Charles Dickens – English Carriages and their Changes – Page 5
Dog Cart Carriage Illustration
from Modern Carriages by Sir Walter Gilbey, 1905
The frame is then covered with thin panels of mahogany, blocked, canvased, and the whole rounded off. After a few coats of priming, the upper part is covered with the skin of an ox, pulled over wet. This tightens itself in drying, and makes the whole construction as taut as a drum-head, the joints impervious to rain, and unaffected by the extremes of heat or cold. Meanwhile the “carriage-maker,” the technical name of the artisan who makes the underworks, arranges the parts to which the springs and axles are bolted, so that the body may hang square and turn evenly with the horses, on the fore-carriage. The coach-smith and spring-maker have also been at work arranging the springs, the length and strength of which must be nicely calculated to the weight estimated to be carried. The ends of these springs are filled with india-rubber, to make the carriage run lightly and softly.
The best modern wheels are on the American plan of two segments, instead of several short curves. These, thanks to Mr. Bessemer, are bound with steel tyres, and when bushed and fitted with Collinge’s excellent wrought- iron axle-boxes, are ready to run a thousand miles. In the shafts of four-wheeled carriages the greatest modern improvement is the substitution of wrought-iron hollow tubes for wood. The iron shafts are much stronger, and cannot, under any circumstances, injure the horse by splintering. They can also, without loss of strength, be made to assume the most graceful curves.
The carriage — call it a Brougham — all the minor metalwork being fitted, is now ready to be turned over to the painters and trimmers.
The wood-work intended to be varnished is “primed,” then “filled up” with a coarse metallic substance, and then rubbed down with pumice-stone and water, to obtain the beautiful enameled surface which forms the foundation for the color and varnishes of the resplendent panels. On this foundation in a first-class Brougham, a builder who cares for his reputation will lay twenty -four coats of paint and varnish, and flat down each; therefore the operation cannot be hurried, and time is an element in producing a well-made, well-finished carriage, which no expense can supersede. Herald painter puts in the owner’s crest or monogram before the last coat of varnish is laid on.
Improvements in glass manufacture have made plate-glass carriage windows universal, and circular fronted Broughams possible: while lamps are much indebted to patent candle makers for their convenience and brilliancy. When finished, although the best workmanship and the best materials of every kind have been employed, and the greatest pains taken in every detail, unless the manufacturer have the gift of style and taste, the work may be a failure. A good carriage should combine the elements of strength, lightness, ease and gracefulness, harmonious forms and colors, and should roll smoothly and silently along. To be sure, taste is a matter of fashion. The gilt chariot of the City Sheriff was the height of fashion in the days of the great Lord Chesterfield. In the present day, “severe elegance” achieves the greatest success.
The carriage ready for traveling is incomplete without a horse or horses, harness, and a coachman; but these require and deserve another chapter.
[Reprinted from The New York coach-maker’s magazine v. 8 1866-67]