Saturday, 25 September 2010

old lathes

A few days ago I posted the lovely short film of Lloyd Kahn and thanks to various comments was put onto Lloyds blog here there is lots of fun stuff, but I had to search back posts on tools and found this great picture and links. I have not managed to find the image on the museums site yet or any info, any help from Italian speaking readers appreciated. The right lathe looks at a glance very like many old bowl lathes I have seen though the central poppit is strange. I am intrigued by the smaller device too, I wonder if it is a small lathe for turning drop spindles, I see no metal centres but saw a lot of drop spindle lathes in Russia and Romania and the spindles normally just rotate in a small depression in the wood. I seem to come across old lathe pictures probably only one a year or so. They all have a story to tell so I am chuffed with this and would love to find it's story.
"In Museo Guatelli's central room, a former granary, the collector's traditional farming implements have been intricately arranged into expansive, interlinked patterns."
It's from Museo Guatelli: http://www.museoguatelli.it/

Spotted this at: http://is.gd/ewKGx

Friday, 24 September 2010

birch bark canoes

In 1996 I took my lathe to demonstrate turning as part of the Mary Rose Trust stand at Bristol Festival of the Sea. My lasting memory of the weekend was not the tall ships, wonderful though they were. I stayed with fellow green woodworker Gudrun Lietz and one evening watched a video called Cesar's bark canoe, it was the most fantastic woodworking film I had ever seen, truly inspirational and if you have not seen it before I urge you to make some time this weekend because it is available online for free here.
http://www.nfb.ca/film/Cesars_Bark_Canoe/
57 minutes of the most wonderful woodworking, simple tools, beautiful design, tradition handed down through the generations to make a wonderful craft straight from the forest.

And to whet your appetite here are some finished canoes. This one was recently finished by Jarrod Stonedahl a talented woodworker in northern  Wisconsin.
And another from Henri Vailancourt, there is a nice piece on Henri in green woodworking by Drew Langsner. It was reading about Henri years ago and his Trust for Native American Cultures and Crafts that first started me thinking that we should have an organisation for our traditional crafts.
Birch bark canoes for me are one of the pinnacles of the world of greenwoodworking. If you watch the video of Cesar Newashish you will see what I mean. Look out for the crooked knife or mocotaugan, back in 1996 I went straight home, ordered the video and before it arrived I had forged some crook knives out of old car springs. I then adapted the design slightly and still use one of the first I made for finishing the bottom of every bowl I make.

Wednesday, 22 September 2010

Sheffield grinders and grinding wheels

It is difficult today to comprehend just how vast the Sheffield metalworking industries were, but whenever I am in town I see the evidence everywhere.

Today I was collecting wood for a spoon carving course next week. Anderson Tree Care are cutting trees from the banks of all Sheffield's rivers after the big floods in 2008. This is the worksite, trees are cut on the riverbank, winched 100 yards downstream by tractor then hoisted 100 feet into the air and dropped by the chipper with a big crane. I have a few seconds to spot the bits I want and cut them out before they disappear into the chipper. The cost of an operation like this prohibits any delay to save a spoon blank or two.

Anyway whilst I was waiting for the next tree to arrive I noticed the wall, not unlike many others built of local gritstone.
Looking from the other side though I noticed many of the coping stones were made from old grindstones.
 Where they appeared they were normally in groups of 4 showing that the stone had been rolled to the spot from a nearby mill then quartered.
 A friend lives in Hathersage next door to an old mill where they made needles, now you would not think that needles would wear out grindstones very fast, not like a scythe works say but this is their garden wall.
And a closer look at a few spares. Anyone who has done a serious amount of grinding will know that each of these stones has done many thousands of hours work. The fact that they are everywhere shows just how much a part of the fabric literally of the city grinders were.
Today there is as far as I know only one full time self employed grinder left in the city, a lovely bloke called Brian Alcock.
This is a short film Nicola made a couple of years ago when Brian was teaching our friend Grace how to grind pen knife blades with a suitably Sheffield soundtrack.

