Peg

The Enduring Tale of Evangeline

Nova Scotia lays claim to quite a few icons. For instance, there’s the Peggy’s Cove Lighthouse, the Bluenose schooner and the legendary Evangeline. Evangeline is, in fact, a fictional heroine who seems to have taken on a life of her own.
To refresh my memory on the story of Evangeline, I recently visited Grand Pré in the Annapolis Valley region of Nova Scotia. It’s a beautiful part of the world! A magnificent panorama can be enjoyed from View Park on Old Post Road.

This is also where a UNESCO plaque commemorates the June 2012 designation of “The Landscape of Grand Pré” on the World Heritage List. The plaque states “The cultural landscape of Grand Pré bears exceptional testimony to a traditional farming settlement created in the 17^th century by the Acadians in a coastal zone with tides that are among the highest in the world. The polderisation used traditional techniques of dykes, aboiteaux and a drainage network, as well as a community-based management system still in use today. The resultant rich alluvial soil enabled continuous and sustainable agricultural development.
Grand Pré is the iconic place of remembrance of the Acadian diaspora, dispersed by the Grand Dérangement, in the second half of the 18^th century. Its polder landscape and archaeological remains are testimony to the values of a culture of pioneers able to create their own territory, whilst living in harmony with the native Mi’kmaq people. Its memorial constructions form the center of the symbolic re-appropriation of the land of their origins by the Acadians, in the 20^th century, in a spirit of peace and cultural sharing with the English-speaking community.”
The flags of Canada, Nova Scotia and Acadia fly at View Park.

I remember learning about the expulsion of the Acadians while attending junior high school in Nova Scotia. The Annapolis Heritage Society explains it this way: “As the centre of power in Acadie or Nova Scotia for 150 years, the town [Port Royal/ Annapolis Royal] had been attacked by the English, the French, their proxies in Boston and Quebec, Mi’kmaq, Maliseet, and even privateers!”
This map, from the Nova Scotia Archives, shows Acadia as published in 1748-1749—I added the blue arrow to point out Port Royal Annapolis.

“The desire of the generally peaceful Acadians to remain neutral and their unwillingness to sign an unconditional oath of allegiance to the British Crown precipitated their final removal in 1755 … Generally regarded as the darkest moment in Nova Scotian history, the expulsion of the Acadians has been romanticized over the intervening centuries, most notably with Longfellow’s poem Evangeline. The event dramatically altered their identity as a people, and scattered them, destitute, among the Thirteen Colonies, Louisiana and France. Of the estimated 10,000 Acadians in 1755, about eight thousand were deported before the proscription against their presence in the colony was lifted in 1764. Acadian property was confiscated and homes, crops and livestock destroyed. The number who returned in later years were relegated to inferior land at the periphery of settlement, their ancestral lands being occupied by English-speaking settlers.”
Two of the memorial constructions mentioned in the UNESCO description of Grand Pré are the Memorial Church and the Evangeline Statue.

Evangeline is a fictional heroine from the epic poem, Evangeline: A Tale of Acadie, written by Henry Wadsworth Longfellow in 1847. Longfellow tells the story of two young people—Evangeline Bellefontaine and Gabriel Lajeunesse—who are torn apart by the Grand Dérangement on their wedding day. The story continues as Evangeline searches the country for Gabriel. With romantic flair, the couple is reunited at Gabriel’s death bed sharing a final kiss as he dies.
The below work, titled Gabriel and Evangeline, is a black and white reproduction of an 1888 lithograph courtesy of the US Library of Congress Prints and Photographs Division.

The Evangeline statue was created by Louis-Philippe and Henri Hébert, father-and-son sculptors of Acadian descent. It was unveiled on July 29, 1920. Shortly afterward in 1922, the Memorial Church was constructed. It was built as an Acadian commemorative monument by the Société Nationale de l’Assomption with the assistance of the Dominion Atlantic Railway. “The Memorial Church symbolizes the spirit of Acadian nationalism and the deep-seated desire to commemorate the tragedy of the Deportation” reports the Parks Canada website.

Longfellow’s poem, Evangeline, A Tale of Acadie, begins by describing the idyllic setting:
“In the Acadian land, on the shores of the Basin of Minas,
Distant, secluded, still, the little village of Grand-Pré
Lay in the fruitful valley.
Vast meadows stretched to the eastward”
Nowadays, a visit to the Annapolis Royal Historic Gardens provides a peek into the Acadian land Longfellow describes. This is the view of the Garden’s meadows and dyke land.

“Giving the village its name, and pasture to flocks without number.
Dikes, that the hands of the farmers had raised with labor incessant,
Shut out the turbulent tides; but at stated seasons the flood-gates
Opened, and welcomed the sea to wander at will o’er the meadows.”
Here nearby dykes and marshlands provide a modern-day perspective.

“West and south there were fields of flax, and orchards and cornfields
Spreading afar and unfenced o’er the plain; and away to the northward
Blomidon rose, and the forests old, and aloft on the mountains
Sea-fogs pitched their tents, and mists from the mighty Atlantic
Looked on the happy valley, but ne’er from their station descended.
There, in the midst of its farms, reposed the Acadian village.”
Cape Blomidon, visible in the distance, lies along the southeast shore of the Bay of Fundy. The cape’s red sandstone headland and the nearby fingerlike promontory called Cape Split are beloved by Nova Scotians to this day.

“Strongly built were the houses, with frames of oak and of hemlock,
Such as the peasants of Normandy built in the reign of the Henries.
Thatched were the roofs”
La Maison Acadienne at the Annapolis Royal Historic Gardens is a replica of a pre-deportation, 1671 time period Acadian dwelling. Interestingly, this replica, originally built in 1981-82, was re-built in 1996 to reflect more recent findings from a Nova Scotia Museum archaeological dig. The dig at a pre-deportation Acadian farm site at Belleisle Marsh found evidence of the house dimensions, clay walls, thatched roof, interior chimney and exterior bake oven.

