MODELLING PORTS AND INLAND WATERWAYS

A Guide for Railway Modellers

MODELLING PORTS AND INLAND WATERWAYS

A Guide for Railway Modellers

DAVID WRIGHT

THE CROWOOD PRESS

First published in 2016 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2016

© David Wright 2016

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 168 0

Disclaimer

The author and the publisher do not accept any responsibility in any manner whatsoever for any error or omission, or any loss, damage, injury, adverse outcome, or liability of any kind incurred as a result of the use of any of the information contained in this book, or reliance upon it.

Dedication and Acknowledgements

I would like to dedicate this, my fourth book, to my late father ‘Jim’. It was Dad who took me on many trips to the coast, which left many memories in the mind of a young boy. These happy memories have inspired much of this book.

Also I would like to pass on my special thanks to the following: Chris Peacock, Phil Waterfield, Alan Kirkman, Malcolm Wright, Mike Edge, Martin Nield, Dave Bailey (Skytrex 2013), Phil Morris (PLM Cast-A-Ways) and The Tramway Museum Society for their contributions towards this book.

INTRODUCTION

Following the production of my last book on modelling branch lines, it was suggested that another, similar work would be a good idea. This time, however, the subject would be modelling the railways serving the ports and inland waterway wharfs. As a young boy growing up in the 1960s I witnessed the end of steam on the railways and the decline of our major ports. Living in land-locked Derbyshire, my father would take me and my brothers to see the passenger liners and merchant ships docking at Liverpool and other major ports, and I still have fond memories of these trips, including the many dock railways in operation as well as the ships. These early recollections certainly inspired me to put this book together, and through the following chapters I have presented a comprehensive collection of reference material, and I hope have also given a good selection of layout ideas.

It was always my intention to present a mainly visual book for this subject, using both illustrations and photographs as a guide, so making the book a valuable addition to any keen modeller’s collection. I also sincerely hope that the contents of this unique publication will inspire you to build a model railway with connections to an inland or coastal port.

A BRIEF HISTORY

If we go back through history we will find that the earliest methods of transportation were by water. The sea and the rivers were the obvious choice, and our ancestors built primitive boats for moving both people and goods around. The rivers were made more navigable, and sheltered ports and harbours started to be built on the coast and along tidal river estuaries. However, the main choice of transportation inland to carry goods was the packhorse, and a number of drovers’ roads criss-crossed the country. Later, turnpike roads were built, with horses and carts carrying the bulk of the goods, and stagecoaches transporting passengers.

During the mid-eighteenth century there were further innovations to transportation in Britain. In this period the country experienced the beginnings of the Industrial Revolution, and with it the creation of the canal system. Moving goods on specially built waterways proved very successful, as boats had a much greater capacity to carry goods and could offer a safer passage for any delicate cargo such as pottery.

THE EARLY RAILWAYS

The first primitive tram roads started to appear at the same time, and our railways had their origins in these. Some early examples used slabs of stone with a groove cut into them, in which the wagon wheels would run. Most of these tramways would link quarries or mines to a transhipment point alongside a canal, while others connected with a coastal or river port. A good example of one of these was the Haytor Tramway, which transported quarried granite down from Dartmoor to the Stover Canal; the stone would be loaded on to boats to continue the journey by water. The canal had been cut to create a link with the River Teign estuary.

The Haytor Tramway was built to transport granite down from the quarries on Dartmoor to the Stover Canal. Barges would then take the cargo along the short length of canal to the Teign estuary and Teignmouth, where it was trans-shipped on to larger ships.

The Ticknall Tramway carried lime from the lime kilns near Ticknall to be trans-shipped on to narrowboats on the Ashby Canal. The picture shows the old tramway bridge at Ticknall being investigated by members of Burton Railway Society.

This was still a long time before the invention of the steam locomotive, with teams of horses providing the motive power to pull trains of loaded and unloaded wagons.

During the Industrial Revolution the innovative procedure of smelting iron meant that this material could be used to make rails; the rail sections could then be easily mounted on to a stone block sleeper. Thus the first proper railways were created, and it wasn’t long before these were used to transport materials. Experiments were being made to develop the steam locomotive, with Richard Trevithick leading the way, although horses were still used in those early days.

One of the stone block sleepers used on the tramway.

Nevertheless the iron horse soon started to replace its live counterpart. The steam locomotive was first introduced on the Stockton & Darlington Railway in the north-east of England, carrying coal from the mines around Darlington down to the port of Stockton-on-Tees. Stephenson’s famous ‘locomotion’ became the motive power on this first steam-hauled railway.

This painting by the author depicts coal being loaded by hand from railway wagons on to the narrowboats at Hartshay Wharf. The coal was extracted from the colliery nearby and shipped along the Cromford Canal by boat. Most of the coal was destined for the engine houses along the High Peak Railway.

Other minerals, mined and quarried, were transported by the tramways and railways from their source to be trans-shipped later on to boats. North Wales became Britain’s centre for slate production, with large quarries extracting this roofing material in vast amounts. All this was transported by rail down to the ports on the coast. Unlike the Stockton & Darlington where the gauge was wide, these railways were built to a narrow gauge.

The Ffestiniog Railway was one such narrowgauge railway constructed to transport massive loads of slate from the mountain quarries at Blaenau Ffestiniog down to waiting ships at Porthmadog. The narrow-gauge system was ideal for the mountainous terrain of North and Central Wales. Besides the Ffestiniog, many other railways were built to narrow gauge and are still running today, although nowadays the trains carry tourists rather than slate.

By the middle of the nineteenth century the railway system had spread to all parts of the country, the majority built to the standard gauge of 4ft 8½in. The exceptions to this were the narrow-gauge railways and the 7ft broad gauge favoured by Brunel for his Great Western Railway. The port of Bristol and others in the West Country had railways built to this larger gauge originally.

PORTS AND INLAND WATERWAYS

The ports grew rapidly during this period, with the country exporting British-made products all over the world, while at the same time raw materials and food produce were imported through our coastal ports. The railways became the major way of transporting all these goods, while inland they also played their part in linking up with the canal wharfs, where goods and produce were trans-shipped between the two forms of transport.

The extensive docks built at Gloucester; this view looks along the main dock with the massive warehouses in the background.

In this illustration I have purposely drawn the Bankers Quay side of the docks, to show the tracks of the LMS running along the quay and under the front of the warehouses. The GWR wharf area is seen across the dock, with the transit shed visible in the background. The illustration has been drawn from a photograph taken in 1937.

The boatbuilding and repair dock on the River Stour at Flatford. The river’s traffic would be mainly bricks, coal and corn carried by the local river barges known as ‘lighters’. The dock was the subject for one of the well known works by the famous landscape artist John Constable.

The larger ports developed their own internal railway systems, with tracks running right on to the quaysides. Some included specially constructed loading devices, such as the coal staiths where loaded wagons could be tipped, with the aid of a chute, directly into the holds of waiting collier ships. These were a common sight in the ports of the north-east of England such as South Shields. Another port specially built for the trans-shipment of coal from rail to be loaded on to ships was Goole in Yorkshire. This port was not situated on the coast, however, but was located inland on the River Ouse, which was navigable and linked directly to the Humber estuary. This inland port was built by the Lancashire and Yorkshire Railway Company. The railway introduced two specially designed coal tipplers in 1879, originally constructed from timber; they were replaced with steel structures.

Goole was also well known for its unique system of transporting coal from the Yorkshire coalfields along the Aire & Calder Navigation. This specially built, wide canal allowed trains of loaded rectangular tubs known as ‘Tom Puddings’ to be pulled by tug boats to Goole. Here the tubs were floated into a massive hoist where they were raised and tipped via a chute into the holds of the ships. One of these special structures still exists and has been listed. Other ports used cranes fitted with grab buckets, which were also used for loading coal.

I have included this painting I produced some years ago, as it depicts a typical canal loading wharf. The location is Horninglow Basin, on the Trent & Mersey Canal bordering Burton-upon-Trent. Note the Fellows, Morton & Clayton boats in the early livery: this carrier was common in this area, plying a trade between Nottingham and Birmingham. Also of interest is the warehouse on the far right: it is built over the canal so that the cargo can be lifted directly into the building from the inside, thus keeping the produce dry. This was the salt warehouse and belonged to the North Stafford Railway. The lettering on the side wall was still visible until its demise in the mid-1970s, when it was demolished for a road-widening scheme.

The warehouses at Horninglow have long since gone, but besides my painting, a super model of the wharf is included as part of the ‘Moving Beer’ display in The National Brewery Centre.

The small port of Charlestown, near to St Austell in Cornwall. The port was built to ship out china clay, although today it is used as a film set, and usually has a few preserved squarerigged ships gracing its quaysides.

