Copper and wax

Since the 1980s, Leeds-born artist Norman Ackroyd has lived in and worked from an old leather warehouse in Bermondsey, south London. There he produces his work on an early 20th-century printing press, including his stunning coastal landscapes.

Isle of Pabbay, Hebrides. All images by Norman Ackroyd

Isle of Pabbay, Hebrides. All images by Norman Ackroyd

Norman Ackroyd’s semi-abstract etchings capture Britain’s craggy outcrops and wild seas in dramatic monochromes, using a technique called aquatint.

The meticulous process involves applying a fine powder of acid-resistant pine rosin onto the engraved copper plate, then immersing it in an acid bath where it produces large swathes of soft half-tone, giving a watercolour-like quality to the image.

Ackroyd etched many of his landscapes on a tour of the British Isles in the 1960s and 70s, yet they remain strikingly fresh and contemporary.

See more of Norman Ackroyd's work at normanackroyd.com

All images by Norman Ackroyd
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Post Office cats

In the mid- 19th century, the Post Office was under attack. At the London Money Order Office, a group of miscreants were destroying money orders and the culprits were evading even the best laid traps. Such trials require imaginative solutions and, in this case, recruitment of a very different breed of staff

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“Three cats may be allowed on probation,” permitted Secretary of the Post Office, John Tilley, in response to the pleas of staff under siege from a plague of mice. It was a cut-throat worldin post office employment in the 19th century though, and the newest employees were given a mere six months to prove their worth or face their positions, or provisions, being cut.

Although not the first cats to be found in post offices, they were the first to be added to the payroll. To incentivise the cats in their task, their feed was monitored under Tilley’s strict instructions: “It is important that the cats be not overfed, and I cannot allow more than one shilling a week for their support. They must depend on the mice for the remainder of their emoluments.”

Thankfully, this furry trio of felines were successful in their brief to tackle the rodent population and became the first cats to be officially appointed to post. The first report by Frederic Rowland Jackson, the Controller of the office, details the success of the probation period: “Whether influenced by the secretary’s caution that they would under certain contingencies have diminished rations, or by a laudable zeal for the service and their own characters, cannot be clearly made out, but it is certain that the cat system has answered exceedingly well and that the cats have done their duty very efficiently.”

Within five years their diligent work had earned them a six pence a week increase in their allowance. However, at this point the HR department clearly dropped the ball, as in 1952 it was raised in Parliament to the Assistant Postmaster-General that the cats hadn’t received a pay rise in almost 80 years. His response? “There have been no complaints.”

The most famous post office cat was the esteemed Tibs the Great, faithfully serving Royal Mail HQ for a remarkable 14 years since his birth in 1950. From his lair in the refreshment club in the basement of the building, for a weekly salary of two shillings and six pence, he feasted on the mail-nibbling vermin, tipping the scales at his peak at a remarkable 23 pounds. Tibs dipped his paws into feline fame as well, attending a high-profile Cats and Film Stars party and being selected for a portrait in the book Cockney Cats.

Britain is not alone in its use of cats in post offices, though. New York was home to an abundance of hardworking kitties, 60 of whom had the pleasure of being invited to celebrate the birthday of George Cook, who The New York Times referred to as “the only Superintendent of Federal Cats”. Feasting on liver and kidneys, it is reported that “each helped himself or herself with nature’s implements.”

Not all cat recruitment to the postal service was successful though; the Belgians ran an experiment using cats to deliver mail, but the felines proved to have a less strong homing instinct than their pigeon counterparts and the service was discontinued.

The tradition of the post office cat in the UK was alive and purring until the traditional cloth sacks were replaced by a rodent- proof plastic alternative, and the last officially employed cat, Blackie, passed away in June 1984; the end of a 150-year legacy.

Steph Wetherell loves to write about local food, obscure history and just about anything that piques her fancy. thelocavore.co.uk

This article originally featured in issue 9 of Ernest Journal, on sale now

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Life on the Blasket Islands; our relationship with sea ice; living art and lost boulders with David Nash; whistling languages of the world; defensive measures hiding in plain sight; the bird men of Faroe; a score designed to play for a thousand years; finding wilderness on your doorstep.