Having deftly set the stage, Longfellow introduces Evangeline.
“Gentle Evangeline … the pride of the village. …
Fair was she to behold, that maiden of seventeen summers.
Black were her eyes as the berry that grows on the thorn by the wayside,
Black, yet how softly they gleamed beneath the brown shade of her tresses!
Sweet was her breath as the breath of kine that feed in the meadows”
A quick aside, “kine” is Old English for “cows”, meaning Longfellow compared Evangeline’s breath to that of a cow feeding in the meadow! Not exactly a compliment we’d appreciate these days.

Next Longfellow introduces Gabriel.
“But, among all who came, young Gabriel only was welcome;
Gabriel Lajeunesse, the son of Basil the blacksmith, …
He was a valiant youth, and his face, like the face of the morning,
Gladdened the earth with its light, and ripened, thought into action.”
Evangeline and Gabriel’s wedding day arrives and the festivities get underway.
“Gayly the old man sang to the vibrant sound of his fiddle …
And anon with his wooden shoes beat time to the music.”

“Fairest of all the maids was Evangeline, Benedict’s daughter!
Noblest of all the youths was Gabriel, son of the blacksmith!
Then Longfellow interrupts the gaiety.
“So passed the morning away. And lo! with
a summons sonorous
Sounded the bell from its tower…
Thronged erelong was the church with men.”

“Then uprose their commander, and spake from the steps of the altar,
Holding aloft in his hands, with its seals, the royal commission.
“You are convened this day,” he said, “by his Majesty’s orders. …
Namely, that all your lands, and dwellings, and cattle of all kinds
Forfeited be to the crown; and that you yourselves from this province
Be transported to other lands. …
Prisoners now I declare you; for such is his Majesty’s pleasure!”
Sadly, this tragic situation was based on fact. As explained by the Canadian Encyclopedia, “On Friday, September 5, 1755 Colonel John Winslow ordered that all males aged 10 years and up in the area were to gather in the Grand-Pré Church for an important message from His Excellency, Charles Lawrence, the Lieutenant-Governor of Nova Scotia. The decree that was read to the assembled and stated in part: “That your Land & Tennements, Cattle of all Kinds and Livestocks of all Sorts are forfeited to the Crown with all other your effects Savings your money and Household Goods, and you yourselves to be removed from this Province.” …
Between 1755 and 1763, approximately 10,000 Acadians were deported. They were shipped to many points around the Atlantic. Large numbers were landed in the English colonies, others in France or the Caribbean. Thousands died of disease or starvation in the squalid conditions on board ship. … Many Acadians were forced, like the legendary Evangeline of Longfellow’s poem, to wander interminably in search of loved ones or a home.”

More Info

To learn more about Evangeline and Gabriel, you can read the entire poem “Evangeline: A Tale of Acadie” by Henry Wadsworth Longfellow here on Archive.org.
Grand Pré and the Annapolis Royal Historic Gardens are located in Nova Scotia, Canada. Check out the Experience Grand Pré website or the Parks Canada – Grand-Pré National Historic Site web page to learn more about this fantastic historic site. The
Annapolis Royal Historic Gardens website provides information about these beautiful gardens and La Maison Acadienne.
References consulted in the writing of this blog post include:
. UNESCO – Landscape of Grand Pré
. The Annapolis Heritage Society – History of Annapolis Royal
. Nova Scotia Archives – Acadian Heartland – Records of Deportation and La Grand Dérangement
. US Library of Congress Prints and Photographs Division – “Gabriel and Evangeline”
. Parks Canada – Virtual Exhibit of Grand-Pré Monuments
. Nova Scotia Museum Publications InfoSheets – The Acadians Three – The Home
. Canadian Encyclopedia – Acadian Expulsion (the Great Upheaval).

Today’s Takeaways

1. Consider visiting the UNESCO site of The Landscape of Grand Pré or a UNESCO site near you.
2. Investigate a travel destination’s icons.
3. Weave a fictional character, book or movie into your next travel adventure.

Canada Nature PEI Travel

79,000 Steps and a Whole Lot of Apple Seeds

Fifteen minutes into a 3-day, 63-km long-distance walk, a pungent, overripe, fruity scent brought me to a halt. What was that familiar aroma? A quick visual scan revealed the source—a cluster of wild apple trees, covered in ripe apples, lined the roadside! This abundance of wild apples became a recurring theme on my recent Island Walk.

The Island Walk is a long-distance walk around the Canadian province of Prince Edward Island. It builds upon the rail-to-trail infrastructure of the Confederation Trail by stitching together dirt roads, secondary highways and walking trails into a circular route. For instance, this pretty, tree-canopied, red dirt road is part of the Island Walk. It is MacEachern Road near Dunedin.

The Island Walk is 700 kilometers (435 miles) long enabling walkers and cyclists to circumnavigate the Island. Signposts mark the way either via the purple-coded signs of the Confederation Trail or the Island Walk’s distinctive, colorful signage.

The Island Walk is conveniently mapped into 32 sections. Each of the sections is designed for a day’s walk from a designated starting point, typically over 20-25 kilometers of trail, to a designated end point. These “waypoints” are numbered and identified with Island Walk signs. The sections and waypoints are defined for the convenience of walkers—trail users can, of course, walk or cycle the trail in any way they wish. Here an Island Walk sign directs the way near the New Argyle Road.