Tuesday, 21 September 2010

another cool short film

I may be a Luddite and use medieval woodworking tools but I also love some forms of technology, to me it's not a question of everything in the old days was good and everything today is bad or vice versa. Today we have the opportunity to choose the best from the past and put it with the best from the present, to choose what is best for the people of the world to live fulfilled, happy lives whilst not trashing the earth. We don't always seem to do as well as we could.

One of the technologies I love if used well is the internet and today it brought me this lovely wise old dude. I hope you enjoy him too.


SHELTER from jason sussberg on Vimeo.

how to build a Japanese Tea House in less than five minutes.

I still have a few more things to post and some more pictures from our time in Japan but was just sent a link to an article in the Japan Times. It was interesting to see how the Japanese press saw us.

Rustic building fest spans two continents

Traditional craftsmen come together to share their skills


Back in early August, as families across Japan were beginning to plan trips to their hometowns during the upcoming Obon holidays, Hannes Schnelle of Sarenseck, Germany, and 26 fellow Europeans were preparing for a Japanese journey of their own.

News photo
Cutting edge: The multinational carpenters sharpen their tools. WINIFRED BIRD PHOTOS
On their collective packing list: Five drawknives, two pitsaws, 14 thrust axes — and seven each of hatchets and ripsaws. The brawny group of Germans, English, Belgians, Swedes, Danes and Austrians stepped off their airplane in Tokyo on Aug. 6. 

Fortunately for the citizens of Japan, their goal was not to stage a low-tech reenactment of "The Texas Chain Saw Massacre," but rather to join 30 Japanese craftsmen and women in the mountains of Yamanashi Prefecture for a backwoods building bonanza called the "Chisana Kezurokai" — which roughly translates as: "Mini Let's Plane Together Event."

During the course of the two-week event, the multinational group of expert blacksmiths, carpenters, and carvers built a small Japanese teahouse and a European pavilion — all made without the use of a single watt of electricity.


Full article here

And now for that tea house in less than five minutes. This was raising day, the video edited by Nicola for the Kesurokai blog


Japanese tea house construction from Nicola Wood on Vimeo.

Monday, 20 September 2010

Heritage Crafts Association plans and a bridge opening

The life of a craftsman often leaves little distinction between work and play, certainly there are less "days off" than those in full time employment but the work is very rewarding. So this was my weekend.

Saturday was a suit day, a trip to London to chair the Heritage Crafts Association committee meeting. Our committee have been working incredibly hard over the last few weeks as we move toward taking on a part time administrator. In the long term this will help us achieve a lot more and reduce some of the workload on the committee but in the short term it has meant drafting job description, person spec, terms and conditions, equal opportunities policy,  and at the same time we have been writing our strategic plan, data protection policy, organisational risk analysis and responding to a major government consultation on skills training. That is a lot of work for a small group of volunteers but we have a great team and have got through it. Then we got on to the fun stuff of planning our next big meeting, we have booked the Sackler centre at the Victoria and Albert Museum and it is going to be a fantastic day.

Our meeting there last year was inspirational but we had limited places and were very quickly fully booked. Sophie Hussain the stained glass mentor from Mastercrafts said afterwards:

"I had a wonderful time, and am still feeling the huge belonging to the right clan, at last...
It was really inspiring, and very different to the gatherings hosted by the creative chique designer groups..
I loved every minute, and the speaker was amazing, gosh if only I could remember what he said..every thing he said.
It all came to place at the right time for me, it actually meant some thing more important."