Like Charlestown in Cornwall, Albert Dock in Liverpool now has a mooring for preserved maritime craft. Visiting ships can also be seen at the dock from time to time, making it well worth a visit.

Another major inland port was Salford serving Manchester, with the canal system first providing a transport system to bring in raw materials. However, the massive growth of the cotton trade meant that greater loads of raw materials needed to be moved, and this resulted in the building of the Manchester Ship Canal, whose deep-cut waterway allowed ocean-going ships to reach right into the heart of the city. A dock railway was also built to serve this new inland port, with massive warehouses and transhipment sheds.

Besides minerals, raw materials and manufactured goods, ports for the importing and exporting of food produce were built. The landing of fish required large ports to be built all round the shores of the British Isles, and fishing ports such as Fleetwood required extensive railway systems to move the fish quickly after it had been processed in order to keep its freshness. This also applied to moving the fish from the port to the market place. Special trains would be loaded at the quaysides with boxes of fresh fish packed with ice to help preserve it. Once the trains had been marshalled together, it was important that they reached their destinations quickly, so the fastest locomotives were employed.

PASSENGER TRANSPORT

Not all ports were built for handling just freight, of course: some concentrated on transporting passengers as well, and these ranged from large liner ports such as Southampton to the busy ferry terminals.

The trans-Atlantic liner services have now been superseded by the airlines, which give a faster if not quite so luxurious service. However, this special service has not died altogether, with the cruise ships retaining and giving a first-class service to the public. The liner ports were served with special train services linking the major towns and cities direct to the liner terminals. These trains were also luxuriously fitted out to the highest standards. One such train was ‘The Cunarder’, which provided the service from Waterloo to the Cunard liner terminal at Southampton, while the Great Western Railway provided ‘The Ocean Liner Service’ between Paddington and Plymouth. The trains were made up of Pullman coaches, or specially built ‘Ocean Liner’ coaching stock in the case of the latter.

We have many fishing ports around our coastline, one of the best known being Whitby on the east coast. However, the fishing industry nowadays is only a shadow of what it was.

The ferry ports also had their special services, known as the ‘boat trains’. The channel ports, and those linking the mainland and Ireland, also employed their own specially named trains, such as ‘The Golden Arrow’ and the ‘Irish Mail’. The rail connection at the ferry ports was always situated as close as possible to the ships. Some had stations built at the end of long piers, such as at Ryde and Lymington, both giving a connection to and from the Isle of Wight. Another good example of this arrangement was at New Holland on the banks of the River Humber; before the building of the Humber Bridge, a ferry was the only way of crossing the river to Hull. The station and ferry terminal were combined and built on the wooden pier stretching out into the river; I remember the station well, as it retained its pre-grouping identity right up until its demise in the 1980s. The nostalgic flavour extended to the ferries themselves, when paddle steamers were used to the end.

During the years of conflict special ports were constructed to handle the ever-increasing need to transport troops and equipment to the continent. During World War I the railways were responsible for the mass moving of troops who needed to cross the Channel to fight at the Front.

Bankers Quay showing the warehouses from a different angle. It illustrates how the fronts of the buildings are supported on pillars, with the serving railway running underneath the overhang.

This track plan drawing based on Bankers Quay has been included to illustrate the rail connection along the quayside. I hope it will be useful for those modellers attempting to use this prototype for a model. A) warehouses B) goods offices C) loading cranes.

THE MODERN PORTS

To conclude this introduction it is worth looking at the modern ports. Today most of our consumer goods are imported from the Far East, and just about all this traffic is now containerized, requiring massive ships, which make the journey to our shores stacked high with containers. Special container ports have been built so that these goods can be handled quickly, such as at Felixstowe and Tilbury, while a new port is being built at Seaforth on the Mersey. Railheads have been built into all these ports, and a good number of the containers are craned directly from the ship to the special wagons. The lengthy trains then take the containers to distribution warehouses located in the centre of the country.

We have seen the heyday of our ports and the railways serving them, and many have disappeared over the last five decades – although it is not all bad news. Today and in the future the new container ports and railways will continue to be a major industry, serving the ever-increasing demands of our modern lifestyle.

CHAPTER ONE

PROTOTYPES FOR INTERESTING MODEL PROJECTS

In this chapter I have looked at a few prototypes, and have purposely selected those that would make a good subject for a model railway or diorama. The selection will also give as much variation as possible, illustrating how railways served our ports and inland waterways. However, the prototypes are only used as a base for these models, allowing us to use our imagination and design skills to create a model to fit our requirements. It is a fact that most of us will not have a large room that can be devoted solely to a model railway layout, and we will always certainly have to make compromises to be able to fit a desirable layout into the space that we have available. This will apply to building a layout that connects with and serves a port or inland waterway wharf, especially if we choose the larger scales for our model.

For this reason it is always important that we carefully plan out the layout first, before building anything. Always consider the scale that you will use for your model, and make sure it will ‘fit’ the space available: it is an easy mistake for anyone to make, to have ideas for a model that are too grandiose for the space available, making it an impossible task when it comes to build it. This will only result in disappointment and possibly a complete loss of interest in the hobby.

This model is the work of Chris Peacock. Chris has based this delightful narrowgauge layout on Halton Quay on the banks of the River Tamar near to Calstock. CHRIS PEACOCK

THE LITTLE EATON GANGWAY

The first prototype is an example of one of our earliest railways. Built as a feeder to the canal by Benjamin Outram, the Little Eaton Gangway carried coal and pottery. The 4-mile (6.5km) tramway linked the coal mines around Kilburn and Denby, together with the Denby Potteries, to the trans-shipment point at Little Eaton in Derbyshire. The official name was the Derby Canal Railway, and the canal itself was also built under Outram’s direct supervision. Work started on the gangway in 1793, and was completed in 1795.

The re-creation of Humber Quay, modelled to perfection by Ian Everett. The line crossing the lock runs along the street as a tramway. The dock carried a wealth of traffic, and this scale four model depicts the scene in the 1950s, with the trains serving the quaysides having to negotiate very sharp curves. IAN EVERETT

I couldn’t leave out this photograph, showing the same view of the model. This time the house lights have been dimmed, and the model is lit to replicate an evening scene on the dock. IAN EVERETT

The track was originally laid with wooden sleepers, but these were replaced with heavy stone blocks. A train or ‘gang’ of around eight wagons was pulled by four horses walking in single file; they were harnessed together with a gang man leading the first horse. The wagons were fitted with a removable body, which could be lifted, complete with load, by hand cranes, and deposited into the waiting narrowboats. The method of lifting was by a chain sling, making it a primitive forerunner of the modern container system. A preserved example of a Little Eaton Gangway wagon can be found in the collection at the National Railway Museum in York. A good replica wagon has also been put on display in the Mathew Kirtley Museum, which forms part of the Midland Railway Centre.

Most of the line was single track, although the gangway had passing loops along its length. Stud points were used at the passing places and at the sidings in the trans-shipment areas. The route terminated at Smithy Houses and Denby Hall Colliery at the north end, with branches leading to Salterwood North Colliery, Henmoor Colliery and the Denby Pottery Works. The southern end formed a terminus with the Derby Canal at Little Eaton. The rails were made from L-shaped iron with a shallow curve to the top edge.

The gangway lost most of its trade when the Midland Railway opened its branch line to Ripley, and was finally closed in 1908. Most of the track bed has now completely gone, although there are a few traces left if you know where to look.

CREATING A MODEL

For those wishing to model the Little Eaton Gangway I would suggest constructing a diorama rather than a layout. The track would have to be scratch-built along with the wagons, and of course the gangway employed horses to pull the wagon trains. The alternative would be to use ‘modeller’s licence’ and model the wharf re-laid with standard- or narrowgauge track and point work. Locomotives could also be introduced, but I would advise looking at the small short-wheel-based classes. The small quarry ‘Hunslet’ would be ideal if you choose a narrow-gauge option, and the Johnson Midland ‘Burton Tank’ would perhaps suit the standard-gauge choice. There are kits available for these classes, although they tend to be for the 7mm market. EDM Models produce a few variants of the narrow-gauge Hunslet, and the ‘Burton Tank’ was produced by Eric Underhill.

Another alternative for a small, standard-gauge locomotive would be the Hudswell Clarke 0-4-0 ST from the Agenoria ‘0’ Models range. Agenoria also now produce a kit of an early cauldron wagon, which would suit this industrial wharf diorama perfectly.

A three-dimensional view of the curved holding sidings at the wharf, together with a track plan to show the transhipment part of the wharf with the Derby Canal. A) transhipment shed B) storage sheds and workshops C) the New Inn public house D) weighbridge E) loading cranes.