My sister and I recently walked three of the Island Walk’s sections—I walked and she biked. I’m married to a native Islander so I’m familiar enough with the Island to have cherry-picked our route! With our personal vehicle and a family home at our disposal we had the ultimate flexibility. We chose three sections for their coastal views, wooded paths, country farms and seaside towns:
1. Dunedin (waypoint 1) to Victoria (waypoint 2) – 24 km (15 miles) / 5 hrs
2. Mt Stewart (waypoint 19) to St Peters (waypoint 20) – 27 km (17 miles) / 6.5 hrs
3. Cardigan (waypoint 26) to Montague (waypoint 27) – 12 km (7 miles) / 2.5 hrs
The Island Walk did not disappoint. We saw beautiful coastal views—like these on the approach to Victoria…

… and these at St Peters.

We saw miles and miles of wooded paths, mostly groomed rail-to-trail sections like this path near Montague ….

… but also some quiet, red dirt roads like this lovely birch-lined section of Ferguson Road (near Victoria).

Speaking of birch trees, the bench pictured below was one of my favorite spots. It’s located on the Confederation Trail between Mt Stewart and Morell and perfectly situated in a magical grove of birches.

We saw the country farms we’d hoped to see. There were weathered barns…

… splendid horses…

… fields of hay bales…

… stunning rolling hills…

… and cows!

We saw several charming seaside towns including Victoria, St Peters, Cardigan and Montague (pictured below).

Thankfully, we had perfect weather for our three days on the Island Walk. The temperature was ideal and the skies were blue. At one point, these amazingly beautiful clouds rolled in and threatened rain but the fine weather prevailed.

Travelling on foot provided plenty of opportunity to examine the local flora and consider the signs of the season including, you guessed it, more wild apples!

Autumn bloomers, like these purple and white asters, were also in beautiful abundance.

We spotted a few colored leaves such as these yellow fern fronds and red maple leaves.

On the final day, the mystery of why there were so many wild apples was finally solved. “At one time every farm had an orchard or at least a couple of trees of different varieties. By the mid-1800s, apples were a part of the rural culture. They were stored for the winter in cold rooms, or dried or preserved like valuables. They were not only good for you but were also tasty … Being home-grown, they were inexpensive and thus appeared daily in lunch bags taken to school and work. They were an obvious choice also for lunch baskets taken on the reliable but sometimes slow trips by train. Cores went out the window. It would seem that both rail workers and passengers are the most likely culprits responsible for the proliferation of apple” trees along the trail, reports a Confederation Trail interpretive panel near Cardigan.
Smells are known to have an exceptional ability to trigger memories. I wonder if in the future the smell of ripe apples will automatically bring to mind my experience on the Island Walk. I rather hope it does!

More Info

The Island Walk was not my first long distance walking experience. Regular readers may recall I had the opportunity to experience a Camino de Santiago pilgrimage/walk a few years ago. I started in Porto Portugal and walked solo on the Camino Portuguese Coastal Route for a 110+ km journey to Camposancos Spain. You can read about that amazing experience in my blog post Following the Yellow Arrows.
The Island Walk is located in Prince Edward Island, Canada. Check out The Island Walk website for more information. “Island Trails has developed a new 700km walking trail called the Island Walk which loops around the perimeter of Prince Edward Island. The Island Walk is modelled after the famous long-distance walking trail, the Camino de Santiago in Spain.” announced a July 2020 press release.
The Camino de Santiago, which dates back to the 9^th century, is a network of pilgrimages leading to the shrine of the apostle Saint James the Great in the cathedral of Santiago de Compostela in northwestern Spain. The Camino has developed an extensive support structure for its pilgrims over the years including walking routes, overnight accommodations, cafes, restaurants, water fountains and resting places. Nowadays, people walk the Camino de Santiago for a variety of reasons such as religious pilgrimage, spiritual retreat, physical fitness challenge or long-distance walking vacation.
Understandably, the Island Walk doesn’t yet have the extensive infrastructure nor the rich heritage of the Camino de Santiago, but it does have beautiful countryside, excellent trails and a determination to make it happen. Bryson Guptill, the driving force behind The Island Walk, puts it this way: “PEI has stunning ocean vistas and quiet country roads that have a beauty that’s comparable to anything we have seen in France, Spain and elsewhere. This new walking route will give Islanders and visitors the opportunity to experience our Island in a way that’s really up close and personal.” Many thanks and sincere wishes for ongoing success to Bryson Guptill and the other members of Island Trails!
As mentioned in this blog post, The Island Walk leverages sections of Prince Edward Island’s Confederation Trail. “The Confederation Trail runs tip-to-tip across Prince Edward Island and is best explored on foot or bicycle. Built on the decommissioned railway line, the main trail is 273 kilometres from west to east – Tignish to Elmira.” See the Confederation Trail section of the Prince Edward Island Tourism website for more information.

Today’s Takeaways

1. Consider taking an extended walk on the Island Walk or an outdoor trail near you.
2. Walking allows you to experience your surroundings up close and personal.
3. Long-distance walking may just be the ultimate experience-based, locally-sustainable, slow travel adventure.

Agritourism Canada Fiber Make Nova Scotia Travel

An Alpaca Photo Shoot

It’s not every day you come across a field of alpacas—especially with a camera in hand, a free hour and permission to take photos! Yet, that’s exactly what happened at Meadow Brook Stables in Alton, Nova Scotia where a small herd of alpaca were recently added to the farm.

“Alpacas are raised for their soft and luxurious fleece (fiber). Each shearing produces roughly five to ten pounds of fleece per animal, per year.” according to the Alpaca Owners Association. “Alpacas (vicugña pacos) are members of the Camelid Family. … Today there are five recognized camelids breeds: camels, llamas, guanacos, alpacas, and vicunas. They vary by size and purpose, some being used primarily as pack animals and others valued for their fiber. … Camels, llamas, and alpacas have been domesticated for thousands of years, whereas guanacos and vicunas continue to roam freely in herds. Many people are familiar with humped camels … Next in size is the llama (domesticated guanaco), followed by the alpaca (domesticated vicuna).”