The next meeting is going to be bigger better with more places available for HCA supporters and some very inspirational speakers, we will be raising the standards and showing traditional crafts off in the brightest possible light. It is too early to publish full details but I can let folk know the date, March 19th and also I am delighted that two keen supporters of traditional crafts have already agreed to speak on the day. Tanya Harrod is one of the most influential writers on the crafts in the UK today, author of the seminal book "Crafts in Britain in the Twentieth Century" and passionately interested in traditional crafts including the industrial crafts. I really look forward to hearing her thoughts. Then HCA patron Alex Langlands will tell us about his experiences filming traditional crafts as part of the BBC Victorian Farm and forthcoming Edwardian Farm programs.

Back home on Sunday was the official opening of my bridge at Bradfield. The Lord Mayor of Sheffield and lady Myoress did the honours. The scissors provided were plastic handled made in Finland jobs but thankfully I had a nice pair of Sheffield made scissors in the van.

You can see the bridge in it's various stages of production here, here and here

Thursday, 16 September 2010

a great day in Sheffield and old films

Just wanted to share a great day. It started with a visit to Flinn and Garlick the last traditional sawmakers in the UK. They were a bit busy and not many of the interesting tools were running in the workshop so I am afraid I have no photos to share this time but I will be back.
Then it was off to a meeting with Sheffield City Council, they have allocated funds and staff to undertake a survey of traditional craft skills of the cutlery and metal trades in the city, this is the first step toward finding out what the issues are facing the businesses and seeing what can be done to ensure future viability. It was a really positive exciting meeting and I am sure a lot of good will come of it.
Nest stop was Beatson Fans and Motors a lovely old Sheffield firm. I bought a while ago a big old wet grindstone, with a dead motor. Beatson's sorted it for me and now it works a treat, it is like a monster Tormek and removes metal faster whilst leaving a finer finish, so if anyone wants my old Tormek it will soon be on the market. Round the corner is Northern Power Tools another place that fixes stuff as well as selling new. They had repaired a big electric drill for me. So much stuff these days is viewed as disposable and thrown away when it could be repaired. Anyway it was an expensive drill and I was happy not to send it to landfill.

Now to make up for the lack of pictures in this blog post I am going to share a couple of old short films which mat bring back memories for folk in the UK but are probably new to my US followers. Jack Hargreaves did a TV show from 1965 to 1980 called out of town in which he visited old country folk and reminisced about old ways, many of them are now on youtube and I am going to share a couple. If you enjoy it you can see plenty more by following the linked videos on youtube.

First a visit to a rakemaker, I love the way he squashes the rake teeth with a hammer to avoid splitting the head. If you want to miss the preamble drag the time slider bottom left across to 3 minutes.



and here is a remarkably mechanised wheelrights he tells us the felloes are oak and spokes of ash but it is an interesting old film.

Sunday, 12 September 2010

how the Japanese use waterstones for sharpening

Did you ever see a better sharpening set up than this?
The water trough has running water fed from a stream so is continually flushing away the swarf and slurry from the stones. This sharpening trough was set up on the edge of our tea house worksite in Japan and the Japanese carpenters would visit regularly to keep a perfect edge on their tools. I have been sharpening with waterstones in the UK for many years but I learned a lot from watching and working at this sharpening trough.

Most folk in the UK soak the stone and then just splash a little extra water on the surface, the running water below the stones allows the Japanese to continually sloosh water over the stones keeping the surface very open. The other big differences were the different brands of stones which cut much faster and they continually cut back the surface of the stone with a big diamond dressing plate thus exposing fresh abrasive and flattening the surface. This means the stones are very much seen as something that has a limited lifespan, like an abrasive belt on a grinder but as the stones wear thin and break they become useful as slip stones, these too are flattened  regularly on the diamond plate, here is Tak honing his chouna blade with a small piece of waterstone, note the wooden bucket of water to keep the stone slooshed.
other differences are they have lots of stones and choose whichever ones are appropriate for the job, coarse ones for renovating chipped of damaged edges and lots of medium to fine ones for honing then extra fine stones for finishing. Most finishing stones were natural whilst most coarse and medium stones were man made. The skill level of the Japanese carpenters was impressive, they have all put in many hundreds if not thousands of hours sharpening with waterstones and so it is completely second nature, their hands just do the job without any thought, here is Tani. I was surprised how much pressure they use too, the trough is very secure and they press down hard and cut very fast. Sharpening a plane blade on three grits of stone would take maybe 4 minutes.
And here is hewing master Amemiyasan, whilst sharpening his axe his phone went off so he answered it and carried on sharpening without interruption. He is using a small piece of broken waterstone which has been glued on to a piece of wood, this is what they tend to use for axes. Often they will glue thin and fragile waterstones to a wooden board too allowing them to use the whole stone down to the last mm.

