Part 5

There were several instrument makers in provincial Pennsylvania, but the majority of such craftsmen worked in Philadelphia. Dr. Christopher Witt (1675-1765), an emigrant from England, worked in Germantown from about 1710 to 1765. He was well known locally as a medical doctor, scientist, "hexmeister", clockmaker, and teacher. It is traditionally claimed that he produced mathematical instruments in addition to timepieces. He described the great comet of 1743 and built his own 8-foot telescope. One of his apprentices may have been Christopher Sower (1693-1740), of Germantown and Philadelphia, who achieved renown as a doctor, farmer, author, printer, papermaker, and clockmaker. He also produced mathematical instruments.[67]

George Wall, Jr., of Bucks County, was the author of a pamphlet on the subject of "a newly invented Surveying Instrument, called the Trigonometer." The instrument was described and illustrated in the pamphlet, which was published in Philadelphia in 1788. Washington's own copy, bearing the inscription "To the President of the United States from the Author" is in the collection of the Boston Athenaeum.

George Ford of Lancaster maintained a shop on West King Street, probably from the end of the 18th century until 1840. There he made tall case and other clocks, surveying compasses, and other instruments for the retail trade. However, he "did not push the business of Watchmaking and Clockmaking so hard, for the manufacture of nautical instruments and surveyors instruments was a more important part of his business."[68] Upon his death in 1842 he was succeeded by his son George Ford II.

Thomas Mendenhall repaired clocks and mathematical instruments in a shop on King and Queen Streets in the borough of Lancaster in 1775.[69]

John Wood of Philadelphia was a wholesale supplier of parts for clockmakers and watchmakers. According to a notice in the May 7, 1790, issue of _Pennsylvania Packet_, he had "pocket compasses, steel magnets, Surveying compass needles, surveyors chains, etc." Since no mention was made of making or mending instruments, it is probable that Wood was merely importer and wholesaler.

Another instrument maker of Philadelphia about whom little is known is Bryan Gilmur, who worked at the close of the 18th century making instruments and, possibly, clocks.[70]

James Jacks (also listed as James Jack) first worked as clockmaker and watchmaker in Charleston, South Carolina, in the 1780's; he later moved to Philadelphia where he maintained a shop on Market Street where he sold a variety of instruments. In the June 5, 1797, issue of _The Federal Gazette_ he announced that, in addition to jewelry, clocks and watches, he "also had for sale mathematical instruments in cases very compleat; Surveyors Compasses and Theodolites; ship's Quadrants; Fishing Rods and Reels; Billiard Balls and sheet ivory; silver and plated coach, chaise and chair Whips."

_Instruments of Wood_

The Use of Wood

An interesting fact concerning the instruments produced by 18th-century craftsmen is the relatively high incidence of instruments constructed of wood instead of brass or other metals. A significant reference to this use of wood is found in Alexander Hamilton's "Report on the Subject of Manufactures," published in 1821,[71] which refers to such items of wood as "Ships, cabinet-wares and turnery, wool and cotton cards, and other machinery for manufactures and husbandry, mathematical instruments," ... and "coopers' wares of every kind."

Most common of these mathematical instruments is the surveying compass, possibly the instrument most needed and produced in America. Recorded in public and private collections are 31 known examples of such compasses made of wood, a rather large number. Furthermore, a substantial number of these were being produced simultaneously by skilled craftsmen who at the same time were making similar instruments in brass.

Finally, from a study of the surviving examples of wooden surveying compasses comes the interesting and perhaps significant fact that all the known makers were from New England. The towns and cities in which they worked were Boston and Plymouth in Massachusetts, Windsor and New Milford in Connecticut, and Walpole and Portsmouth in New Hampshire. A careful study of the advertisements and works of the instrument makers in the other large cities of the Colonies, such as New York, Baltimore, and Philadelphia, reveals no examples of wooden scientific instruments. Excluded, of course, are those instruments normally made of wood, such as the octant and the mariners quadrant.