A full size replica of one of the wagons used on the Little Eaton Tramway. The wooden body of this wagon could be lifted complete with load from the wheels, making this an early example of the container transportation used today. The replica wagon forms part of the historical collection in the Mathew Kirtley Exhibition Hall at the Midland Railway Centre.

Another view of the same wagon; this is a very good replica, while the original still exists in the National Railway Museum at York.

In this close-up photograph I have concentrated on showing the type of iron rail used by Outram for the Little Eaton Tramway. The rails were originally laid on wooden block sleepers, but these were soon replaced by the ones made from stone.

THE LIVERPOOL OVERHEAD RAILWAY

For this prototype I have chosen an unusual railway built to give passengers direct access to the docks at Liverpool. By the late nineteenth century the larger ports around the country had grown to accommodate the requirement of trans-shipping all kinds of goods as well as passengers. Liverpool, due to its position, became England’s premier port, and by the 1880s the dock network was virtually complete. However, the congestion that resulted required the dock board to look at an alternative transport system to move passengers.

Two leading engineers, Sir Douglas Fox and James Henry Greathead, were commissioned to design a railway system, with work commencing in October 1889. It was decided that the motive power for this railway would be electric traction. Steam was considered too dangerous, owing to the many flammable cargoes: the locomotive sparks could easily ignite any goods that were in close proximity. Electric traction also had other favourable advantages such as speed, quiet running and cleanliness, besides being economic to run.

The Liverpool Overhead was the world’s first elevated electric railway. It was completed in 1893 and the line stretched right along the waterfront to serve all the major docks. Public services began and terminated at Alexandra Dock in the north, with intermediate stations serving Brocklebank, Canada, Sandon, Clarence, Princes, Pier Head, James Street, Custom House, Wapping, Brunswick and finally Toxteth.

The line was extended to tap the trade from the more residential areas, and a short extension was opened in 1894 to Seaforth on the northern end. A year later a much more ambitious extension was made by spanning the Cheshire Lines goods yard with a lattice girder bridge and then boring a half-mile tunnel. The line terminated with an underground station built at Dingle, opened in 1896. The overhead railway was successful and provided a good service, at the same time giving wonderful views of the visiting ships and the docks. The railway’s passengers consisted of those who were joining the passenger liners, and those who just wanted to see the sights – and of course the dockers used the railway as a means of getting to and from work.

The railway was hit during the blitz in World War II, and suffered severe bomb damage. However, this was soon repaired and the railway operated until the mid-1950s, when it was reported that the decking plates were decaying and needed to be replaced. With the cost of replacements estimated at two million pounds, it was decided that the Liverpool Overhead would close the following year, and on 30 December 1956, despite public protest, this is what happened. It wasn’t long before the demolition crews were sent in, and this well loved and pioneering railway was totally removed.

The Liverpool Overhead paved the way for other similar systems around the world, including those in the major American cities, and over the last few decades we have seen new rapid rail systems using a similar format. The railway is now a distant memory, but the ‘Dockers’ Umbrella’ will never be forgotten. A section of the elevated structure, along with one of the early electric cars, is displayed in the new Museum of Liverpool.

An imaginary track plan based on a section of the Liverpool Overhead Railway. The layout is divided into two levels, with the LOR above and the Mersey Docks & Harbour Boards railway at ground level, re-creating a miniature replication of the ‘Dockers’ Umbrella’. A) warehouses and trans-shipment sheds B) dock gates and office C) travelling cranes D) stores E) office and bike sheds F) station and train shed.

LAYOUT BASED ON THE LIVERPOOL OVERHEAD RAILWAY

The layout plan for this book has been based on Liverpool’s Overhead Railway, although I have purposely designed it to include part of the Docklands Railway that served the many docks along Liverpool’s waterfront. The Overhead Railway runs the full length of the baseboards, elevated all the way. I have included a station at the rear with the usual overall roof, which provides a mask for the tracks to run off the visual part of the layout. The run-off at the other end is masked by a large warehouse positioned in front. The Dockland Railway of the Mersey Docks & Harbour Board also runs the length of the baseboard, but at ground level. This required tracks running off to separate fiddle yards from the overhead section. The same large warehouse masks the tracks where they disappear off the visual boards. The front of the layout is completely dominated by the docks, with tracks running along all the quaysides. Some of the tracks also run into the warehouses for sheltered loading and unloading.

You need to run authentic electric stock for the overhead section, which is now available in 4mm scale from Judith Edge Kits. Both the original wooden body and the later rebuilt ‘all-steel’ stock have been produced.

One of the hydraulic engine houses that provide power for opening and shutting the lock gates in the docks. This building could also be included on the layout to make an interesting feature.

The harbour and customs offices fronting the River Mersey, guarding the locks and entrance to the docks from the river.

The distinctive architecture of one of the large warehouses fronting the dockside of Liverpool’s Albert Dock.

One of the gateways into the docks, together with the associated buildings. One of the street gates is featured in the layout plan.

This general wide view of Albert Dock gives an idea of the scale.

The ‘Baltic Fleet’ is one of many public houses found along Dock Road. The pubs would have been frequented by dockers needing well earned refreshment after a busy shift in the docks. The pub would also make an extra addition to the model – though if it was included, reproducing some of the architectural embellishments in miniature would be challenging.

This interesting brick structure was photographed along the dock wall. I am not sure of its use – it could it be a chimney or perhaps an air shaft. A reader of this book can possibly answer the question, but whatever it is, it would be included on the model.

The large block of warehouses fronting Wapping Dock. These have now been transformed into private apartments, but have not lost any of their original architectural splendour. All the renovated dock buildings at Liverpool have been done sympathetically, restoring their original charm.

Another view of one of the office buildings situated around the dock gates. This close-up image gives more detail reference for the modeller.

The modern glass and steel offices and hotels sit side by side with the older majestic buildings on Liverpool’s waterfront. I will leave it to your opinion as to whether the ultra-modern does gel with the ‘Three Graces’ dominating the background!

On the docklands section, ready-to-run shortwheelbase locomotives such as the ex-Lancashire & Yorkshire ‘Pug’ from Hornby would be ideal. Other dock tanks would also fit the layout, but these would need to be built from kits. Judith Edge Kits also produce a range of industrial steam and diesel locomotives that are authentic to the Mersey Docks & Harbour Board Railway; you would need a good number of wagons, as this part of the layout consists of just goods vehicles. There are plenty of ready-to-run samples or kits that would suit the requirements of this layout.

Besides the locomotives and rolling stock, Judith Edge Kits are producing etches for the elevated sections of track, giving the modeller the perfect opportunity to create this unique railway system in miniature.

One section of the overhead structure. This 50ft (15m) span is now available in kit form, together with other special components and station girders from Judith Edge Kits. MIKE EDGE

Sections of the overhead spans have been put together to show a good length of the structure. MIKE EDGE

One of the Lancashire & Yorkshire Railway’s 0-4-0 ‘Pugs’. This class of locomotive would have worked the dock railways for many years, and would be well worth including on any model.

Part of Mike Edge’s layout of ‘Herculaneum’, based on the prototype at the eastern end of the docks. MIKE EDGE

This view of Mike’s splendid layout shows the Liverpool Overhead Railway crossing the Cheshire Committee Lines extension into Herculaneum Dock on the impressive 200ft (60m) long lattice girder bridge, before diving into the tunnel cut through the sandstone rock to reach its eastern underground terminus station at Dingle. MIKE EDGE

The overhead structure in position on Mike Edge’s layout. The low angle gives a good impression in miniature of the structure as seen from street level. MIKE EDGE

The 4mm kit provided by Judith Edge Kits of the early woodenbodied Liverpool Overhead Railway electric sets. MIKE EDGE

The Judith Edge kit of the later all steel-bodied electric units. MIKE EDGE

This model from Judith Edge Kits shows the Hunslet 15in 0-6-0 Saddle Tank locomotive No. 11 in the Mersey Docks & Harbour Board black livery. MIKE EDGE

This model of the Hunslet Saddle Tank No. 31 is depicted in the MD & HB green livery. MIKE EDGE

The Judith Edge kit of the LNER class J63 (ex-Great Central Railway 5a) 0-6-0 Tank locomotive under construction. This class of loco would have worked certain sections of the docks. MIKE EDGE

The Hunslet 325hp 50T 0-6-0 Diesel Hydraulic locomotive produced by Judith Edge Kits. MIKE EDGE

The kit of the Hunslet 204hp 0-6-0 Diesel Hydraulic locomotive. These would have also worked the docks in later years. It is depicted here in the MD & HB black livery as No. 32. MIKE EDGE