Nicola made this is a short video whilst in Japan showing finishing a plane blade on a natural waterstone, note how the edge is washed and then he feels to check all the bur is removed. Through practice they are tremendously sensitive to this and can feel tiny burs that I need strong magnification to detect. Also note the stone is washed and put away, the Japanese are very tidy and they want that stone to be ready to use next time.

Japanese tool sharpening from Nicola Wood on Vimeo.

At the Kesurokai event in Germany 2005 the Japanese carpenters did all their sharpening squatting on the ground like this. This position allows a lot of pressure to be applied, no water trough here but they kept a bucket handy to sloosh the stones and a gardeners spray bottle to keep the surface flowing.

Hannes my German friend spent 2 years as an apprentice to a master temple carpenter in Japan and when he came over and helped me build my new timber framed woodshed he also gave us lessons in sharpening with waterstones. Hannes ran sharpening courses with our friend Michail Schutte in Germany last year and I think they plan to do it again. If there was interest I could ask him to come and run a masterclass in the UK in 2011.
And now back to my own sharpening and how it has developed since Japan. Before Japan I used DMT diamond stones (fine and extra fine) or power grinders (a tormek and a big belt linisher) for rough grinding and then waterstones only for the finer work from 6000 grit downwards. I now realise this is because the common stones in the UK are not so good at the coarse end. I have king brand 1000 grit stones but have never really got on with them, they are very soft and wear quickly so need continual dressing but despite that they do not cut very fast. I now have some Shapton stones, a 1000, 1500 and 5000 which cut at around twice the speed yet do not wear as fast, they cost twice as much but for me they are worth it because it makes the difference between a stone I use and one I don't. I also bought in Japan a big diamond flattening plate to dress the stones, I did this before with my DMT diamond stones but this plate is bigger so trues the whole surface better and is coarser so cuts faster. Here are some of my current stones.
From the top left natural stone about 12000, shapton 1500, shapton 5000, shapton 1000, shapton glass stone 16000 (yes really 16,000) spyderco fine stone, spyderco extra fine.
Bottom row, DMT extra fine, Japanese diamond stone dresser, unknown stone very like a shapton 1000, natural stone c12000, king 1000, king 4000, king 6000.

Of these stones the shaptons are far superior to the rest, the king 1000 is barely worth having, I would just as soon use emery paper stuck to a woodblock, the king 4k and 6k are reasonable stones, in fact the 6k makes a decent finish stone at not too high a price I always finished with autosol metal polish on a board after this stone. Now I follow it with the 12k natural and 16k shapton instead. The spyderco stones are OK as fine finishing stones but they do not remove metal fast and have very little feel or feedback, the knife tends to skate on the surface as if on glass where even the 16k shapton feels like it is grabbing at the metal and cutting, this allows you to feel the bevel you are trying to sharpen much better.

Friday, 10 September 2010

My blog index and top ten posts

I have just added a new blog index over to the right and whilst I was indexing I picked out ten blog posts which have been personal favourites, have initiated corespondence and debate or have led on to other things. For readers new to my blog I hope you might find these posts of interest.

In craftsmanship and apprenticeship you'll find various open ended discussions and I have particularly enjoyed the contributions in the comments. Is hard work good or bad? was a favourite and apprenticeships in traditional crafts another. More recently I posted about German Journeymen.