Two possible exceptions are instrument makers of New York City. The first is James Ham, a maker of mathematical instruments "at the house wherein the Widow Ratsey lately lived near the Old Dutch Church on Smith Street" who advertised in the May 27, 1754, issue of _The New York Mercury_ that he made and sold

mathematical instruments in wood, brass, or ivory, theodolites, circumferentors, sectors, parallel rules, protractors, plain scales, and dividers, the late instrument called an Octant, Davis' quadrants, gauging rods, sliding and gunter's scales, amplitude wood box and hanging and pocket compasses, surveying chains, japanned telescopes, dice and dice boxes, mariners compasses and kalenders, etc.[72]

Ham subsequently moved his business to Philadelphia where he first advertised in 1764, stating that he worked at the sign of "Hadley's Quadrant" at Front and Water Streets in Philadelphia and sold all forms of instruments in silver, brass, and ivory as well as "large brass pocket dials, fitted to the latitude of Philadelphia." In 1780 his son James Ham, Jr., advertised from the same address as a maker of mathematical instruments, specializing in "Hadley and Davis Quadrants."[73]

The second exception is William Hinton, who advertised in _The New York Gazette and the Weekly Mercury_ of May 4, 1772, as follows:

WILLIAM HINTON, Mathematical Instrument Maker, at Hadley's Quadrant, facing the East Side of the New Coffee House, Makes and sells all sorts of Mathematical Instruments, in Silver, Brass, Ivory or Wood, viz. Hadley's Quadrants, Davis's do. Crostaf's Nocturnals, Gunters Scales, Plotting do. Cases of Instruments, Surveyors Chains, Dividers with and without Points, Protractors, paralelled Rulers, Rods for Guaging, Amplitude, hanging and common Wood Compasses, Pocket do. three Foot Telescopes, Pocket do. Backgammon Tables, Dice and Dice Boxes, Billiard Balls and Tacks, Violin Bows and Bridges; with a Variety of other Articles too tedious to mention: And as he is a young Beginner, he flatters himself, he shall meet with Encouragement; and all those who please to favour him with their Custom, may depend upon having their Work done in the neatest and best Manner, and at reasonable Rates.

It is mentioned that both Ham and Hinton worked in wood in addition to other materials, but it appears very likely that the use of wood referred specifically to those instruments normally made of wood, such as quadrants and octants, and not to other instruments.

Any attempt to relate the making of wooden scientific instruments with the production of wooden clocks in New England has no conclusive result, yet there appears to be some relationship between the two. Wooden clocks were made as early as the 17th century in Germany and Holland, and they were known in England in the early 18th century. In the Colonies the wooden clock was first produced in Connecticut, and the earliest type was associated with Hartford County. This form was quite common in East Hartford in 1761, and its first production may have had some association with Ebenezer Parmele (1690-1777), since an association between Parmele and all of the earliest makers of wooden clocks can be traced.[74] Little is known about Parmele. His father was a cabinetmaker in Guilford, Connecticut, and Ebenezer practiced the same craft, in addition to being a boat builder. He was a man of means, held various town offices, and served as town treasurer. For a while he operated a cargo sloop on Long Island Sound. In 1726 he built the first tower clock in Connecticut for the Guilford meeting house. He was a versatile worker in wood, and it is believed that he served an apprenticeship in New York City with a Dutch clockmaker from 1705 to 1710, where he may have learned to make wooden clocks.

This early type of wooden clock is associated with Benjamin Cheney (1725-1815), a clockmaker of East Hartford. The early or "Cheney" type of wooden clock was produced in Connecticut as late as 1812. A later form of the wooden movement began to appear about 1790, and was probably introduced by Gideon Roberts (1749-1813) of Bristol. Roberts had lived in the Wyoming Valley of Pennsylvania before 1790, and it is conjectured that he became familiar with the wooden clocks produced by the German settlers of that region.[75]

It is not surprising that the wooden clock had its colonial origins in Connecticut, so completely was it adaptable to the pioneer conditions in that colony. The materials were the abundant native woods-cherry, apple, oak, and laurel. The parts were made with simple carpenter tools and a wooden foot lathe, using the methods of the cabinetmaker. Although it has been suggested that some relationship may have existed between the makers of wooden instruments in England, and the makers of wooden clocks and scientific instruments in the New England Colonies,[76] a careful study has failed to reveal any connection, and there appears to be little if any parallel between the two groups. Basically, the use of wood for making some mathematical instruments in New England resulted from the native familiarity with this material, which was also employed to a considerable degree for the construction of domestic and agricultural implements, and from the fact that many of the early clockmakers had been trained as or by cabinet makers, carpenters, and even dish turners. Random examples of a few of the more prominent clockmakers are Joseph Hopkins, a wood turner; Chauncey Jerome, who had been apprenticed to a wood turner; and Silas Hoadley, who had worked with a cabinet maker.