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Solving the 'Great Stink'

Discover how the Great Stink of London led to the creation of today's modern sewerage system

A pipe with a 1 meter (3 foot) diameter is lowered into place in a new main sewer at Nunhead in London, completed in 1889. Photo courtesy of Thames Water Utilities Limited

A pipe with a 1 meter (3 foot) diameter is lowered into place in a new main sewer at Nunhead in London, completed in 1889. Photo courtesy of Thames Water Utilities Limited

Miles of close wells and pits of houses, where the inhabitants gasped for air, stretched far away towards every point of the compass, through the heart of the town a deadly sewer ebbed and flowed, in the place of a fine fresh river.” Charles Dickens, Little Dorrit, 1857

For many years, London, which in 1801 had a population approaching 1 million, had struggled with the system of sewage disposal inherited from medieval times. Cesspools were emptied by nightsoilmen, who sold the contents to farmers just outside the city. Public sewers in and beneath the streets were intended for the disposal of rainwater, although garbage, including butcher’s offal, was surreptitiously dumped in them and the kennels, as had been observed during the reign of Edward III.

Nevertheless the Thames was a reasonably clean river and salmon – the litmus test of water quality – were still being caught in the first decades of the 19th century. But three factors now combined to interrupt these arrangements. First, London grew and the countryside moved farther away. Moorfields and Spitalfields ceased to be fields by the end of the 18th century, so the nightsoilmen had to carry their sewage a greater distance. Secondly, from 1847, a more effective fertilizer became available in the form of guano (solidified bird droppings), imported from islands off the coast of Chile. The Gibbs family used the enormous fortune they earned from the trade to built Tyntesfield, now a National Trust property in Somerset. The nightsoilmen struggled to compete.

But the most decisive factor was the introduction of the water closet, invented by Sir John Harington. In 1775 a patent was registered by a Bond Street watchmaker named Alexander Cummings (1773-1814) for improved version of Harington’s device. In 1778, a Yorkshire-born carpenter and inventor called Joseph Bramah (1748-1814) was asked to install one of the closets in a private home and realised that he could improve the design further and simplify the process by which its components were manufactured. He patented his version of the WC and started to make them in large quantities. He made and sold over 6,000 closets by 1797 and his company continued to flourish until 1890.

A Victorian businessman called Thomas Crapper (1836-1910) started a competitive business in 1861 and nine years later opened a showroom to display his wares, which were advertised under the slogan ‘A certain flush with every pull’. The business continued to operate from 120 King’s Road, Chelsea until 1966 and still trades, dealing in sanitary fittings online. The products were of high quality, with many still in use – for example at a public house called The Parcel Yard adjacent to the Harry Potter Platform 9¾ at London’s King’s Cross Station. In 1849, Thomas Twyford (1849-1921) opened a factory for the production of sanitary ware in Stoke-on-Trent and in 1883 began to manufacture the ‘Unitas’ ceramic closet for export to the world. To this day the word ‘unitas’ in Russian means ‘toilet’. The WC was one of Britain’s greatest gifts to civilization.

But the greatest ingenuity of all was shown by George Jennings (1810-82), who was born in Hampshire and joined the plumbing business of his uncle in Southampton. He is remembered for his enterprise in installing WCs in the Crystal Palace, which housed the Great Exhibition of 1851. Some 827,000 people used these conveniences, many experiencing them for the first time, and each paying one penny for the privilege. This gave us the expression ‘spend a penny’ and effectively drew attention to the advantages of the devices. But water closets have one major disadvantage when used in conjunction with cesspools. When flushed, they discharged a small amount of faeces and urine, potential fertilizer, and 8 litres (2 gallons) or more of water, rapidly filling the cesspools with liquid that farmers did not wish to buy and which leaked.

It was these conditions, to which Michael Faraday drew attention in 1855, that led to the creation of the Metropolitan Board of Works who began work the following year. The board replaced a multitude of parish vestries, liberties, commissions and similar bodies that had come into existence over centuries. Their aims had been twofold: to spend as little ratepayer’s money as they could and to despatch their sewage to the adjacent parish as quickly as possible. Sizes and shapes of sewers were not coordinated and the arrangement was particularly unfortunate for those parishes that were situated in the low-lying parts of London, close to the Thames, where everyone’s waste accumulated before entering the river. The Metropolitan Board of Works was the first body established for London as a whole, with authority to construct roads, bridges and parks but above all street drains and intercepting sewers or ‘collectors’.