Another Hunslet, this time a Diesel Mechanical 0-6-0 No. 34; it is depicted in the green livery of the MD & HB. MIKE EDGE

This kit of the Sentinal 0-4-0 Diesel Hydraulic shows the locomotive with rod drive, rather than chain driven. Like the Hunslets, these diesels would also have seen active service within the confines of the docks in later years. MIKE EDGE

The larger Sentinal 0-6-0 Diesel Hydraulic. The larger-wheel-based locomotives would have been restricted to those areas of the docks with less severe curves. MIKE EDGE

The short-wheel-based kit of the Rushton DS 0-4-0 Diesel Mechanical. MIKE EDGE

The kit of the Thomas Hill Vanguard 0-6-0 Diesel Hydraulic. These diesels may also have seen active service within the dock system. MIKE EDGE

Another Rushton short-wheel-based 0-4-0 Diesel Mechanical, also available from Judith Edge Kits. MIKE EDGE

PORTREATH

In complete contrast to the previous prototype, this railway was built to carry just mineral traffic and occasionally timber. The Portreath branch was constructed by the Hayle Railway Company in 1838. A better transportation system was needed to move the rich copper ore from the mines around the towns of Redruth and Camborne, in West Cornwall; it had to be shipped across to South Wales for smelting, so the line needed to connect with the harbour of Portreath on the north Cornish coast. The inward traffic was also from South Wales, with coal the main import but also timber to be used as props in the mines. The line for the most part was level, though to reach sea level at Portreath it had to drop down the hillside on an incline of 1 in 10.

The branch line was constructed by the Hayle Company to serve Portreath Harbour at the time when the copper mines were at their peak. This, however, was to become short-lived as the copper market became flooded from other parts of the world, producing a slump in the demand for copper from Cornwall. The mines never recovered from this and the importance of Portreath as a coastal port soon declined. The port remained open for the importing of the South Wales coal, which was still required for local industry and household use, but due to the narrow confines of the approaches and entrance to the harbour it was difficult to encourage any new trade. The harbour still remained open, with cargo vessels using it until 1960.

The railway was taken over by the West Cornwall Railway in 1846 and then amalgamated into the Great Western Railway in February 1876. The railway employed steam locomotives on the level section of the line based at Carn Brea. The 0-6-0 saddle tanks became the common motive power used on all the mineral trains, although later, 0-6-0 pannier tanks took over this duty. The engine shed at Carn Brea, including a workshop, closed along with the shed in 1917. After this date locomotives working on the branch were stabled at Truro, which remained the norm until final closure of the line in January 1936.

The route of the branch commenced from Carn Brea yard, curving away from the mainline sharply, before continuing straight to the road crossing on the Illogan highway (now the A30). At this location the line also crossed the Camborne & Redruth Tramway, a 3ft 6in-gauge track that ran alongside the road. It opened in 1902 to convey ore from East Pool and Wheal Agar mines.

The line continued to North Pool, before traversing Illogan Downs on a low embankment. It then crossed two level crossings, one with the novel name of ‘Lovely Cottage level crossing’, and the other ‘Fairfield crossing’. Beyond the crossing the branch continued towards the Portreath incline, and just before the engine house the line doubled for the complete length of the incline. A release crossover was provided, this being the limit for the locomotives on the branch.

Close to the engine house stood a cluster of buildings including the engine operator’s house and the stable for the horses employed for shunting. An interesting round, stone-built cabin was positioned alongside where the descent of the incline started. The incline ran through a granite cutting before ending on a stone-built embankment. Positioned right at the bottom was the station master’s office, the mess room, the stores and the stables. A pair of gates over the Redruth road also provided an entrance to the harbour yard. The southern side was accessed by a pair of turntables right at the bottom of the incline positioned just before the gates. Just over the road the two lines converged with another wagon turntable providing access to the northern side of the docks.

The majority of the harbour sidings were situated on the southern side to the harbour served by the two turntables. A wagon weighbridge with office alongside was positioned at the throat of the sidings. These sidings gave access to the dock basins where extensive coal dumps were situated. The sidings were quite extensive, until being rationalized around the 1890s. This came about due to the demise of the Poldice tramway.

The harbour at Portreath originally dated from 1760 with the construction of the pier. At the same time a mule track was built to serve the mines in the Gwennap area to the south-east of Redruth. General improvements were made by 1809, when a tramway was constructed to convey ore from the mines at Poldice to the pier at Portreath. The first rail was laid by Lord de Dunstaville, making the ‘Portreath & Poldice Mines Plateway’ the first tramway in Cornwall. This was originally laid to 3ft gauge, using the ‘L’ section of cast-iron plates fixed to granite stone blocks. This tramway became redundant, although the Portreath section was assured in 1838 with the arrival of the Hayle Railway.

Eight years later, work began on the construction of the inner basin with a capacity to take ten vessels of the type and size trading at this time in and out of Portreath, and the railway was used for the transportation of materials for its construction. A modification was made to the pier, with a protective barrier being installed to cope with the heavy seas. The last major development was the construction in the late 1860s of the basin in the south-west corner of the site. It was known as the ‘new dock’, and included a slipway as well as additional mooring. The dock regularly served as a turning facility for the ships manoeuvring within the harbour.

The harbour was owned by the Bain family, and David Wise Bain was the harbour master. Bain built up a considerable fleet of sailing ships trading in general cargoes. The sailing ships were soon replaced with steam-powered vessels. The steam ship fleet included Guardian, Treleigh, Panmure, Plover and Olivia. The single tall funnels carried a large letter ‘B’, and this became a familiar sight in the harbour. In 1866 Portreath was made a free port, when the depression had more or less seen the total collapse of the local copper industry. In 1888 a steam tug was introduced to assist the ships entering the tight harbour. Around the same time steam cranes were also installed; these ran on standard-gauge rails positioned along the quaysides.

Portreath capitalized on the landing of pilchards, for which Cornwall became renowned during the autumn months when large shoals came into the inshore waters. This of course resulted in a welcome source of revenue, but it was not to last, and the trade had largely disappeared by the turn of the century.

The harbour also featured a lime kiln, situated on the south side of the site. The burning of limestone produced lime for both local agriculture and building work. The limestone was shipped in from Plymouth and over the channel from South Wales. The kiln remained in use until the 1950s, and was finally demolished in 1967.

On the south side of the harbour was a large building originally built for the fishing trade and known locally as the ‘Fish Palace’. It was also used for the construction of sailing ships by shipwright Thomas Massey. The branch would have transported materials used for the ship-building trade.

A track plan for Portreath Harbour, condensed to make a layout that fits into a more reasonable space. The layout also assumes that locomotives worked the harbour site, so I have included an engine shed together with servicing facilities. A) cottages B) engine shed and coaling stage C) stable block D) coal merchant’s offices E) coal heaps F) shelters G) look-out cabin.

I photographed this charming model of a Cornish pub while visiting ‘RAILEX 2014’. It is the work of the Helston & Falmouth MRG. This building displays typical Cornish style, and would not look out of place on the Portreath layout.

Another building on the same layout was this corrugated-clad warehouse, again the type of building that would fit neatly into the quayside at Portreath.

This stone-built harbour office with accommodation for a coach or cart underneath, through the arch, certainly took my attention at the exhibition. The building oozes Cornish character and would also fit nicely into the scene at Portreath. All these model buildings feature on the delightful narrow-gauge layout ‘Gweek North Quay’.

The quayside at Charlstown. The stone retaining walls, buildings and loading chutes at this Cornish port are very similar to those seen at Portreath. The squarerigged ships would also be appropriate to anyone deciding to model this period.

In 1887 a tin streaming plant was built, to reclaim the tin from the Red River, a stream that ran out into the harbour. The tin had escaped from the mine workings in the water that drained away, and found its way into the stream. The plant featured a steam engine, and even when the main structure was eventually demolished, the tall chimney remained intact for many years.

The end of the branch came with the removal of the stationary engine in 1938, then in 1940 the rails were lifted from the quay and from the incline. The remainder of the track on the branch was lifted and removed in 1945. While most of the buildings were demolished, the stone-built engine house was converted into a private dwelling. The incline has also been reused, forming part of the road access down into Portreath.

The quay weighbridge and office at Charlstown. This would also be suitable to fit into the model of Portreath.

IN CONCLUSION

Portreath harbour would make an interesting model; however, I would concentrate on the north side of the dock rather than the south side. Compromises would also have to be made to the length, and the incline would have to be omitted or reinstated as a level fiddle traverser. Modellers’ licence would permit locomotives to be employed in the harbour section of the branch. The prototype did not have this facility due to the incline, and horses had to carry out all the shunting movements. Later in the book I have included a small layout featuring an incline. This, however, will be used as the fiddle yard, and will be flat. The locomotives were used on the wharf at the bottom of the incline. They were kept in their own small engine shed, so this might be a building worth adding to the Portreath harbour area if choosing this to model.