Perhaps a basis for the prevalence of wood in these trades is to be found in the lines from a familiar poem:

The Yankee boy, before he's sent to school, Knows well the mystery of that magic tool, The Pocket knife.[77]

But, from the technical point of view, it should be noted that those craftsmen who produced clocks and instruments and did not have their own brass foundries probably found that a good piece of straight-grained hardwood was as stable for holding its dimensions with the grain as a piece of brass. Shrinkage was at right angles to the grain; hence, for fixed linear stability wood was as good as brass. For rigidity per unit weight, wood was better than brass; and for availability and ease of working, wood was superior to brass.

It has often been ventured that wooden clocks were first produced in Connecticut, because of the scarcity of brass for this purpose during the years between the beginning of the Revolution to the end of the War of 1812. The claim is made that brass was not being produced in the Colonies and that it was imported exclusively from England during this period. Certainly, the wholesale price index of metal and metal products shows a steady increase during this period, and a considerable jump during the period of the War of 1812, making brass an extremely expensive material. This may explain why the makers of clocks and instruments who made and sold brass clocks and instruments were producing the same products at the same time in wood which, as we have seen, was both plentiful and a satisfactory substitute.

It can be surmised, therefore, that surveying instruments, as well as instruments for other purposes, were produced in both brass and wood simultaneously by many of the New England makers in order to provide suitable instruments in a flexible price range to meet the demands of the trade. Whereas today modern manufacturing methods make it possible to produce instruments in a wide variety, both in quality and price, to suit the needs and capabilities of every prospective purchaser, the production facilities of the 18th century were much more limited. The constant factor of skilled hand labor was costly. Metal was expensive. As evidenced in the records of Daniel Burnap, for instance, it was possible to produce surveying compasses in brass in two grades, presumably one more elaborate than the other. Yet Burnap's prices ranged between six pounds and four pounds for the metal instruments, making them still well out of reach of many of the would-be surveyors. Accordingly, Burnap--and presumably numerous other instrument makers of the period--produced from wood an economy model that sold for not more than two pounds, thus placing the item within the reach of the nonprofessional surveyor.

This theory is supported amply by the discovery that several of the instrument makers who worked in brass also made instruments of wood during the same periods. In addition to the evidence in the records of Daniel Burnap, there are the surviving surveying instruments in brass and wood made by Samuel Thaxter, Thomas Greenough, and John Dupee, leaving little if any doubt that the reason for producing surveying compasses and similar items of wood during the 18th century was to satisfy the need for reasonably accurate yet inexpensive instruments.

Surviving Instruments

The fact that the surviving examples of the wooden instruments were produced only in New England seems to indicate merely that the New England instrument makers were more familiar with the use of wood as a material, and had greater facility in working with it.

Undoubtedly other instruments produced by the 18th-century American makers have survived in addition to those already found. Quite likely examples of these wooden instruments still remain hidden in unexplored attics and other repositories. Yet, if the few thus far discovered is any criterion, the number ultimately recoverable will probably be but a fraction of the great number produced by the 18th-century makers during the half century or more in which they worked. Even allowing for those probably destroyed in the natural course of events, one cannot help but wonder what has happened to the remainder.

A list of the surviving wooden instruments is given in the Appendix (p. 153). Many of these wooden instruments bear signatures or other marks that permit identification of their makers, but a number of specimens have been found that are not signed. In most instances they show evidence of professional workmanship, and they may have been the work of known craftsmen. One or two examples are obviously homemade by unskilled amateur practitioners.

Several unsigned wooden instruments of professional quality are in the collection of the Dartmouth College Museum. Of particular interest is a semicircumferentor (fig. 32) that belonged to the Reverend Eleazar Wheelock (1711-1779) who founded Moor's Indian Charity School at Lebanon, Connecticut, which subsequently developed into Dartmouth College. It is claimed that it was with this instrument that the area of the college was surveyed when it moved to Hanover, N.H. The instrument is actually a graphometer consisting of a block of hard wood faced with a brass plate with a trough compass; it is tentatively dated about 1769. The identity of the maker is unknown, but it may have been the product of Hagger, who made a similar instrument, illustrated here, or it may have been produced by any one of the other makers noted. The type of instrument is an old one. It is described in John Love's _Geodaesia, Or the Art of Surveying and Measuring Land_, published in London in 1688. Abel Flint[78] also commented on this semicircle as being sometime used, as well as the plane table and perambulator--

... but of these instruments very little [use] is made in New England; and they are not often to be met with. For general practice none will be found more useful than a common chain and a compass upon Rittenhouse's construction.

Another of the unusual wooden surveying instruments in the collection of the Dartmouth College Museum is a wooden surveying compass (fig. 33) in which the sighting bars appear relatively close to the dial. A metal plate, painted green, is stamped with the degrees marked to 90°. A single N for the north point is stamped into it, presumably with steel punches. The instrument is relatively primitive, and is sufficiently different from the other examples noted to merit mention. There is no maker's name, nor any clue to the date or place or period of origin.

