|
||||||
|
|
By David B. Williams on Monday, January 2, 2012
January 2nd, 2012 | Category: Stories in Stone Blog | Leave a comment
By David B. Williams on Wednesday, December 14, 2011
One hundred years ago, Roald Amundsen and four men didn’t reach the South Pole. They came close. The spot where they left a tent with notes to Robert Scott and a letter for King Haakon VII of Norway was less than two miles from the pole but it is not clear if they actually crossed that mythic spot of 90 degrees South. I am certainly no expert on this subject. My posting derives from an article written as part of the run up to the centenary of Amundsen and Scott’s great race: “The present location of the tent that Roald Amundsen left behind at the South Pole in December 1911,” by Olav Orheim. It was published in the Polar Record, Vol. 47, No. 242, 2011. On December 14, 1911, Amundsen wrote in his journal, “So, we arrived, and were able to raise our flag at the geographical South Pole…Naturally we are not exactly at the point called 90°, but after all our excellent observations and dead reckonings we must be very close.” For the next three days, Amundsen and his men took regular readings to determine their location. They also skied methodically around the spot to ensure that someone crossed the mythic point of 90 degrees south. Amundsen’s journal for December 18 reads, “It is very difficult to arrive at a definitive result. But we can say with certainty that we are south of 89°59’.” So where did they end up? Orheim refers to two previous calculations in his paper. Anton Alexander, an expert on maritime navigation for the Norwegian Hydrographic Service, published information in Amundsen’s account of his trek (1913). He wrote that on December 14, the five men were at 89°53’50’ S, 103°E, and on December 17, at the spot where they erected their tent, they had reached 89°58’30” S, 60° E. Maximum error was 3 kilometers. Orheim also referenced an article by Arthur R. Hinks in from The Geographical Journal, Vol. 103, No. 4, April 44, “The Observations of Amundsen and Scott and the South pole.” Hinks placed the tent slightly closer, at 89°58’45” S, 71°36’ E. Maximum error was .32 km. Orheim’s goal was not to determine where Amundsen had been but where his tent now was. He based his analysis on GPS data, which shows that the glacier located under the Amundsen-South Pole Station is moving at a rate of 9.98 meters per year along the 40°46’56” west longitudinal meridian. This places the tent about 170 meters closer to the pole at 89°58’51” S, 46°14’ E. He also looks at how snow has buried Amundsen’s tent. Based on two different averages, as well a compaction factor, he concludes that it now lies under 17 meters of accumulated snow and ice. He concludes that it will probably never be seen again. I am not trying to cast aspersions on Amundsen and his men and his dogs. What they did was incredible and they may in fact have crossed over the pole at some point during their three day of skiing and observing. Mostly I wanted to try and find a way to mention Orheim’s work, which I think is pretty darned nifty.
December 14th, 2011 | Category: Stories in Stone Blog | Leave a comment
By David B. Williams on Tuesday, December 13, 2011
Just came across a wonderful posting about building stone in Hamilton, Ontario, Canada. It is written by Gerard Middleton, a retired sedimentologist, who taught at McMaster University in Hamilton for 41 years. Since retiring he has devoted himself to the history of geology and in particular to knitting together the stories of stone in Hamilton. He got his start when approached by the people developing “Ruthven,” an old stone mansion on the banks of the Grand River, near Cayuga in southern Ontario. They wanted help identifying the source of the stone. This proved so interesting that he began to investigate all of the stone in buildings within a day’s drive from Hamilton. Since then Gerard has given talks about his work and started to publish his findings. This includes cowriting a guidebook, Niagara Rocks, Building Stone, History and Wine, and helping Nina Perksins Chapple on her A Heritage in Stone: Buildings of the Niagara Peninsula, Fergus and Elora, Guelph, Region of Waterloo, Cambridge, Paris, Ancaster-Dundas-Flamborough, Hamilton and St. Mary’s. In all of his work, he does a fine job of describing the history and geology, making each accessible to non-specialists. I look forward to more of Gerard’s splendid studies of building stone.