LONDON’S DOCK RAIL WAY SYSTEM

The largest dockland railway system would have to be that connected with our capital city. The docks spread along the Thames from Tower Bridge as far as Tilbury, but the main concentration was to be found in the area of the Isle of Dogs. The Port of London Authorities principal docks were at their peak in 1955 and consisted, from west to east, the Surrey Commercial Docks, the West India and Millwall Docks on the Isle of Dogs, and the royal docks of Victoria, Albert and King George V. Just about all the larger pre-grouping companies had lines and warehouses linked with docks in East London.

MODELLING LONDON’S DOCKLAND RAILWAYS

Because the docks are so extensive, my suggestion to anyone wishing to create a model would be to choose a small section – then you can concentrate your efforts on achieving a good replication of that section. I have picked one side of the Poplar New Dock as a sample on which to base a small layout; this gives the opportunity to fit in a good amount of track and operating possibilities, together with some large trans-shipment warehouses. The dock will be large enough to place a freighter cargo vessel or quite a few of the smaller lighters. This side of the docks at Poplar was operated by the London & North Western Railway Company, and later the London Midland & Scottish Railway (LMS).

This plan is based on a section of the Poplar Docks Extension in London; this part of the docks was the goods trans-shipment depot for the London & North Western Railway. A) main trans-shipment warehouses B) goods trans-shipment sheds C) dock offices D) goods offices.

PORT PENRHYN AND PORT DINORWICK

I have chosen Port Penrhyn and Port Dinorwick as possible prototypes. Both would make interesting models because of their unique mix of standard gauge with narrow gauge.

PORT PENRHYN

The port was established as a transhipment point as far back as the eighteenth century. In the early days it was connected to the slate quarries at Bethesda by a primitive tram road. Around the turn of the century, the crude track was re-laid with proper edged rail, becoming one of the earliest tramways to use this type of rail. This was the only rail connection with Port Penrhyn until 1852 when a branch was opened from the main Chester to Holyhead line by the London & North Western Railway. The short line was built to the wharf to cash in on the slate traffic. It was not until twenty-five years later that the railway built a branch direct to the source of the slate at Bethesda quarries.

PORT DINORWICK

Just along the coast of Caernarvonshire from Port Penrhyn was the second slate port of Port Dinorwick. The ports in the early days were a trans-shipment point where the slate was first loaded on to lighters, before being loaded on to ships anchored in the Menai Strait. There could be up to eight ships being loaded at any time. At the time of the building of the Dinorwick railway only the smaller craft could navigate the upper reaches of the creek, therefore the quays were extended westwards towards the Strait.

At the same time the railway was extended to serve the new quays and dock, although at first this was no more than a jetty. The port was subsequently divided into two sections, with the old inland creek separated from the newer south side extension by a swing bridge. Over the years the port changed dramatically with the establishment of the New Dock Basin, which could handle much greater shipments of slate. However, the basin could only berth the smaller vessels that could come alongside. The swing bridge was later replaced with a more substantial lift bridge.

The railway’s gauge was 24.5in across the centres of the rails, to carry double-flanged wagon wheels that ran loose on their axles. The early rails were made of iron, and the track was chaired to take the weight of the loaded wagons and locomotives, with a wider chair used over the joints. The sleepers utilized slabs of slate measuring roughly 3ft (1m) in length. Extra iron tie-bars were included and bolted down on to the sleepers to keep them within gauge. The narrow-gauge systems entered by descending the port incline from a south-easterly direction, before traversing through a short tunnel. After this the tracks split into short lengths of holding sidings. A weighbridge was provided to weigh the loads of the full wagons at this point.

Before entering on to the quayside the narrowgauge tracks crossed over the port’s standard-gauge connection on a portable rail crossing, and here the rails were temporarily laid over those of the standard gauge. Once on the quayside, the narrow gauge continued in both directions to serve both the older Creek Dock and the newer Dock Basin; it included siding arms running off the main route, almost at right angles. These gave the facility to offload the slate, creating a stacking system on the quayside, before it was then loaded on to the waiting ships. The narrow-gauge system also incorporated a few holding sidings as well as loops.

On the quaysides of the New Basin a connecting line was positioned to run parallel with the quayside. This in turn was connected to the transhipment siding arms by including a wagon turntable for each of them.

The standard-gauge connection was provided by the London & North Western Railway, which constructed the 1852 port siding. The siding ran off the Bangor to Caernarvon branch, then behind the ship repair shops, where it split into two roads. From here it continued through a gate to the inner land side of the quayside. At this point the railway entered the exchange sidings, before terminating alongside the harbour maintenance workshops.

BUILDING MODELS OF PORT PENRHYN AND PORT DINORWICK

For anyone wanting to build a model of either Port Penrhyn or Port Dinorwick, the major attraction would be the opportunity to mix standard gauge with narrow gauge. However, this comes with a few practical challenges and possibly the restriction to scale choice. This is not intended to put you off, but you should consider the options available before you start on such a project. Indeed, if modelled well, they could both make an impressive-looking and operational layout.

The track would need considerable attention, with scratch building being the only option, especially for some of the narrow-gauge point work, where stud points and turntables are used. Some of the parts may be available from specialist narrowgauge model suppliers: it is a case of searching or joining one of the societies or groups.

EDM Models should be able to supply kits of the locomotives employed on both the narrow-gauge systems. For the wagons and other rolling stock, try Port Wynnstay Models or EDM Models again, although these specialize in 7mm scale.

The rebuilt smithy standing in the grounds of St Fagan’s National History Museum, near Cardiff. This slate-constructed building would be suited to include on a model depicting Port Penrhyn or Port Dinorwick.

The track plan illustrated is based on Port Dinorwick. For this model I have concentrated on the inland part of the port, extending from the graving dock and ship repair shops to the sea lock. I have also deleted a few of the narrow-gauge slate transfer sidings to condense the length slightly, making it more practical if space is an issue. If, however, you can accommodate more of the model into the space available, then it might be a better option to extend this plan to include the New Basin with its associated slate transfer siding and buildings. The fiddle yards for both the standard gauge and the narrow gauge can be located on the left-hand side, with the overbridge and the tunnel making the perfect scenic breaks. A) London & North Western Port Siding (standard gauge) B) the Dinorwick quarry lines (narrow gauge) C) the graving dock D) ship repair shops E) main dock F) loading platform G) lifting bridge H) gates I) weighbridge J) level rail portable crossing (narrow gauge over standard gauge) K) sea lock.

FLEETWOOD, A FISHING PORT

The harbour town of Fleetwood was the creation of local landowner and MP Sir Peter Hesketh Fleetwood. It was Sir Peter’s vision that the town and harbour would be complementary to the rapid growth of the port facilities of Liverpool, and the location on the north-west corner of the Fylde was ideal for the construction of the port. Work started under the Wyre Railway Dock & Harbour Act for both the town and port in 1835, and by 1840 all the key elements of the town had been planned and constructed. At the same time a rail link was commissioned to cross the Fylde to reach the new town. Under a separate legislation the construction of a dock had been authorized. The dock and railway company amalgamated in 1839.

In the following years sufficient facilities had been constructed for the commencement of steamer services to the Isle of Man and other destinations along the north-west coast. By 1849 the Preston & Wyre line had been taken over by the Lancashire & Yorkshire Railway Company and the London & North Western Railway Company. As a result of lack of capital for future development, the docks were taken over by the Lancashire & Yorkshire Railway under the Fleetwood Docks Act of 1871.

The first dock to be created was the Wyre Dock, measuring 1,000ft (305m) long and 400ft (122m) wide, giving 2,700ft (823m) of quayside space. An additional 15-acre (6ha) timber pond was constructed, where timber was floated after being discharged from ships. Adjacent to the Wyre Dock was a large grain elevator and storage silo. The entire dock complex at its height covered around 67 acres (27ha), with over 8 miles (13km) of railway serving the dock. The dock offered a very variable trade including grain, timber and china clay from Cornwall, macadam, esparto grass and finally fish. The increase in traffic, especially with the need to expand the port’s trawler fleet, meant that a new dock was required.

In 1908 the new fish dock was completed by expanding the original timber pond. However, the partial conversion into a fish dock solved only part of the problem, and the rapidly expanding fish fleet required the total conversion of the timber pond into a large fish dock. This was completed by 1911 and included a vast additional railway system to accommodate this increasing trade. New structures and buildings included fish ‘slades’ on three sides of the dock, totalling a length of 2,000ft (610m).