In the Traditional Crafts sections you'll find lots of visits to interesting workshops as well as discussions about the position of traditional craft today. I shall pick out first a bit of industrial craft Pattersons Spade Mill then one of the oldest crafts of all taught by a true master flint knapping with John Lord.


The blog started out with a focus on my own turning work and the thing that still gives me greatest pleasure is when folk tell me how they have used the bowls for years or send me photos of the bowls in use like baby bowl and the perfect customer

The Heritage Crafts Association has been my passion over the last 2 years see the beginnings here.  the need for a traditional craft organisation 
And just 12 months after the first meeting of the HCA we had the forum held at the Victoria and Albert Museum.
And finally our spoon and bowl carving courses continue to be great fun a bowl carving course
The blog has been fun too, a great way of connecting with many like minded people worldwide, fellow traditional craft bloggers such as Peter Follansbee and Kari Hultman in the USA, potter Doug Fitch in Devon and I met Daniel Carpenter  HCA webmaster though the blog too.

I hope the index makes it more accessible, it will at least help me to find posts on bridges or whatever when I want to post a link. Finally thanks to all my blog readers, even those that don't post in the comments box, I see the views counter clocking up so know that folk must be finding something of interest. Thanks to those that post links to my blog and to the Heritage Crafts Association and most of all I do enjoy the thought provoking banter so feel free to join in and post a few comments. If there were any blog posts you enjoyed or would like to see more of do let me know.

Wednesday, 8 September 2010

Ancient trees and woodland management at Hatfield Forest

Hatfield forest is an incredible survival of a landscape little changed from medieval times. Here under the flightpath of Stansted airport there are hundreds of trees that were growing during Shakespeare's lifetime, coppice woodland, pollard trees, flower rich meadows, marsh and a history of land management little changed for 1000 years. 
Hatfield has a special meaning to me, I lived and worked on the forest for 3 1/2 years, we had no car at the time and I often didn't leave this 1000 acre wonderland for weeks at a time. The woodland historian Professor Oliver Rackham felt Hatfield was so important he wrote a whole book about it called "The Last Forest".

Today in common usage the word forest tends to be used to describe a large woodland and forestry is woodland management, in medieval times the meaning was different. The word forest is a Norman term and it did not necessarily mean woodland at all, it meant an area with special laws particularly regarding the rights of hunting and tree cutting. Most forests were areas of open ground particularly heathland sometimes with areas of woodland which provided cover for game. This was the case with Sherwood, the New Forest, Epping, Dartmoor and Exmoor, the Forest of the Peak and many more. These places provided the crown not only with a playground for hunting but a source of game and timber.

Hatfield is a small forest but a remarkable survival in that it is pretty much unchanged from the earliest descriptions and maps. A popular misconception is that woodlands disappear when cut down. This is not the case, British woodland trees if cut down will regrow from the same stump and at the same time as light hits the woodland floor seeds germinate creating a thicket of new growth. This is an area of woodland at Hatfield that I helped cut down 19 years ago.
 The thing that destroys woodlands is grazing animals which eat all the undergrowth, shoots from cut tree stumps and seedlings. For this reason in traditional woodland management woods were fenced against grazing livestock. The main product of woodlands was fuel wood and in the days before chain saws firewood was ideally small diameter. The woods would typically be cut once every ten years, the trees regrow from the same stump and in ten years each stump will produce maybe a dozen shoots, each the thickness of a mans wrist, perfect for cutting for firewood with an axe. The thin tops were all bundled into fagots for firing bread ovens, pottery kilns and such like. This system is called coppicing, here are some old coppice stools I cut 18 years ago.
Hatfield still has a large wild population of fallow dear and when the coppices are cut it is always important to keep the deer off. When I was there we used to cut very large areas which minimised the effect of browsing and also piled heaps of hawthorn brash over the stumps to protect the regrowth. I see they have recently got some mobile deer fence panels to temporarily fence newly cut areas which seems an excellent idea. In medieval times each coppice area was surrounded by a ditch and bank or woodbank which was topped by a fence made from the cut material. The fence only had to stay deer proof for maybe 4 years by which time the new growth was above grazing height. This is a woodbank seperating the wood on the left from the open grassland or "wood pasture" on the right.