In addition to being valued for their fleeces, alpacas are cherished for their personality. A scan of alpaca related websites reveals an array of adjectives for these animals: “endearing” says the Canadian Co-operative Wool Growers Limited; “very smart animals, gentle, and easy to handle … shy, but very curious, quiet, and intelligent” says Alpaca Meadows; “alert, curious, calm and predictable” says Brigadoon Fiber Farm; “calm and aloof, highly intelligent and easy to train” says Threads of Peru.
There were four “crias”, baby alpacas, in this herd and they were indeed endearing!

Here is a cria “cushing” which means sitting down with all four legs tucked under its body and its head erect.

“Calm and aloof” also seemed to be an apt description. Check out these regal poses!

Female alpacas, I’ve learned, are usually first bred at 18-24 months of age. The gestation (pregnancy) period is around 11.5 months. They usually have only one cria which is normally delivered, without intervention, from a standing position during daylight hours. A cria normally weighs between 15 and 19 lbs. It typically starts nursing within 90 minutes of birth and continues nursing until it is weaned after six months.

Interestingly, alpacas have strong social instincts and need the companionship of a herd to thrive.

“Alpacas mainly eat grass or hay. They consume approximately … 1.5% of the animal’s body weight daily in hay or fresh pasture. … Alpacas have two sets of teeth for processing food. They have molars in the back of the jaw for chewing cud. In the front, alpacas have teeth on the bottom only and a hard gum … on the top for crushing grain, grass, or hay. Unlike goats and sheep that have long tongues which can rip plants out of the ground, alpacas have short tongues and nibble only the tops of grasses and other plants. This results in less disturbance of the vegetation.” reports the Alpaca Owners Association.

On the farm, meals are served in a variety of ways—food dish, hay bag and hay ball feeder—and obviously enjoyed.

Yet, the grass is always greener on the other side of the fence!

Photographing alpacas is very rewarding. Their “teddy bear” looks, …

… nimble moves, …

… pompadour hairstyles, …

…and amusing expressions make for great photos.

Returning to the subject of the alpaca fleece, the Alpaca Owners Association explains, it is “often compared to cashmere [and] can be turned into a wide array of products from yarn and apparel to tapestries and blankets. The fleece itself is recognized globally for its fineness, softness, light weight, durability, excellent thermal qualities, and luster”.
Naturally, this piqued my interest—I wanted to see and feel alpaca yarn! The folks at Wool ‘n Tart, a lovely yarn shop in Wolfville, Nova Scotia, were most helpful (Thank you!). They showed me yarns with alpaca content like these from Legacy Lane.

They also had natural-colored yarns containing alpaca fibers. “Alpaca fleece has a variety of natural colors, making it very desirable. Sixteen colors are officially recognized (white; beige; and shades of fawn, brown, black, and grey) with many additional subtle shades and hues.” This yarn showcases some of the rich white, cream and brown colors.

Then came the pièce de resistance—a jaunty alpaca fiber pom-pom atop a hand-knit wool toque!

More Info

This alpaca photo shoot took place at Meadow Brook Stables, located in Alton, Nova Scotia, Canada. The Stables focus on breeding American Paint Horse Association (APHA) horses and also offer riding lessons and horse training. In addition to some of the best bred APHA horses in Canada, they care for a variety of livestock on their farm including the alpacas featured in this blog post. See the Meadow Brook Stables website for more information. Thank you Anna!
Wool ‘n Tart is located in Wolfville, Nova Scotia, Canada. As stated on the Wool ‘n Tart website, “Our cozy little shop has been open since 2012, and for the past ten years, we have been Wolfville’s foremost stop for all of your knitting and fibre needs – including a beautiful selection of natural fibres and locally sourced yarn, including our own yarn, produced from our Cotswold sheep in the Gaspereau Valley! We also offer plenty of finished objects, such as locally produced woven scarves, blankets, and hooked rugs.”
You may also be interested in the previous blog post, From Sheep to Shawl, in which I share my experience attending a week-long class at the John C Campbell Folk School covering the farm-to-fashion journey of sheep’s wool.
The Alpaca Owners Association serves to facilitate the success of its members within the alpaca industry. You can learn more about this organization on the Alpaca Owners Association website.

Today’s Takeaways

1. Alpacas are raised for their soft and luxurious fleece.
2. Alpacas are great photography subjects.
3. Consider visiting a local farm to learn more about the farm-to-fashion journey.

Artists Canada Make Nova Scotia Other Media Travel

Printer’s Devil for a Day

They say you can never go back. But at Sherbrooke Village you can go back—all the way back to 1867. That’s the year depicted by this living museum on the Eastern Shore of Nova Scotia. Set in a beautiful country setting, the village has 25 heritage buildings surrounding a village green.

This is the Sherbrooke Drug Store viewed across the village green.

A wagonload of small logs sits ready.

The Jordan Barn houses horses and other farm animals.

Clotheslines are the norm.

It’s fun to stroll down the street with heritage interpreters in period dress.

To truly experience life in 1867, I highly recommend taking part in a Sherbrooke Village premier experience. It’s possible to dress in period attire and become a part of the village story—as these ladies did, …

…or spend a day in the Woodworking Shop to learn about traditional woodcarving and wood turning, …

…or spend a day as a Printer’s Devil in St. Mary’s Printery—as my sister Marian and I did. The authentic Print Shop is managed by Master Printer Patty Lou. Here they are setting type.
In the Victorian era, apprentices to the Master Printer were often called “Printer’s Devils”. They were responsible for a number of low-level tasks, such as mixing tubs of ink, removing paper from the press, fetching type, and sorting the contents of the “hellbox“. The hellbox contained used, worn, or broken metal type which they either cleaned and put back in the job case, or melted and recast. These tasks resulted in the young apprentices’ hands and skin being stained black with ink, thus, the title “printer’s devil”. Luckily, we didn’t have to deal with hellboxes or ink-stained hands! Instead, Patty Lou walked us through the various processes involved in a print job while we designed and printed our own projects.
We started by learning about the cast metal type. Type is stored in cabinets with large, shallow drawers.