On the opposite eastern side was the coaling wharf, constructed to a design by the Lancashire & Yorkshire Railway’s chief mechanical engineer George Hughes. This wharf, measuring 680ft (207m) in length, featured three large cantilevered cranes supplied by Cowan Sheldons of Carlisle. The travelling cranes traversed along rails with a gauge of 35ft 6in. The cranes were capable of coaling two berthed steam trawlers lying abreast at a rate of 50 tons per hour. These structures, along with the grain elevator on the Wyre Dock, towered above the rooflines. By 1914 the trawler fleet was over 100 vessels, and by 1920 totalled 172.

MAKING A MODEL

Fleetwood Docks would certainly make an interesting subject to model, although anybody attempting this will need to make a choice. The extensive size of the docks would only allow you to model one side of either the Wyre or the New Dock unless room and space was no object. You might decide to build a model in 1:148th scale, in which case a larger portion of the dock, or even the whole dock might be possible. However, for a more interesting model I would suggest you concentrate on replicating the side that gives you the best operating and visual results.

The choice is not limited to the docks, either, since a good model could be made of the china clay wharf or even the steamer terminal. The latter would give you the opportunity to include passenger trains rather than just goods trains. This model would also include the quayside terminus station buildings at Queen’s Terrace, along with the goods warehouse, and if extended, the possibility of including a small section of the tramway system.

Model of an Aspinall 0-6-0 goods engine. These locomotives would have been common working in and out of the fish docks at Fleetwood in pregrouping days and the early LMS period. The model was built by good friend Martin Nield from a Craftsman kit.

A Lancashire & Yorkshire Railway fish van. Hundreds of examples of this type of van were built to transport fish, and anyone wishing to model Fleetwood Docks at this period would need to include a fair few of these vehicles. The kit was also built by Martin Nield and supplied by ‘Jidenco’, although not now available, while a kit of this type of van is available in the range of wagons produced by David Geen.

The plan of Fleetwood I have decided to present is based on the station and Ireland ferry quays. It also includes most of the goods sidings and depots, and the china clay warehouse. A) station and train shed B) goods and trans-shipment sheds C) signal box D) warehouses E) china clay warehouse F) travelling cranes G) fixed cranes H) Belfast ferry.

THE NEW PORT OF IMMINGHAM AND THE TRAMWAY SYSTEM (THE CLICKERTY)

For many years Immingham was just a sparsely populated village, standing on the edge of the marshland a mile inland from the south bank of the River Humber. This remote agricultural settlement was situated around 7 miles (11km) from the fishing town of Grimsby.

The village was to change dramatically early in the twentieth century. After the completion of the last main line to be built to the capital, the Great Central Railway was looking to build a new dock. The established docks at nearby Grimsby were very congested by this time, and the site at Immingham was ideal for the construction of a deep-water dock.

Over the next few years the village experienced the massive influx of several thousand men and their families who descended on the area and Immingham was soon transformed, with the excavation of a 45-acre (18ha) dock and a further 1,000 acres (405ha) of land developed. This included the building of many trans-shipment sheds and the laying of acres of railway track.

Three railways were laid to connect with Grimsby, Ulceby and Goxhill, and seven hydraulic coalloading hoists were erected: these were capable of loading around 5,000 tons of coal per hour into the holds of the waiting ships. Along with the hoists, a vast number of holding sidings were laid where the incoming loaded coal wagons could be stored, awaiting their turn for the load to be discharged on the hoists. These sidings consisted of a total length of 170 miles (274km) of track.

This archive photograph taken in 1959 shows the Immingham dock terminus of the Grimsby & Immingham Tramway, with the G & I car No. 3 and the ex-Gateshead car No. 30 at the terminus. Also worthy of note is the freighter The Welsh Prince seen in the background. THE TRAMWAY MUSEUM SOCIETY

In this archive photograph of 1960, the dockers can be seen boarding car No. 14 at the terminus after a busy shift working in the docks. THE TRAMWAY MUSEUM SOCIETY

Besides the coal operations, a massive grain storage plant was built, and a number of cranes were installed on this side of the dock to load and discharge a host of general cargoes, with timber from the Baltic being the most common.

To enter the deep dock a lock was provided, with two sets of massive steel gates to allow the larger ships from the Humber passage into the dock. Alongside the lock the dry or graving dock was constructed. Two wooden jetties projected out from each side of the lock entrance.

With the construction of the extensive docks at Immingham, it soon became apparent that a transport system was required for the benefit of the dock workforce. To this end, the Great Central Railway built a unique tramway system linking the neighbouring town of Grimsby to the dock at Immingham. The resulting electric-powered system was laid along the streets to reach its dock-side terminus.

The tram cars were built especially for the system by Brush of Loughborough, with the first service running in 1912. The power for the system was provided by the newly built power station at the dock, using an overhead wire system for the electrical contact. Other cars were purchased as replacements to the fleet from Newcastle & Gateshead Corporations, when their system had closed. The depot was located at Pyewipe, where all the cars were stored and maintained. They were originally supplied in the Great Central livery of lined-out dark green. The company’s coat of arms, with its swash containing the word ‘Forward’, was positioned centred on the front and rear panels.

The cars sported a simplified livery of green when under the grouping ownership of the London & North Eastern Railway. But after nationalization in 1947 the trams became part of British Railways, who spruced up even the drab dark green livery of the tram-car fleet, giving them a brighter green coat, known as British Railways ‘electric green’, with the BR emblem now appearing on the side panels.

The two wooden jetties also had a railway connection, with the eastern jetty having a passenger terminal. This was used extensively during the summer months of the 1920s and 1930s, as Immingham was the starting point for the ‘Midnight Sun’ cruises, when the passengers had the convenience of walking just a few yards from the train to the gangplanks of the waiting ships. The Orient Line organized these popular cruises to the coast and fjords of Norway. The western jetty has a separate straight rail jetty connecting the shore to the main structure. This was provided with a wagon coal hoist to supply the steam ships visiting Immingham with fuel for the boilers.

MAKING A MODEL

Making a model based on Immingham would again be restricted to concentrating your modelling efforts to just one area. This might be the eastern jetty with the railways terminal to serve the Norwegian cruise liners docking here; or it might be the other jetty featuring the railway coal hoist system to load the bunkers of the steam ships. Alternatively you might choose to model the quaysides of the inner deep dock, again with the array of coal hoists positioned on one side for loading the collier ships; or the unique Grimsby & Immingham tramway system, featuring the dock terminal. If, however, you have sufficient room, you might be able to combine the tramway terminal with the railway serving the liner terminal on the eastern jetty. Whatever your choice, careful planning will be required if you want to resemble anything like the prototype.

Pictured at Crich Tramway village is the preserved Grimsby & Immingham tram car No. 14 carrying the lighter (electric) green livery and early crest of British Railways. MALCOLM WRIGHT

For this plan I have decided to concentrate on just the eastern jetty at Immingham. This has been purposely chosen to include the dock terminus of the Grimsby & Immingham Tramway. A) traverser B) Grimsby & Immingham Light Railway C) Great Central Railway eastern jetty branch D) ‘Orient Line’ cruise ship E) eastern jetty light F) tram terminal G) customs house.

A model 1:76th scale of the Grimsby & Immingham tram car No. 14. The car has been built from a ‘Grime Street Industries’ kit by Alan Kirkman. ALAN KIRKMAN

The busiest and most interesting years to model would probably be the inter-war years. This would give plenty of scope for modelling both the trains and the tramway system, together with an interesting variety of visiting ships. Let us not forget the actual war years, either, as Immingham played a vital part during both World Wars, becoming a base port for the Royal Navy’s flotilla of submarines and torpedo boats. This period might appeal to some modellers, as it gives the opportunity to model and run trains helping with the war effort.

SHOBNALL BASIN

For this prototype I have selected another canal wharf. In the years 1769 and 1780 a link was constructed for the Burton Boat Company between the Trent & Mersey Navigation and the River Trent. This short canal of just over 1 mile in length started near to Shobnall, and finished at Soho Wharf on the river in an area of Burton known as Bond End. The new cut took this name and became known as the Bond End Canal.

The original aim was for the trans-shipment of goods at Shobnall on to barges, which would then pass along the River Trent as far as Gainsborough. The canal, however, had mixed fortunes with the amount of traffic it carried, but the North Staffordshire Railway Company showed an interest in it, and in 1847 it was absorbed by the railway.

The building of the extensive brewery railway system, along with the decline in traffic, soon led to the closure of the canal, and not long after the cut was filled in. The Midland Railway built a connecting branch line to the breweries at this side of the town along the old canal bed, the railway becoming known as the Bond End Branch.