Wood pasture is another very special element of the medieval forest. Here grazing animals and trees have to coexist, if the trees were cut at ground level the livestock would kill them so the medieval woodcutter cut the tree above the head height of the livestock. The tree would regrow and end up with a short fat stem and multiple branches which again could be cut on rotation every ten to twenty years. Much is still unknown about the practices, did they cut in winter as we tend to do today? or in late summer so that as well as wood the branches would be valuable for fodder, leaves and bark would be eaten.

These trees are called pollards and the continual cutting greatly extends their lifespan, they tend to be hollow and the rotten centre provides home to a huge range of invertebrates (Hatfield is in the top ten sites in the UK for dead wood related invertebrates) The old bark is also habitat for rare lichens. A tree has to cover it's entire surface area each year with a skin of new cells. This means it is always growing fatter. If it has a big crown producing lots of food the growth rings will be wider, if it has just been pollarded and has a tiny crown the growth rings get very thin. So a very broad tree that has spent most of it's life with a very tiny crown can be very old indeed. Around 120 years ago pollarding became very unpopular and the pollards were allowed to grow naturally. Here are a few of the 800 or so pollards of 8 different species that survive at Hatfield.
This one is field maple Acer campestre and at over 3 feet diameter amongst the largest in the country.



And this oak is the biggest on the forest, hidden deep in the southern scrubs no one knows it is there unless they have been shown where it is. No trick photography here, I do look tiny because the tree is that big.

When I was at Hatfield we were struggling with the problem that these pollards now have huge crowns balanced on top of thin hollow cylindrical trunks and in high winds they can literally be torn apart. Also they were an aging population with no new pollards created in 300 years. We set about creating new pollards and also gently reducing some of the older ones to balance the crowns and reduce the risk of wind damage. This is an ash which I topped out, I remember as the limb hit the ground a dazed tawny owl few out of a hollow. A previous experiment in the 70's involved repollarding a number of trees in one hit but this massive shock had resulted in many trees dying. The new management of just rebalancing the crown was not ideal since it encourages growth high up rather than low down but it bought time. If I was still there I would think this tree is ready for cutting again now.

And this are some of the new "maiden" pollards.
 There was still a big age gap between the old trees and the young and one of the more exciting things I was involved with whilst at Hatfield was trying to bridge that gap by cutting bigger trees. Cutting larger trees straight down to pollard height could kill them but we found by gradual reduction over a few years we got better results. This is a tall pollard made from a larger maiden tree which has regrown well and could now be reduced to it's final pollard height just above the lower branches.
It didn't always work, this ash died but still provided excellent dead wood habitat.
If you click to enlarge the photo you will see the amount of insect and woodpecker activity that has gone on here and there was also a hornets nest in the base. I only noticed as I looked down and saw dozens of then around my feet, thankfully I was stood just 18" aside of the flight line.

And this is new woodpasture. The area was mainly hawthorn scrub with young maiden trees growing through, we cleared the scrub, pollarded the trees and 18 years grazing has done the rest.