In 1856 Joseph Bazalgette was appointed Chief Engineer to the Metropolican Board of Works. He was born in England, but was descended fro a French grandfather who had arrived in England in 1770s. He learned engineering, as most did at those times, be being an articled pupil, in his case to Sir John MacNeill (1793-1880) who gave him his first experience of draining by employing him on land drainage schemes in Northern Ireland. He also worked on railway proposals, which gave him experience in dealing with politicians and he came a member of the Institution of Civil Engineers in 1838. When applying for the post of the Metropolitan Board’s chief engineer, his referees were Robert Stephenson (1803-59), designer of The Rocket, and Isambard Kingdom Brunel (1806-59).

Bazalgette’s was not the first such appointment. In May 1847, James Newlands (1813-71) had been appointed as the first borough engineer in Britain to prepare a comprehensive sewerage plan for the troubled, disease-ridden city of Liverpool, whose population had been swelled by impoverished Irish fleeing the potato famine and who were living in conditions of inconceivable squalor, in flooded cellars without sanitation. Liverpool was at that time the most populous city in Britain beyond London, with a population of 400,000. The appointment of Newlands had been preceded, in January of the same year, by the appointment of Dr William Henry Duncan (1805-63) as Britain’s first Medical Officer of Health. Together, the two men campaigned, with eventual success, for the construction of sewers and clearance of cellars, which meant that when cholera returned to Britain in 1854, its effects were far less virulent than previous epidemics. Newlands has a claim to have been the first engineer to introduce egg-shaped sewers (sometimes referred to as ‘English sewers’), designed to concentrate the liquid in a narrow channel during times of low flow levels. This speeds the movement of the water and the solids it carries, though even the Cloaca Maxima, the ancestor of all large sewers, was higher than it was wide. During the Crimea War, James Newlands was sent to the Crimea as Sanitary Commissioner, earning from Florence Nightingale the accolade: ‘Truly I may say that to us sanitary salvation came from Liverpool.’ Dr Duncan is remembered in Liverpool by a pub named ‘Dr Duncan’ in his honour in the city centre and a special brew called ‘Dr Duncan’s IPA’.

Bazalgette set to work without delay. He new the task ahead of him, as he had previously been employed by one of the commissions that had done some preparatory work and and built some new street sewers. By June 1856, he was able to submit his plans, a system of intercepting sewers running parallel to the river. On the north side of the river, he proposed that the sewage was taken mostly by gravity to Abbey Mills, near West Ham, before being lifted by huge pumping engines into outfall sewers that took it on to Beckton in Essex for discharge at high tide. On the south side it would taken to Crossness, in Kent, where the largest beam engines ever built could lift it into reservoirs where it was discharged into the river before beginning its voyage to the North Sea.

This is an extract from An Underground Guide to Sewers by Stephen Halliday, published by Thames & Hudson (2019). The book explores the history of sewer networks that lie beneath the world’s greatest cities, and includes archival plans, maps and photographs of these subterranean labyrinths.

Wellcome Collection, London

Wellcome Collection, London

Image courtesy of Library of Congress, Washington, D.C

Image courtesy of Library of Congress, Washington, D.C

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Photo courtesy of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of Bibliotheque nacionale de France, Paris

Photo courtesy of Bibliotheque nacionale de France, Paris

Photo courtesy of Thames Water Utilities Limited

Photo courtesy of Thames Water Utilities Limited

Photo courtest of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtest of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of the Passaic Valley Sewerage Commission, Newark, New Jersey

Photo courtesy of the Passaic Valley Sewerage Commission, Newark, New Jersey

Photo courtesy of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of Boston Public Library, Edgar Sutton Dorr Photograph Collection

Photo courtesy of Thames Water Utilities Limited

Photo courtesy of Thames Water Utilities Limited

Capture the moon

Photographer Daniel Alford shares some tips for shooting the moon, including tips on timing, shutter speed and the ‘Looney 11’ rule

Image by Daniel Alford

Image by Daniel Alford

Conditions

With a bit of luck, a clear sky will give a great view of the full moon. If you can get out into the countryside away from light pollution and haze, this will be a big help. Moon rise is a great time to do this, just after sunset during “blue hour’, when there’s more chance of seeing the moon in a shade of pink, yellow, orange or red. 