The canal remained a short distance, terminating at the end of the basin at Shobnall. The Midland and the London & North Western Railway company constructed extensive exchange sidings here to handle the beer traffic. A rail extension from the sidings linked them with the wharf, with tracks running alongside the basin. The wharf’s main cargo was coal, although other goods such as timber for use in the cooperages may have been transhipped or offloaded here. The coal wharf remained until the railway sidings closed in the late 1960s.

By this time the basin was in a state of dereliction, with local businesses using it as a tip, and all the buildings demolished. One building that met this fate in the early 1960s was the public house ‘The Mount Pleasant Inn’. The pub stood alongside the junction of the Trent & Mersey and the Bond End canals, and became known with affection as ‘Bessie Bulls’, a name that came from the original landlady of the pub, and it continued to be called this right up until its demise.

MAKING A MODEL

For any person wishing to ‘have a go’ at modelling Shobnall there is again a choice. I have presented the more condensed version concentrating on the wharf, but this could be extended to include the entire exchange sidings if you have the space. The far western end is the subject matter for our model, with the extended coal sidings fronting the layout. The rear of the layout includes the single-track branch leading to Marston Thompson & Eversheds brewery, and this railway runs the full length of the model, running off the visual section at both ends. It starts on the level at the exchange sidings end, then gradually climbs to cross the canal at the other.

The main buildings to feature on the layout will be the canal pub ‘Bessie Bulls’ along with the stables. In real life the entrance to the wharf still has one of the original James Brindley bridges, and this structure would make an interesting feature to add to the model. The brewery branch will also need a bridge constructing. In reality this bridge consisted of steel-plate girders supported on brick abutments, and in fact one side of it still remains today as it carries the main waterpipe over the canal for the brewery.

I have combined the track plan of Shobnall with a three-dimensional illustration to show what the model would look like. A) coal basin B) The ‘Mount Pleasant Inn’ public house (Bessie Bulls) C) stable block D) plate girder bridge E) winding hole F) bridge number one G) coal bunkers H) allotment gardens I) Marston’s Brewery branch incline.

I created this oil painting of Shobnall wharf to be used as a Christmas card some years ago. I have included it because it shows the basin, along with a couple of British Waterways boats moored up against the coal wharf. The composition also shows the pub and the towpath bridge, together with a locomotive bringing beer from Marston’s Brewery in the background. All this would be valuable reference for anyone wishing to construct a model.

This model layout would work in both 1:76th scale and 1:43rd scale, depending on how much room you have. The coal wharf would have seen many different classes of locomotive working from the exchange sidings. The Midland types were the most common in the later days of the wharf’s existence, with a few diesels also making an appearance. Most of these are available as ready-to-run models. Midland classes of 4Fs, 3Fs and 3F Tanks known as ‘Jinties’ – or ‘Jockos’ as the Burton loco men called them – are produced by Bachmann. These classes are also produced in kit form if you choose to model in 7mm 1:43rd scale.

The brewery branch, however, would only have seen the locomotives belonging to the brewery. Hawthorn Lesley Saddle Tanks were the types used, with No. 1 and No. 2 employed in the early days, and No. 3 and No. 4 taking over in the later period. All these locomotives were given a large nameplate which read ‘Marston Thompson & Evershed’. Locomotive No. 4 was converted to a diesel in the later years, and is now preserved and can be found in the collection at the Chasewater Railway in Staffordshire. No. 3 is also in existence, although it was still in bits at the Foxfield Railway the last time I saw it. The Hawthorn Lesley industrial Saddle Tanks should be available in kit form in both scales.

You will require a number of open wagons as well as several goods vans. The brewery would have preferred box vans for the transportation of beer. Some vans were built especially for the breweries with louvred sides creating extra ventilation to keep the beer cool. If you choose the larger scale for your model, there is a kit of this wagon produced by ‘Parkside Dundas’. Before these wagons became available, the breweries used redundant Midland Railway cattle vans for this purpose.

The pub had its beer delivered direct from the trains passing the rear of the building as they left the brewery. Two wooden rails were positioned on the embankment, so the barrels could be rolled from the wagons straight into the pub’s cellar. This would make an interesting cameo scene to add to the model.

Besides the painting, I also made a 7mm model of the pub for display at the IWA National Festival at Shobnall Fields back in 2011. Although the canal pub was called ‘The Mount Pleasant’ it was always known locally as ‘Bessie Bulls’, after the infamous landlady who first kept the hostelry. For anyone attempting this model the pub would have to be the main feature.

SOUTHAMPTON, ISLE OF WIGHT FERRY TERMINAL

The early ferry terminal for the Isle of Wight ferry was situated in the harbour at Southampton. The terminal built at the end of the pier or jetty had a direct rail link with the station platform positioned at the end. Passengers could walk the last few yards down the inclined gangway to the floating pontoon where the paddle steamers were moored. The buildings at the end of the pier featured a cafeteria where passengers could refresh themselves before embarking on the short voyage over to the island.

MAKING A MODEL

Most railway terminals on a jetty or pier such as this only require a single track, or a single track with a run-round loop. This prototype follows the latter, and has a long run-round loop, together with an extended head shunt. It would make an interesting model with the jetty extending into the harbour constructed from chunks of stone, with the last part built from timber and iron.

The scenic modelling would be an interesting challenge, with the deep waters of the harbour replicated at the end of the pier. The stone jetty might also have to be modelled using real stone to make it look convincing.

The choice for the model would have to be the pre-grouping period, with classes of locomotives and coaching stock from the London & South Western Railway. This period of the railway and the inclusion of one or two of the Isle of Wight paddle steamers would be a challenging project, but if you choose to model this interesting ferry terminal, I am sure it will certainly be rewarding.

The prototypes and layout suggestions given here are only a few that I have selected, and there are, of course, many others that the modeller could choose. However, the selection I have presented should give plenty of variation and scope to make some interesting models. By selecting any of these and then by applying some of the techniques and using the materials suggested in this book, hopefully you will be inspired to have a go. Remember this book is only a guide, and the fun of the hobby is discovering the talents you might not realize you have.

CHAPTER TWO

PORTHWENN QUAY

PORTHWENN QUAY

For this first project I have presented part of a quayside model constructed to 7mm scale. The inspiration for the model came after many holidays spent on the coast of north Cornwall. The Atlantic coastline of Cornwall is dramatic and wild, but what also attracted me was the county’s rich industrial heritage. Mineral seams of tin and copper were found in abundance, together with granite and slate. All these materials were in great demand both for the developing home market and away from our shores.

All this industrial wealth was tapped, with mines appearing right along the coast as well as inland. The north of the county was dominated by the wilds of Bodmin Moor, and granite was quarried here, together with slate found in large deposits on the edge of the moor near Delabole.

Tramways were constructed to move these materials to the ports situated along the coast and river estuaries. This project assumes that a narrow-gauge railway was laid on the track bed of such an original horse-drawn tramway. This was constructed to transport the minerals from the mines and quarries down to a fictitious port positioned on the Camel estuary.

I needed a name for this fictitious railway and the port it served. After watching the television drama series ‘Doc Martin’ I thought the fictitious name given by the production team of ‘Portwenn’ would suit my purpose, although I decided to change it slightly to the more Cornish-sounding name of ‘Porthwenn’. My imaginary railway therefore became the Camelford & Porthwenn Light Railway.

Porthwenn, modelled from my original plan produced for Railway Modeller magazine. It was built by the members of Crawley Model Railway Group.

My original plan for the narrow-gauge terminus and quay for Porthwenn. I decided not to use the television series’ name. A) quayside B) warehouses C) loading derrick cranes D) stables E) station building F) rail weighbridge G) coal bunkers H) yard weighbridge I) ground frame J) crossing gates K) ‘Quarrymen’s Row’ L) engine shed, watertank and coaling stage.

My original drawn map to show the route of my fictitious narrow-gauge railway, the Camelford & Porthwenn Light Railway, linking the quarries around Bodmin Moor with the Camel estuary port.

The project was presented a few years ago for a layout design in Railway Modeller magazine. This inspired members of Crawley Model Railway Society to construct a model based on my plans and suggestions, although the members modelling the layout decided to use the television name of ‘Portwenn’. The layout is now nearing completion as I write this, and should be on show at the model railway exhibitions in 2016.

