it is an enormous drop forging, without holes in the sides - not cast.
However, my everyday anvil is an investment cast replica of an 18th century one....complete with cast-in handling holes...but there are only a few of these around, made mostly for Williamsburg, and at 275 or 300 lbs, waaayyy too heavy for a portable forge.

[malachi]

Re: Farrier or Black Smith Impression

Have any of you guys had a chance to look at "anvils in america"? It was a C- note when it first came out, but has dropped to about $65.00 on line now. I understand it is quite comprehensive.
John G Tucker