December 13th, 2011 | Category: Stories in Stone Blog | Leave a comment
By David B. Williams on Wednesday, December 7, 2011
Equipment in place, Michelangelo was ready to begin moving marble. It would almost kill him…twice. Here’s my follow up on Michelangelo’s epic attempt to quarry in Carrara. The men now tied the block to a hardwood sledge called a lizza and slid it down lizza paths, or lizzaturra. The ones I saw in Carrara, which haven’t been used in decades, reminded me of ski slopes that my braver friends descend. The lizza traveled on greased or soaped poles laid like railroad ties. To slow the descent, rope men wrapped ropes around posts embedded along the lizzaturra. As the block passed over a pair of poles , men picked up the poles and moved them around to the downslope side of the block. Rope men kept the rope taut around the posts until they ran out of rope and had to move their arm-thick-lines to the next post. “It has been a bigger job than I anticipated to sling it [a column] down,” Michelangelo wrote to a friend in August 1518. The column was the first to be quarried for San Lorenzo, and the first marble column quarried since Roman times. Michelangelo continued: “Some mistake was made in slinging it, and one man had his neck broken and died instantly, and it nearly cost me my life.” They had gotten the column to within 35 yards of the road. Seven months later Michelangelo tried to move another column. His workmen had lowered it only 100 feet when a custom-made, metal ring broke and the column shattered. “After it broke we saw the utter rascality of it…the iron in it was no thicker than the back of a knife,” he wrote in April 1519. Again, Michelangelo and his assistants almost died. Not deterred by his near death experiences, Michelangelo finally willed his columns off the mountains and to the road to the sea. “Conceive a channel of water running over a rocky bed, beset with great heaps of stone of all shapes and sizes, winding down the middle of this valley; and that being the road,” wrote Charles Dickens of an 1844 visit to Carrara. Nothing had changed in 500 years, he observed. The carts were clumsy, the mistreated oxen often died on the spot, as did their drivers, “crushed to death beneath the wheels.” Despite the death of untold oxen and drivers, well maybe Dickens exaggerated, marble reached the sea after a journey of five to eight miles. To get it on a boat, which Michelangelo had spent several months locating, required building a ramp, digging a trench to get the boat lower, and dragging the marble up the ramp. Workers loaded the block with a three-legged hoist and hoped nothing would break. Of course an iron ring did. No boat suffered and no one died but the breakage delayed the process by another week. After loading, the boat sailed thirty miles down the coast to Pisa. Using another hoist, the men unloaded the blocks into a storage yard, where they sat, waiting for winter, when the rains arrive to raise the Arno River. “I am dying of vexation through my inability to do what I want to do…the Arno is completely dried up…On this account I am more disgruntled than any man on earth,” wrote Michelangelo. Even Il Divino had to wait on the weather. Winter was also a fallow time for fields, which allowed Michelangelo to hire unneeded oxen. He needed them to pull barges loaded with stone 55 miles upriver to Signa, an impassable point on the Arno about 10 miles from Florence. Depending upon weather and the recalcitrance of oxen, the trip took from one to four weeks. At Signa, the men unloaded blocks onto oxen-drawn carts for the final one or two day trip into Florence. The first marble reached Signa in January 1519. By March, 16 shipments ferrying 49 blocks had arrived. The first of Michelangelo’s planned dozen columns made it to Florence two years later. No others arrived. Several broke or never left the quarry and six reached the coast, only to vanish to history. Despite his fame, Michelangelo’s disappearing columns did not lead to the famous phrase “He lost his marbles.” Or maybe it did; 13 months prior to the arrival of the lone column, Pope Leo X had cancelled the San Lorenzo project. Michelangelo didn’t go crazy but he did write that he had been “ruined over the said work of San Lorenzo” and suffered an “enormous insult.” Oddly, additional marble arrived throughout 1521. Michelangelo could use the stone somewhere. His labors are the labors of countless others who struggled to get stone out of the ground and transport it across land and water. Quarrying has been called the most conservative of all crafts because it changed little from its origins 4,000 plus years ago to the late 1800s, when machines took over from men. We rightly marvel at the great works of architecture from the pre-industrial world. We extol their design, their ingenuity in construction, and their durability. Perhaps we ought to marvel more that they even got any stone to the sites.