Every font and size is stored in a separate drawer. The drawers are removed from the cabinet for use. Every drawer is partitioned into multiple, small compartments or “boxes”. Every letter, number, symbol or space is a separate piece of type which is sorted into its own box. The individual pieces of type are called “sorts“. If there weren’t enough sorts or they were stored in the wrong boxes, the printer was said to be “out of sorts”. Nowadays, when someone is out of sorts, they’re more likely to be feeling irritable, upset or unwell.

The partitioned drawers are called “type cases”. Every case is carefully organized for efficient retrieval. The below graphic shows how a pair of cases is used to hold the capital letters (ie upper case) and the small letters (ie lower case). Interestingly, the upper case letters are in alphabetical order but the lower case letters are arranged according to usage—most frequently used letters are in the center. So, the mystery of where the term “upper and lower case” comes from is now solved!

This sorting system was eventually replaced with the California job case system which includes both upper and lower case. The type case I used at the Print Shop was set up in this manner.

After deciding on the wording and style for our printing projects, we pulled out the appropriate type case and started setting the type. The type pieces were assembled into words and lines on a small tray-like tool called a “composing stick”. I used the composing stick pictured below to assemble the sorts for my project. Selecting the correct metal type pieces for a print job is tricky because the letters are backwards. An experienced printer selects type from the cases based on the type’s location—sort of like touch typing on a keyboard.
In his book The Practice of Printing, which was considered to be the authoritative textbook for young printers in 1952, author Ralph W. Polk states “It is impossible for the beginner to acquire either speed or accuracy in composition until he is able to read type. Type is read from left to right as are the lines on a printed page, but the characters are upside down. With a little practice, the reading of type will become comparatively easy.”

Polk goes on to describe what he calls “the ‘four demons’. Four letters which prove somewhat confusing to a beginner, and which may cause him some difficulty unless he gives special attention to their forms are the letters b, d, p, and q. … If one will keep in mind that the nick of the type is at the foot of the letter, and that, when held upside down, the letter reads from left to right, there will be little difficulty in recognizing any of them.”
The old timey warning to “Mind your p’s and q’s” originates from this very situation. It’s meaning has, however, evolved into a reminder to be polite and well behaved and to mind one’s manners. I chose this saying for my printing project.

But there were a few more steps to finish typesetting before the printing could begin. The selected type was assembled inside a metal frame called a “chase” and filled in with wooden filler blocks called “furniture”. Then the form was locked in place with “quoins”, a wedge-shaped device tightened with a key.

The final typesetting step was to level the pieces with a form-planer and mallet.

My locked form was ready for the printing press at this point. St Mary’s Printery has an 1880 Chandler & Price Platen Printing Press manufactured in Cleveland, Ohio. The press is an example of the basic letterpress technology that was used for the first 500 years of printing (ca. 1450–1950). This is Apprentice Fred working the press.

As explained in the 1917 textbook, Printing for School and Shop, by Frank S Henry, “A platen printing-press is one in which the form is locked up against a bed and the impression is delivered against a flat, smooth, level plate called a platen.” The Practice of Printing textbook goes on to explain “Upon the platen is clamped a packing of paper… known as the tympan, and the top sheet is called the tympan sheet or drawsheet. The paper to be printed is laid on this drawsheet, into which gauge pins have been inserted to hold it in proper position.” Here are the gauge pins I inserted on the tympan for my printing.

The below labeled diagram from The Practice of Printing helps explain the workings of a platen printing press.

Ink is placed on the round ink disc. The sheets of paper to be printed are piled on the feed board on the right side of the press. Once everything is set up correctly, the operator starts the fly-wheel to put the press in motion and works the foot treadle to keep it moving. This sounds much easier than it is—achieving the right speed in a smooth, steady movement takes practice!
But it gets even more challenging! The operator uses the throw-off lever, situated on the left side of the press beside the fly-wheel, to control when an imprint is made. In its normal position, the throw-off lever is placed forward causing the platen to strike the form at every revolution of the press. In other words, the paper is pressed against the inked type resulting in a printed sheet every time the wheel goes round. The operator has to quickly remove the printed sheet and replace it with a fresh sheet—while keeping the press rolling in a steady rhythm with the foot treadle. Beginners, like me, frequently use the throw-off lever to skip printing a sheet. Here I am trying to get the hang of feeding the press.

As noted above, I chose to typeset and print the saying “Mind your p’s and q’s”. I’m quite pleased with the results—it’s the perfect reminder of my day as a Printer’s Devil.

Being a Printer’s Devil at the St Mary’s Printery in Sherbrooke Village was a great experience. Honestly, it makes me grateful for today’s printing technologies. Instead of pulling out a case of type, I can simply select my font from a dropdown list. Instead of picking out and positioning every character correctly, I can press keys on a keyboard (backspacing to correct on the fly). Instead of composing in a metal frame with blocks of wood to lock everything in place, I can compose on an electronic screen with a few keystrokes. Instead of reworking my locked form when I find an incorrect letter, I can let the software correct my spelling and grammar. Instead of meticulously readying my form for the press, I can simply load sheets of paper into my printer’s paper tray. Instead of manually working a fly-wheel and foot treadle while simultaneously feeding sheets of paper onto the platen, I can click on a PRINT button.
It is all much faster and easier and ideal for everyday printing… and, yet, it lacks something! To print something special—a one-of-a-kind creation that’s uniquely yours—the charm and beauty of hand-printing can’t be beat!