Camera settings 

Shooting in RAW on a full frame DSLR will give you the best resolution. This will come in handy later, for cropping the image in Photoshop or Lightroom to effectively extend the zoom. Don’t forget to sharpen the images here, too.

Tripod and shutter remote

The camera needs to be as stable as possible, especially when using a long lens photographing something very far away. Using a good tripod and remote shutter release (this stops you nudging/jolting the camera) will ensure the images are nice and sharp. 

Telephoto lens 

If you want to capture the detail on the surface of the moon, then a telephoto lens is essential. Anything thing between 300mm and 600mm will work, but the longer the range the better. I use a Sigma 150-600mm. 

Looney 11 rule

Following this rule to set your manual camera settings will keep you in good stead. Similar to the ‘Sunny 16’ rule for taking photographs in bright sunshine, the ‘Looney 11’ rule is a good starting point. This method tells us to set our aperture at f11, ISO at 100, then use the cameras shutter speed to adjust the exposure to create the desired effect. Of course with anything creative, rules are made to be broken. For example, for these images I used a wider aperture and higher ISO, which allowed more light into the lens. 

The next Full Moon takes place 27 April and is referred to as the Pink Moon. Find out Full Moon dates for the rest of the year on the Royal Observatory website.

Daniel Alford is a landscape photographer based in Cardiff. He has photographed for Lonely Planet and National Geographic, and has captured many slow adventures for Ernest, including the Yorkshire Moors, Snowdonia and Greenland. danielalford.co.uk

Human microbiome as coral reef

In his Magic Circle series of cut paper sculptures, artist Rogan Brown depicts the microscopic structures and bacteria present in the human body, imagined as a coral reef

Detail from Rogan’s Magic Circle series. Image courtesy of Rogan Brown

Detail from Rogan’s Magic Circle series. Image courtesy of Rogan Brown

Rogan, your work is incredibly intricate - how do you go about creating these sculptures?

Some pieces are entirely hand cut whereas others are laser cut then hand mounted, which is the case for the sculptures in the Magic Circle series. Obviously these are time and labour intensive pieces to make; they grow slowly and organically, starting as drawings, then single layer cuts and finally three-dimensional sculptural motifs made up of many layers.

What is it about the 'micro world' that fascinates you?

I think we all have a memory from the biology lab at school when we looked through a microscope for the first time and were blown away by the amazing detail and intricacy of a fly's wing or a fragment of leaf. I suppose that sense of awe at the sheer scale of the natural world has never left me, and it's that moment of amazement I try to recreate in my work. The human brain is not very good at processing scale, and so the vastness of the universe revealed to us through science tends to overwhelm us, therefore we block it out. My work simply reminds people of what they're unconsciously forgetting.

Where do you turn for inspiration?

Art and science and the relationship between the two are real inspiration behind my work. I spend a great deal of time looking at a wide variety of images from different sources: electron micrographs of microbes and cell structures, satellite images of the surface of the Earth, anatomical drawings of the human body, telescope images of the heavens, etc. In short, images of nature in all its myriad forms at scales and in different contexts.

What would you love to create if money and materials were no object?

I'd love to scale up the sculptural elements from Magic Circle, cut them from sheets of metal instead of paper, then mount them on the exterior of buildings to make them look as though they were growing and alive.

Any other projects in the pipeline?

I'm currently working on some pieces inspired by both coral reefs and the human body in an attempt to combine and integrate these seemingly different elements. The aim is to create a powerful visual icon that makes us understand that the reefs are not outside us, they are part of us, and if we let them die as we are doing, then part of us will die too. The simple message is that ecological, environmental destruction is ultimately self destruction.

What’s on your bedside table?

Ernst Haeckel's wonderful book Art Forms in Nature. His images of oceanic microorganisms published over a century ago still have the power to astonish. If I look at it before I go to sleep I dream surreal, organic forms!


This is a full version of a Q&A with Rogan Brown featured in issue 9 of Ernest Journal, on sale now.

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