December 7th, 2011 | Tags: Carrara, marble, michelangelo | Category: Stories in Stone Blog | Leave a comment
By David B. Williams on Friday, December 2, 2011
A fascinating video of the movement of marble (a 12-minute-long YouTube video) in Carrara prompted this posting on the Herculean efforts that Michelangelo went through to move the same stone in the early 1600s. It is a slight adaptation from my book Stories in Stone. In December 1516, Michelangelo convinced Pope Leo X and Cardinal Giulio de’ Medici that they should let him design a new façade for the church of San Lorenzo in Florence. The façade would be, he wrote to the Cardinal’s treasurer and liaison, Domenico Buoninsegni, “both architecturally and sculpturally, the mirror of all Italy.” Michelangelo proposed a more audacious undertaking than anything he, or anyone since antiquity, had done. The last great, full marble building in Rome had been built in 203 C.E, and the entire façade of San Lorenzo would be marble, including a dozen, monolithic columns. Michelangelo’s initial task was to acquire the stone. He could have worked with a middle man, who would find, cut, and deliver marble, but Michelangelo didn’t trust the ones in Carrara and nearby Seravezza. They cheated him. They didn’t understand marble. They didn’t even know how to quarry marble, or so he wrote Buoninsegni. In order to ensure good rock during the years he worked on San Lorenzo, Michelangelo traveled to the quarries, or cave at Carrara and Seravezza 19 times and spent 18 months organizing and supervising an ever-changing group of helpers. At Seravezza, he also had to coordinate building and widening several miles of new road, part of which required men with picks to cut a route deep into the marble mountains. After finding the right stone, Michelangelo would have hired a crew of cavatori or quarrymen, and scarpellini, or stone carvers to cut blocks out of the mountain. First, they cut a narrow trench, then they pounded in either iron or wood wedges and forced the stone to split into a clean face. Marble did not leave the quarries as blocks; the notoriously penny-pinching Michelangelo wasn’t about to pay to transport any excess stone or for stone that might have hidden flaws. To aid the scarpellini in roughing out blocks, Michelangelo produced pages of drawings, often in multiple sets, detailing length, width, and breadth of the blocks. One book of his drawings shows 22 different shapes, many of which required several exact copies. The pages remind me of the shop tickets I saw at modern mills in Indiana and Minnesota. And then the fun began. Not only did Michelangelo have to figure out how to move his unwieldy blocks, by land, by sea, and by river, but he had to pay exorbitant fees. In ancient Greece, for example, transporting stone had cost ten times the cost of quarrying, and costs doubled for every 100 miles moved overland in Roman times. By Michelangelo’s day, fees had dropped, but still constituted a major cost of working in marble. In moving stone, Michelangelo, and for that matter all movers of masses, had a simple goal, resist the pull of gravity. Any time gravity led a block astray catastrophe struck. A block could slide too quickly down a slope and maim or kill. A heavily laden cart could sink into a road built across a swamp. A block could drop from a hoist and turn a boat into driftwood. To counter the adverse and untimely affects of gravity, Michelangelo relied on rope and men. Neither came easily. He wrote his brother that if the Carrarese “are not fools, they are knaves and rascals.” A crew walked off the job taking the 100 ducats he had paid them and the ropes, one of which weighed 566 pounds for a 422-foot length, could take days to arrive from Pisa, Florence, or Genoa. Michelangelo’s detailed records show that rope accounted for 18 percent of the total transportation costs. He also had to borrow pulleys, buy wood for sleds, and order custom-made turnbuckles and iron rings. With all of the equipment ready, the men could load the block… I will continue the story in my next posting.
December 2nd, 2011 | Tags: Carrara, marble, michelangelo | Category: Stories in Stone Blog | 2 comments
By David B. Williams on Thursday, November 24, 2011
Apparently Doug Schwartz is destroying the cliffs and shoreline on Staten Island. An article in today’s NYTimes describes how Schwartz has been stacking stones and making artwork out of objects he found on the beach. “We have concerns with the impact of his activities, and asked him to stop until we can properly assess them,” according to state official’s statement published in the paper. Schwartz has long been known for his artwork. The NYT has written about him before and a local video maker, Daniel Ross, produced a documentary about Schwartz in 2009. Like many stone stackers, Schwartz says he does it because it’s peaceful. “Stone is eternal,” he says. He has smashed a few fingers but otherwise remained unharmed by his interaction with stone. Most passersby get what he’s doing, though one co-worker thought it was a witches’ coven. He cleared up this misunderstanding. He has not been able to clear up the state officials’ concerns that Schwartz’ “movement of this material may be impacting the rate and location of erosion of the bluff (which has increased recently and required us to abandon one of the roads on the property).” Because of this, he has been told to stop his work on the beach. I am of two minds about this. Moving rocks on the beach does have an impact on the local ecology as many animals make use of the rocks for their homes. But there are generally lots of rocks on the beach thus he is not disturbing a rare habitat, unlike some stone stackers who build them in areas where stone is less common, such as in Acadia National Park, where cairn builders are degrading sensitive alpine habitat. I also find it a bit ironic that one park official who told him to stop rode up on a tractor, which certainly has an impact on the beach. Well, I wish everyone happy Thanksgiving.