More Info

Sherbrooke Village is located on the Eastern Shore of Nova Scotia. Check out the Sherbrooke Village website to learn more about this living museum and their premier experiences. We loved the Print & Press One Day Experience. Special thanks to Master Printer Patty Lou and Apprentice Fred—you made our day!
Two vintage textbooks were consulted for this blog post—both are available on www.Archive.org:
. Printing for School and Shop by Frank S Henry (published 1917)
. The Practice of Printing by Ralph W. Polk (published 1952).

Today’s Takeaways

1. Consider visiting a living museum for a deeper appreciation of life in the past.
2. A hands-on experience provides a deeper appreciation than reading about a subject or seeing someone else do it.
3. There is beauty and charm in the art of hand-printing.

Fiber Make Repurpose Tutorials

Traveler’s Infinity Scarf with Secret Zipped Pocket – DIY Tutorial

While prepping for an upcoming plane trip, I discovered an ingenious, new travel accessory. It’s an infinity scarf with a secret zipped pocket—perfect for keeping travel documents close at hand while hiding them out of sight. But these nifty scarves aren’t limited to a passport and vaccination card, they can also stash a smart phone, lipstick, car key or cash! In addition to hiding valuables, these scarves function like regular scarves—they add a pretty pop to an outfit while also fighting off the chill of air conditioning or cold weather.
But, wait, it gets even better! You can easily add a secret zipped pocket to your favorite rectangular scarf and convert it into an infinity scarf for your next travel adventure! Read on for detailed step-by-step instructions.

Start by selecting a rectangular scarf that’s at least 65” long and 18” wide. I admit I have quite a stash of scarves and many of them were just the right shape and size for this project! I decided to convert three scarves—one in light cotton for the summer, one as a gift and one in a heavier rayon fabric for the winter.

It’s worth taking a few moments to consider the scarf’s fabric. Scarves made of lightweight, close-weave cotton are ideal for this project because they are easy to sew and will effectively hide the zipped pocket. On the other hand, scarves made of thin, transparent silk, gauzy, open-weave cotton or thin, stretchy knit are less than ideal for this project. Alternatively, you could purchase suitable fabric off the yard for this project.
This project involves basic hand and machine sewing. If you’re new to sewing or your skills are a little rusty, you may find inserting the zipper a little challenging. You may, therefore, want to start by practicing with a few zippers and some scrap fabric before attempting it on your scarf. See More Info section below for a recommended resource.
Supplies Needed
. Scarf: Choose a long, narrow, flat scarf at least 65” long and 18” wide in a woven fabric with some body. Avoid whisper-thin silks and gauzy cottons because they won’t hide the secret zipped pocket and they’re difficult to sew. Alternatively, you could purchase suitable fabric off the yard for this project.
. Pocket Fabric: Select cotton fabric in a matching color for the zipped pocket. I chose to buy a fat quarter which is a quarter yard of fabric pre-cut into an 18” x 21” rectangle. The specific amount of fabric needed for the pocket will depend on the width of your scarf. See Step 2 (below) for the calculations.
. Zipper: 7” all-purpose zipper suitable for centered application. Alternatively, a longer zipper can be shortened to 7”.
. Sewing Thread: In a color which blends with the scarf.

Equipment and Tools Needed
. Iron
. Sewing Machine with Standard Presser Foot and Zipper Foot
. Sewing Scissors
. Tape Measure
. Ruler
. White Chalk Pencil and/or Dark Fabric Marker I love the Pilot FriXion marker.
. Square or Rectangle Ruler   These rulers, typically used for quilting, are ideal for ensuring markings are square.
. Straight Pins
. Seam Ripper
. Hand-Sewing Needle
Step 1 Prepare Scarf Determine the fabric content of the scarf. Press on appropriate setting. Select a marker, pen or chalk which is suitable for the type of fabric and can be removed easily. Alternatively if the scarf fabric is too delicate for a marker, you can use thread tacks in a contrasting color.
Overcast the fringe ends of the scarf by sewing a row of zigzag stitches along the raw edge keeping clear of the fringe. Then cut off the fringe close to the stitching. There’s no need to worry about perfecting these edges because they will be hidden inside the finished scarf.

Step 2 – Prepare Pocket and Zipper Measure the scarf and calculate the size of the pocket. The width of the pocket will be equal to half the width of the scarf (Scarf Width / 2). I made my pocket 9″ in length because that is half the length of a fat quarter of fabric. Alternatively, you could make the pocket a different length by adjusting the other measurements in this tutorial accordingly. For instance, a longer pocket length would require a longer zipper.
Cut TWO rectangles of fabric for the pocket. For clarity, mark L (length) and W (width) along the edges of the pocket sections. If it’s not obvious, mark the right side (vs wrong side) of the fabric. Overcast all edges on both pocket sections.
Test the zipper to ensure it opens and closes smoothly. If the zipper was folded in the package, press it flat with an iron taking care to not melt the zipper teeth. If the zipper needs to be shortened, close the zipper and hand-sew across the zipper teeth at the desired length. Ensure the stitches are sturdy enough to serve as the new zipper stop. Cut the zipper about ½” below the newly stitched zipper stop.

Step 3 – Attach Pocket Sections to Scarf   Lay scarf on work surface with right side facing up. Choose one short end of scarf as the “reference edge”. Measure 6” from the reference edge along the outside edge of one of the scarf’s long edges. Mark. Repeat on the opposite long edge. Mark. Fold scarf in half lengthwise. Measure 6” from the reference edge along the fold and mark a 9-inch line along the fold.