There are lots of things to learn by revisiting places. This tanalised fence on top of a woodbank I know to be 45 years old, we were impressed when I worked there that it was 25 years old and still sound. I have also known tanalised fences that were rotten after 5 years, it would be nice to know how this treatment was different.
The good recorded history at Hatfield allows us to understand better what we are seeing and help date things that often folk can only guess at. This yew tree for instance most would think a yew this size would be ancient.
We know however that the earth bank that it is growing on is part of a dam built in the 1730s so the tree is less than 300 years old. Whilst the trees are fantastic at Hatfield the more closely you look the more you find, there are very high numbers of species of anything you care to study, bats, dragonflies, fungi. The grassland is very species rich too, I am not sure how well it shows in this photo but this grassland is covered in small mounds, they are ant hills created by trogladite yellow meadow ants Lasius flavus. The important thing about these is that they take many years to build an ant hill pushing grains soil up from underground, Whenever you see anthills like this in a meadow it tells you that it has not been ploughed or harrowed for many years and so is likely to be species rich.
Most visitors to Hatfield however just come top walk the dogs, run the kids and eat chips at the cafe.
And just yards from the cafe is one of the largest oaks in the country, it's perfect proportions and high branching make it look smaller than it is. I once spent 2 days deadwooding this tree and even the lower branches feel a long way up. When folk next tell you how there are no big trees left in the UK any more show them this picture, this oak is far bigger than the biggest timber in any surviving building in the country.

Monday, 6 September 2010

Ancient carpentry and ancient woodland

This is Professor Oliver Rackham talking in the Cressing Temple Barley barn (built c 1205-1235)
Prof Rackham is an acknowledged expert on woodland history and he talked us through the timbers of this great barn, 600 individual timbers which he calculated came from 480 mostly quite small oak trees. In the UK today we have lost the connection between woodworkers, foresters and woodland and there is a great deal of misunderstanding and misinformation. We often hear our woodlands were decimated by the iron industry (cutting for charcoal, or by boatbuilding in Tudor times or by felling during the great wars. It is often said there are few really big trees now but in fact there are far more big trees now than there ever were historically.

The huge Barley barn was built 800 years ago and of those 480 oaks the vast majority were 6" 12" diameter. At the time the Knights Templar who owned the site struggled to find oaks big enough for the job, Rackham remarked that if we attempted a reconstruction today we would struggle to find that many oaks small enough. From Tudor times onwards we started growing bigger trees and cutting them into smaller pieces, in medieval times they grew trees to the size of timber they wanted. The largest timbers in the barn are 16" square which would come from a 2 foot diameter tree. Rackham calculated that a 10 acre woodland of coppice with standards would produce this much timber every 50 years and the Templars had a 110 acre woodland nearby. The vast majority of woodland in the UK at this time was managed as coppice for fuel, that is it was cut every ten years which makes for easy conversion to firewood with hand tools.  UK woodland was already down to around 12% coverage not much more than today. In each acre of coppice a certain number of larger trees were allowed to grow on for 3 or 4 rotations to produce timber trees for housebuilding. The timber though was almost a by product of the woodland having a lesser value than the fuel wood.

I was at Cressing for the weekend meeting of the Carpenters Fellowship. This is the annual meeting of the UK timber framers and as well as Oliver Rackham we had talks by Peter McCurdy who built the Globe Theatre amongst many other projects, Damian Goodburn, ancient woodworking expert and occasional Time Team specialist. I did talks on the Japanese Kesurokai  project and the Heritage Crafts Association as well as a hands on session of carving with knives. So here are a few more pictures of the site and event, the evening in the Barley Barn.
Timbers in the roof of the wheat barn (built 1257-1280)
and what carpenters get up to just for fun, flinging balloons full of water 150 yards.
It was a fun and inspiring weekend. On the way home yesterday I spent a few hours walking round Hatfield Forest, Oliver Rackham said “Hatfield is of supreme interest in that all the elements of a medieval Forest survive: deer, cattle, coppice woods, pollards, scrub, timber trees, grassland and fen,...... As such it is almost certainly unique in England and possibly in the world …….The Forest owes very little to the last 250 years ….. Hatfield is the only place where one can step back into the Middle Ages to see, with only a small effort of the imagination, what a Forest looked like in use.” , 1976, The Last Forest (Dent Books).

I spent a very happy 3 1/2 years working as a National Trust warden at Hatfield from 1991 and wanted to see how things had changed in 20 years, so pictures of some of the biggest and oldest trees in Britain in the next post.