By David B. Williams on Tuesday, November 8, 2011
An artistic follow up to my last posting on Stone versus Rock. In mid-September, I attended a wonderful workshop on stone. Stonefest is held each year near Seattle at the Marenakos Rock Center. (Not sure what it means that a Rock Center sponsors a Stonefest.) The four-day event brings together sculptors, stone carvers, masons, and stone enthusiasts for a fun gathering of pounding stone, good conversations, and usually building an amazing stone wall structure, under the guidance of master mason Patrick McAfee. One of the highlights for me was a session titled Weaving Words into Stone: The Art of Letter Carving with Karin Sprague. I met Karin several Stonefests ago when she organized the carving of a massive Scrabble set, which was dubbed Scrubble. This year Karin undertook a smaller focus, getting people to carve the word Stone on a variety of columns. I will let the designs speak for themselves.
By David B. Williams on Wednesday, November 2, 2011
Stone or Rock? Is there a difference? Working on my new book has forced me to consider this question and its implications. Throughout the book, I use the terms interchangeably, based mostly on how they sound or how frequently I used one or the other. When I did a bit of searching on the web, I found that some people thought that stone was more British; that rock could be hard and soft, whereas stone was always hard; that stones are smooth and rocks rough; and that stones are small and rocks are big. In his wonderful book, Stone by Stone, Robert Thorson writes “Rock is raw material in situ. Stone usually connotes either human handling or human use, although it can also be used to describe naturally produced fragments of rock larger than a cobble.” Seeking a more erudite source, I turned to one of my favorite books, the Oxford English Dictionary (OED), to get the fine opinion of its worthy editors. The first definition for rock is “A large rugged mass of hard mineral material or stone.” Its first use comes from Old English, dated at 950-1100. The OED defines stone as “A piece of rock or hard mineral substance of a small or moderate size,” first used in 825. Now, I see the difference! Curiously, the word stonerock, defined as “A pointed or projecting rock, a peak, a crag; a detached mass of rock, a boulder or large stone,” predates either of the singular words stone or rock. Stonerock, or stanrocces, as it was spelled, dates from the Early Old English, used from 600 to 950. I am not sure that this clarifies my quest but as is the norm for the OED, I got sucked into the many definitions and uses, which run to three pages for rock, including rock nosing, rockchuck, and rock-embosomed; and four and a half for stone, with such nifty combinations as stone harmonicon, stone-pock, and stone-toter. Perhaps I could find a bit of clarity from on high. In the King James Bible, stone and rock seemed interchangeable, such as in Genesis 31:46, where we read of Jacob telling his brethren to “Gather stones; and they took stones, and made an heap.” (Now why they didn’t just say cairn here is beyond me!) But there are two situations where stone and rock cannot be substituted for one another. The first is the surprisingly common pastime (at least a dozen times) where somebody must “stone them/him/her with stones.” You can “stone them with rocks” but no matter how tin your ear is you cannot “rock them with rocks,” which allows for the introduction of this silly phrase: you can, at least since the 1960s, “rock them with The Stones.” More common than death by stone is the affirmation of a Holy Being as the “rock of one’s salvation.” This sense highlights a central difference between the words. People often use rock to refer to something solid, large, grounded, substantial, something to base your faith upon, such as a mountain or palisade. No one would say the “stone of one’s salvation.” Stone, while connoting a hard mineral substance, favors smaller objects, such as something you can pick up in your hands, for example, the stones for the heap gathered by Jacob’s pals. Seeking out an even higher authority I turned to Shakespeare. He also incorporated stone and rock into his writings, more than 115 times and 50 times, respectively (which includes the plural forms.) One of his most famous uses comes from As You Like It, in the banished Duke’s ode to a new forested life “And this our life exempt from public haunt/Finds tongues in trees, books in the running brooks,/Sermons in stones and good in every thing.” Clearly the Bard chose stone for the alliteration and sound, as he did in Titus Andronicus, where the title character states “A stone is soft as wax,—tribunes more hard than stones; A stone is silent, and offendeth not.” (One of my favorite poets, Robinson Jeffers, refers to the “insolent quietness of stone.”) Shakespeare’s use of rock was often specific to the sea, as something to fear. “Rocks threaten us with wreck.” “And then there is the peril of waters, winds and rocks.” “Alas, the sea hath cast me on the rocks.” No one, especially one with Shakespeare’s gifts, would substitute stone in these situations. Again, his use of rock reflects the idea that rock refers to massive, immovable matter, though this idea does not limit rock to this definition.