With the right side still facing up, lay the scarf on the work surface. Pick up a pocket section with the wrong side of the fabric facing up. Lay the lengthwise edge of the pocket section along the lengthwise edge of the scarf aligning horizontally with the 6” mark.   Pin in place. Repeat with the other pocket section on the opposite side of the scarf.

Prepare to sew the pocket section to the scarf. Use a ¼” seam allowance and begin sewing at the 6” mark. Repeat with the other pocket section.
Pull pocket sections away from the scarf. Press seams toward pocket sections.
Step 4 – Sew Scarf into Partial Tube Lay scarf on work surface with right side facing up. Fold scarf in half lengthwise. Pull pocket sections up and away from scarf. Align two long edges of scarf from the reference edge to the pocket sections, along the pocket sections and for another 7”. Pin in place. Measure and mark 7” from the reference edge, 14” from the reference edge, and 21” from the reference edge.

Prepare to sew the long edges of the scarf together. Use a ½” seam allowance and sew from the reference edge to the 7” mark. Move to the 14” mark and sew to the 21” mark. Change to a basting stitch and sew from the 7” mark to the 14” mark. Open the seam, pull pockets away from the scarf, and press the seam.
Step 5 – Sew In Zipper As noted above, if you’re new to sewing or your skills are a little rusty, you may want to start by practicing with a few zippers and scrap fabric before attempting to sew a zipper into your scarf. See More Info section below for a recommended resource on How to Install a Conventional Zipper.
Lay scarf on work surface with seam facing up. Pull pocket sections away from the seam smoothing them flat as shown below.

Position the closed zipper, facing down, along the seam with the top of the zipper toward the reference edge. Ensure zipper teeth are centered over the seam stitching. Position the zipper tab up away from the teeth. Use pins to mark the zipper stops at the top and bottom of the zipper; they should align with the start and end of the basting stitches at the 7” and 14” marks. Secure zipper in place with a few pins.

Prepare to hand-sew the zipper in place temporarily with a basting stitch. Reach inside the scarf tube to keep the opposite side of the scarf and the pocket sections clear of the basting. Baste close to the outside edge of the zipper tape. Remove all pins.

Turn scarf right side out. Use marker/chalk to draw sewing guide lines ¼” to the right and to the left of the existing seam. Draw perpendicular lines, just below the zipper stop and just above the zipper tab, to connect the sewing guidelines creating a long, thin rectangle.
Install the zipper foot on your sewing machine. Prepare to start sewing the zipper across the bottom. Reach inside the scarf tube to pull the opposite side of the scarf and the pocket sections clear of the sewing needle. Following the markings, stitch across the bottom of the zipper, then turn and stitch up along one side. As you near the top of the zipper, prepare to move the zipper tab out of the way. Leave the needle in the fabric, lift the zipper foot, and slide the zipper tab down the zipper past the needle. Drop the zipper foot and finish sewing the seam. Slide the zipper tab up again. Adjust the zipper foot to sew in the opposite direction. Following the markings, stitch across the bottom of the zipper, then turn and stitch up along the remaining side. Stop to adjust the zipper tab as before. Finish sewing the seam and then sew across the top.
Remove the basting stitches from the seam in the scarf. Test zipper to ensure it slides freely. Adjust, if necessary.   Remove the basting stitches from along the sides of the zipper.
Pat yourself on the back—the most difficult step is done!

Step 6 – Sew Pocket   Close zipper. Turn scarf inside out. Position pocket sections, one on top of the other, aligning all edges with the right sides together. Pin in place.

Sew with ½” seam allowance. Press seam.
Prepare to attach the pocket to the inside edge of the scarf. Turn the scarf right side out. Lay scarf flat on the work surface folded on the centerline. Smooth out bottom layer of scarf, pocket and top layer of scarf. Align the inside edge of the pocket (opposite the zipper side) with the folded edge of the scarf—it should align with the 9-inch line marked in Step 3. Pin in place.

Sew through all layers close to the fold.
Step 7 – Finish Sewing Scarf into Tube   Turn scarf inside out with right sides together. Fold in half lengthwise. Align pocket sections. Align the unsewn sections of the long edges of the scarf. Pin in place.

Stitch the long edges of the scarf with a ½” seam allowance. Press seam.
Step 8 – Sew Scarf Ends to Make Loop   Turn scarf right side out. Working on the short ends of the scarf, bring the right sides of the two ends together. Align the seam lines. Pin in place. Sew all around the short end of the scarf with a ½” seam allowance stopping about 3-4” from the start. Hand-sew the opening closed.
Voilá! Your new secret pocket travel scarf is ready for action! Simply wrap it around your neck in a loop or two, adjust to position the secret zipped pocket, and tuck away your valuables!

More Info

Please pin this image to share or save for future reference.

See the Sew4Home blog for a detailed tutorial on How to Install a Conventional Zipper.

Today’s Takeaways

1. An infinity scarf with a secret zipped pocket can keep travel documents close at hand while hiding them out of sight.
2. A rectangular scarf can easily be converted into an infinity scarf with a secret zipped pocket.
3. Consider repurposing a rectangular scarf as a traveler’s infinity scarf.

Clay How Tos Make

Clay Play Days

Thursday is my favorite day of the week. It’s clay play day—the day I go to the clay studio and get to play with clay for several hours! Clay play day involves a lot of experimentation and a fair bit of persistence. I’m still a beginner so every project teaches me something new.
For instance, I wondered if rolled roses could be made from clay in the same way they are made from felt. The felt technique was covered in a previous FanningSparks’ blog post, Teacup Pincushion – DIY Tutorial. The flower in question, the pink felt rose, is visible on the teacup pincushion below.

That blog post included a template (see Felt Flowers for Teacup Pincushion – Complimentary Download) and these illustrated instructions.

I’ve learned the same template and technique can be used with clay. Obviously, there’s no need to sew with a needle and thread—instead the rolled clay is attached by scoring and slipping. Here’s how my first ceramic rose turned out.