An unsigned semicircumferentor made of wood is owned by Mr. Roleigh Lee Stubbs of Charleston, West Virginia. The instrument measures 3-3/4 in. by 7-1/2 in. by 1 in., and there are sighting bars 3 in. high on a swinging brass bar pinned at the center of the base. It has a trough compass, and the gradations around the edge of the semicircle are marked with tiny brass pins. The date "1784" is stamped into the wood with the same type of figures as appear in the degree markings, probably with small steel punches.

A surveying compass of the conventional type, also made of wood, is in The Farmer's Museum at Cooperstown, New York. The wood is ash or oak, 12-3/4 in. long and 6-1/2 in. in diameter, with the sighting bars 5 in. high. The compass card consists of cut-out printed letters pasted upon a printed compass rose, and the fleur-de-lis at North is inked-in by hand. This may be a homemade replacement of the original card. The instrument is believed to date between 1760-1775.

Of equal interest is a large semicircumferentor made by an unknown American instrument maker in the second half of the 18th century. The instrument (fig. 34) consists of a plate of hammered brass attached to a quarter circle block of mahogany, with a glass covered trough compass within a silvered opening, and the gradations stamped into the brass. The brass sighting bars are attached to a swivelling bar that can be fixed in place with a set screw underneath the block. The instrument, which is in the collection of the writer, is not signed with a maker's name. Its workmanship is excellent, and professional.

On the basis of a comparison of these instruments with those produced by known professional makers, it becomes apparent that all of them were made professionally. The possibility that some of these wooden surveying compasses may have been produced by the farmer or local surveyor for his own use is extremely unlikely. Homemade instruments such as those described below were unquestionably the exception instead of the rule.

An exception to this generalization, and an extremely fine example of the whittler's art, is a surveying compass (fig. 35) in the collection of Mr. Preston R. Bassett of Ridgefield, Connecticut. This is a comparatively small instrument made of maple; the body was painted red. It is carved entirely by means of a jackknife, and the sighting bars are also whittled to shape and mortised permanently into the frame. A lid covering the dial is carved from soft pine. The compass dial is handdrawn in black ink, and the North point is painted in the form of a decorative fleur-de-lis in red and green. A homemade ring of pewter surrounds the compass rose at needle level. This is graduated in degrees, with every 10° marked, stamped with steel punches. The ring is set into the base by means of wooden pegs. The steel needle is nicely cut, and it is probably the only part purchased by the maker.

This is unquestionably a homemade instrument produced by a skillful whittler early in the 18th century.

Compass Cards

A fact that becomes apparent in a comparison of the surviving examples of wooden surveying compasses made in New England is the similarity of the compass cards used by makers in the seaport cities (see fig. 36). The compass card in each of these instances is the type designed for a mariner's compass, bearing a star of 32 rays to mark the 32 points of the heavens. The North point is designated with an elaborate fleur-de-lis, and the East is emphasized with scrollwork. These are features which were not designed primarily for land surveying. Presumably, these makers had a quantity of engraved or printed compass cards that they used in both marine and land surveying compasses. This is true in the case of the compasses made by James and Joseph Halsy, Greenough, Clough, Warren, Thaxter, Dupee, Breed, and Bowles. On the other hand, the dial of Huntington's compass was painted directly on the wood, and the semicircumferentors do not utilize the marine compass card. Obviously these makers resorted to this practice for reasons of economy--to reduce costs of engraving and printing, and using the same card for both types of instruments that they produced.

Trade Signs

An interesting sidelight in the study of the makers of scientific instruments is the advertising they used, particularly the design of their signboards. The most popular symbol appears to have been the quadrant, as the phrase "At the Sign of the Quadrant" is found repeatedly in advertising in several of the seaport cities of the 18th century.

In Providence, William Hamlin used the designation in the first part of the 19th century, while Philadelphian John Gould featured the sign at the end of the 18th century. During an even earlier period, William Hinton designated his address to be "At Hadley's Quadrant" in New York City. Both Gould and Hinton were English, which may have had some bearing on their selection of the quadrant as a symbol of their merchandise.

Other signboards were as colorful, such as Jonathan Dakin's "Sign of the Hand and Beam," James Youle's "Sign of the Cross-Knives and Gun," and Charles Kugler's house in Philadelphia with its "Sign of the Seven Stars" (that is, Great Bear), which housed the shops of several instrument makers.