Ultimately, I have concluded that there is some difference between the terms. I agree with Thorson that stone more often implies some sort of human use. Stone also does seem restricted to smaller material. But rock can also be used in these situations. In this sense all rocks are stones but not all stones are rocks. Clear as mud.
November 2nd, 2011 | Category: Stories in Stone Blog | 4 comments
By David B. Williams on Friday, October 28, 2011
I am not normally known as a style guru but today I want to impart what I hear is the latest in the world of kitchen design. Apparently, granite countertops are on their way out. Where did I pick up this shocking tidbit? None other than the ever up-to-date Home section of yesterday’s New York Times. According to Evan Nussbaum of Stone Source “people have become a little sick of the traditional speckled granite look.” I was shocked to read this. (Of course, we have kept our retro white Formica countertop, long suspecting that speckled was over rated.) You may wonder what are the new stones that are titillating those in the know. First is quartzite, a stone that “tends to give you the drama” of marble but without that pesky “acid sensitivity.” What else could you desire in a countertop? Now, whether these quartzite are true quartzites is hard to tell, as names in the building trade mostly reflect the whims of marketers and less the reality of geologists. Quartzite is a metamorphosed sandstone that can consist of as much as 99% quartz. It is usually extremely hard. One place where is what used as a building tone is in Sioux Falls, South Dakota. It has a lovely pink hue. Two additional contenders are basalt and schist, described as providing “a monolithic-gray, minimal-looking countertop.” Again, it is unclear what these stones are. Schist is another metamorphic rock, usually identified by the alignment of minerals such as mica. I came across one popular variety, Pietra Cardosa, listed as a schist, quartzite, slate, limestone, and granite, which actually makes it an ideal stone to use because you can call it what you what depending on what sort of fashion statement you want to make. I think it’s great that we are seeing these new rock types becoming trendy. Any time the language of geologists can enter the popular lexicon is good. Stay tuned for more style updates.
October 28th, 2011 | Category: Stories in Stone Blog | Leave a comment
By David B. Williams on Wednesday, October 19, 2011
Following up my last post, I wanted to turn to bird houses made of stone. These were designed by Italian designer Raffaello Galiotto in cooperation with Arredo di Pietra. I learned about them from a nifty site, Stone-Ideas.com. Galiotto and his design team also produced houses for other beasts, including dogs. The houses are made of travertine, one of the most commonly used building stones in the world. Because of the potential for diseases, each house has been treated with a protective coating. Known as the Redoxstone system, it is made of nano-particles of titanium dioxide or titanium (IV) oxide. According to the Stone-Ideas web site, ” This naturally occurring oxide of titanium can oxidize oxygen and organic materials directly giving it sterilizing, deodorizing and anti-fouling properties.” I imagine that this will make the birds happy. I do wonder how birds will take to these beautiful houses and whether the human owners would want birds dirtying these works of art. Please let me know if you order one and who visits it.
October 19th, 2011 | Category: Stories in Stone Blog | Leave a comment
|
Latest from David
What Are Cairns?At first glance these piles of stone may seem lacking in story but a deeper examination reveals a wealth of connections to geology, ecology, and human history. They are a way to connect to a landscape. They are means to communicate to others. For thousands of years, cairns have been an essential guide to travelers, explorers, and wanderers. They are the silent messengers of the trail. More... |
||||
|
Copyright © 2012 GeologyWriter.com |
||||||