Eventually the idea to make a small wreath with rolled roses came to me. This is the final result—I love it!
The interwoven leaf form was inspired by a circular brooch I found at a local thrift store. The brooch is less than 2 inches in diameter but it scaled up beautifully to a 10-inch wreath. Paper templates were used to cut each piece separately.

The idea for this project translated into a design quite easily. What was not so easy, was the functional execution! My first, failed, attempt is shown below. It looked great when I put all the leaves and roses together. But then the leaves broke and the whole thing fell apart. The issue was twofold 1) the roses were too heavy and 2) the interwoven leaf structure wasn’t strong enough to support all the pieces.

In my second attempt, I made the clay slab thinner so the roses would be lighter. Then I added a narrow, circular ring of clay underneath the leaves to reinforce the fragile leaf connections and support the assembled structure. The final version held together nicely.

This piece is finished in the same AMACO Celadon glazes, in Marigold and Wasabi, as my collection of handmade ceramic tiles (see Still Talking About Tiles!) and looks lovely hung nearby.
Another recent clay project was inspired by an intriguing flying insect—the dragonfly.

Dragonflies are rather fascinating. Did you know, for instance, that “dragonflies are masters of flight. Dragonflies are able to move each of their four wings independently. They can flap each wing up and down, and rotate their wings forward and back on an axis. Dragonflies can move straight up or down, fly backward, stop and hover, and make hairpin turns—at full speed or in slow motion. A dragonfly can fly forward at a speed of 100 body lengths per second (up to 30 miles per hour).” as reported in a ThoughtCo article (see More Info below).

Since dragonflies are usually found near water, I decided to make a waterlily to complement the dragonfly. The two pieces were made separately.

The dragonfly hovers over the flower petals on a small, wooden stick.

A cute, petaled candleholder inspired the ceramic waterlily (shown below on the right). A simple plastic food container lid provided the perfect form for the waterlily base. I found cornstarch worked well to keep the clay from sticking to the plastic. Once the rounded base was formed, I applied the individual petals by scoring and slipping each one in place. The trick, I learned, was to keep the clay at the right moisture level—wet enough to form by hand but dry enough to retain its shape.
Unfortunately, I left the plastic lid inside the clay while it dried causing a few cracks along the bottom edge (shown in the inset photo below). This type of mold, where the clay is draped over the mold forming a convex shape, is called a hump mold. Alternatively, a slump mold forms a concave shape when the clay is placed inside it. This project drove home the fact that clay shrinks as it dries and hump molds should be removed before drying. Luckily, the resulting cracks are small and more or less hidden by the bottom row of petals.

The dragonfly was a bigger challenge—I had to make it twice. I used a paper template to cut the dragonfly body and wings from a clay slab. Then carefully cut and removed sections of clay to form the veins in the wings. Yes, it was a slow and tedious process!

When I made the first dragonfly, I made the body and wings separately and attached the wings to the body in the final step. As it turns out, this was not ideal—the connection points weren’t strong enough and one of the wings snapped off after drying. In my second attempt, I cut the body and wings as one piece and built up the body with additional clay to form the head, eyes and abdomen. This gave the piece the needed stability and strength.

Here’s a closer look at my lovely ceramic dragonfly and waterlily.

The final clay project I’d like to share in this blog post is a set of three collared vases. My goal was to create a vase that would be attractive and interesting with or without flowers or greenery.

I made the first vase with an exaggerated shirt collar and a simple row of buttons down the front.

The second vase has an elaborate ruffle collar. This one was a little tricker to make. I started by researching how ruffle collars, or Elizabethan ruffs, are sewn from fabric. Then used a similar technique with clay.

Setting the vase upside down to let the clay dry worked well. The finished vase looks a little unwieldly but is surprisingly stable.

The third vase, featuring a cheongsam collar, is my favorite. It is the most detailed—each small frog fastener is shaped from coils of clay.

The secret to making these vases is the underlying form. To my eye, it gives the illusion of an upper torso. The surprising source? A bottle of foaming soap. I’m starting to see ceramic projects everywhere I look!

Here’s a final look at my trio of ceramic collared vases. Tres chic!

One of the things I love about working with clay is the versatility of the medium. There is an endless variety of techniques to try and there’s always something new to learn. And best of all, you can make almost anything!

More Info

My clay play days take place at the Oconee Cultural Arts Foundation (OCAF) School Street Pottery Studio. The studio is located in Watkinsville, Georgia, USA. You can learn more on the OCAF website.
I’ve mentioned the studio in a few previous blog posts about ceramic projects:
. Still Talking About Tiles!
. I Spy Something White
. Pinch Pot Bunny
If you’re in the US Southeast and interested in beautiful pottery you may want to take in OCAF’s upcoming Perspectives show. “Fifty of the top potters from across Georgia will display their work during Pottery Perspectives 2022, a huge exhibition and sale on view in the Oconee Cultural Arts Foundation’s (OCAF) 1902 building from August 27 through September 11, 2022. … Upwards of 4,000 pieces of pottery created by some of the most gifted ceramic artists in Georgia will be for sale.” Get the details on the OCAF Perspectives website page. You may also want to check out these blog posts about previous Perspectives shows:
. Admiring Evidence of Process
. Event Expands Pottery Proficiency
To learn about the surprising qualities of dragonflies, see the ThoughtCo article 10 Fascinating Facts About Dragonflies.

Today’s Takeaways

1. Clay is a surprisingly versatile medium.
2. Creative inspiration can spring from unexpected sources.
3. Experimentation, and a willingness to try again, are necessary to learn new skills.

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Traveler’s Infinity Scarf with Secret Zipped Pocket – DIY Tutorial

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Clay Play Days

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