For the project presented here, I have concentrated the model making on the quayside only, and have made quite a few changes to the original plan; these include a few extra buildings such as the harbour office, the blacksmith’s shop and the stables. I decided that even though the model is completely fictitious, I would give it the flavour of a typical north Cornish port or harbour. The original plan intended to use 16.5mm narrow-gauge track, using off-the-shelf track work produced by ‘Peco’, and I use this on the project diorama. The decision to choose narrow gauge over standard gauge gave the opportunity to model the diorama in 1:43rd 7mm scale. This allowed me to add more detail to the quayside and its buildings. At the same time this can all be condensed into the small space of the diorama without losing too much interest.

CREATING THE MODEL

Let us now look at constructing the model diorama, and concentrate on the materials and techniques used to achieve realistic results.

The baseboard I constructed for the Porthwenn quayside diorama. Most of the materials used for this were recycled after being found in a skip, which just goes to prove that you don’t always have to spend a great deal of money on model railways!

I decided from the start to make this model in 1:43rd 7mm-to-the-foot scale. However, to fit more track into the limited space I opted for a track gauge of 16.5mm, making it ‘narrow gauge’. The track chosen is produced by Peco, and features code 100 rail with narrow-gauge sleeper spacing. The latter will not be seen on the model, as the sleepers will be buried under the cobbles.

All models have to start with a foundation, which is a baseboard of some kind, and this is no different for this small diorama. I used offcuts of timber found in a skip, consisting of a piece of 9mm chipboard, some lengths of 40 × 20mm timber, and some 60 × 12mm pine, together with a few strips of 6mm plywood. I also acquired a sheet of 12mm polystyrene and a piece of 10mm insulation board.

From these scrap materials I managed to fabricate a reasonable baseboard for the model with a stepped front to represent the quayside wall using the 60 × 12mm length of pine. The chipboard came in handy for the bed of the dock, positioned at the front, the rough face of this even giving me some base texture. The lengths of timber were used to create a frame to hold the plywood. The insulation board made the sub-base for the quay itself, and the ply strips were used for cladding the outside of the diorama. The wood was cut and glued together, with screws and panel pins used where required.

The polystyrene sheet was used to create the base to the quay sitting on top of the plywood subbase. The track was glued directly on to this, and then 3mm foamboard was glued on, fitting up to the side of the track to give the depth required to sit the cobbles on top. This would give the correct effect with only the tops of the rails showing as they are set into the cobbles of the quay.

A sub-base of card and foam board is glued on to the insulation board. On top of this a skin of Das modelling clay is applied into a thin coat of dilute PVA. The clay is applied using your fingers, giving a slightly uneven surface to the cobbles, which will look more authentic.

A section already finished, with the cobbles scribed out and painted. In contrast at the back the card sub-base is still visible before any clay is added to this section.

The next stage was to draw out where the buildings were going to appear. I then cut out the footprint of these into the 3mm foamboard; this created a foundation to the buildings, avoiding any ugly gaps when they are left just sitting on the base. Before adding any clay for the cobbles, I decided to glue down some strips of cereal packaging: by fixing this in between the rails it gave a base for the cobbles sets required. With this done, I could start to add the Das modelling clay. This was applied into a bed of PVA that had first been brushed on to all the sub-bases. I always apply the Das with my fingers – this way the slightly uneven surface of the cobbles is achieved.

The stages of embedding the track and covering the quayside with the cobbles are well under way. Note also that the modelling clay has been taken over the edge of the quayside to create the coping stones and the quayside wall. The photograph also features the painting of the cobbles, produced by using artist’s oil paints.

The Das was applied in small amounts at a time, building up the thin skin required. The clay was also taken over the edge of the quayside to create the walls and the edging or coping stones. Once the clay had completely air dried I started the scribing out. First to be scribed were all the edging or coping stones, which I purposely made different sizes, replicating prototypes seen on various north Cornish harbours.

I then moved on to scribing out the quayside walls. The walls in this part of Cornwall were built from chunks of local slate and granite from the quarries on Bodmin Moor. The random way these walls were built was replicated as closely as possible; to achieve the required effect the scribing had to be deep. The face of the larger stones was also scuffed with the scalpel blade to replicate the graining of both the slate and the granite.

With the quayside walls complete as far as the scribing was concerned, I turned my attention to scribing out all the cobbles – again, these were random in size along the quayside. This was indeed a challenging task, but by splitting the job into small areas, or panels of cobbles, it made it a little easier. The area immediately outside the harbour office required very irregular cobbles; these are very commonly used in rural areas.

Before any scribing was started, I collected plenty of reference material together. I would always suggest a visit to the location if you are modelling a prototype or, even if your choice is completely freelance, I would still recommend looking at an actual area on which to base your model. Take plenty of photographs, recording as much as possible. This will also apply to the latter stages of the model when paint is added.

The next task was to fix up the wooden pilings used along the quay wall as buffers for boats to moor up against. These wooden pilings regularly receive heavy bashes from the boats and ships pulling up against them. Looking at the prototypes, this is immediately obvious – after all, this is what they were designed for.

The scribing of the clay, with the clay applied fairly thick and then scribed deep to represent the large chunks of granite and slate used to construct the quayside walling.

Once the pattern of the stonework has all been scribed, then it is down to painting. The first stage is a wash of the oil paint: I used Payne’s grey mixed with plenty of turpentine or white spirit. The wash soaks into the clay and along all the scribed-out gaps between the stones.

I have purposely included this photograph looking down on to the quayside to show how irregular the pattern of cobbles is. In rural areas such as this, local stone would have been used, and most of it would not have been cut to shape to save on cost; as a result you would normally see a mix of stone paving patterns appearing.

The first wooden piling is temporarily put into position to check how it will look.

I decided to experiment with a brick compound that I acquired at a dolls’ house exhibition, and found that it was ideal to create the silt often found on the bottom of a dock. I applied it using dilute PVA, after wetting the compound first using a garden mister. This is the same technique as used when ballasting any track.

For this model diorama, the obvious choice for the wooden pilings was to use used firework rocket sticks. These were collected by a friend after bonfire night, or nowadays after New Year’s Eve. The used fireworks are perfect for this type of heavy timber baulk as they already have a distressed appearance. For this reason I did not discount the scorched, split and broken sticks. I decided to distress the sticks even more when they were positioned up against the quayside walls by scuffing them with a scalpel blade.

Details such as the large steel bolts and plates to secure the wooden pilings were added, simply made from track pins and small squares of card. The tops of the pilings have a metal tie-band added at the top to give the timber extra strength. This was replicated by using card, again with a fixing bolt added by using a track pin, or you could use a very small square cut from card and glued into position.

One extra detail to add to the pilings and the quayside walls was the seaweed. To replicate this I used sawdust glued in position with PVA glue. Referring to photographs, the weed appears mainly along the tideline and below.

Before I explain all the painting techniques used for the quayside, let us turn our attention to the bed of the dock. For this diorama I decided to show the dock with the tide almost out, allowing the mud and silt to be visible at one end. For the rest of the dock the surface of the water would be modelled. To create the bed I basically used a brick compound found at a dolls’ house exhibition – you can find some interesting and useful materials for model railways at such exhibitions.

The gritty compound mixture was lightly scattered from the pack over the baseboard. More layers of the mixture were added on top until the desired depth of mud, silt or sand was achieved. The method used to fix the compound in position was the same as used when ballasting track. First the compound required wetting all over by using a fine garden mister, obtainable from any garden centre or hardware shop. With the compound dampened all over, diluted PVA is added from a syringe or an eye dropper. The watered-down PVA will flow through the mixture, bonding it to the baseboard. I purposely built up the compound higher in the corner of the dock where the silt is more likely to be deposited.

PAINTING THE QUAYSIDE AND THE DOCK

With the bed of the dock completely dry, paint could now be applied to this and all the quayside. The first paint to be applied would be a wash of oil paint. A mix was made up first for the mortar colour of the masonry of the quayside walls, and for the coping stones and cobbles on top. This was mixed to a consistency of 20 per cent paint from the tube to 80 per cent of turpentine thinners; this could then be brushed all over the areas that required the mortar colour. The thinned-down paint reacts with the Das modelling clay straightaway as it soaks into the material, and this not only gives a base colour to the stone, but capillary action takes the paint into all the gaps that have been scribed out, to give you the mortar colour. However, I would advise mixing up the paint colour a shade darker than you want it finally to appear, because the clay will keep absorbing the paint mix until it finally dries out.

Details such as the grain and the occasional holes drilled into the stone are all included at the scribing stage. The holes would have been drilled into the larger blocks for handling by crane either at the quarry or when constructing the wall on site.

The final painting stage of the quayside wall. Note that dry brushing has been applied to the face of the stonework, and the lichens growing on the face of the stones have been added. These have been painted using the same dry-brushing techniques, though this time using a stippling action. Finally the base of the wall and the ground up to the tideline have received a wash of a dark grey colour.

The same dry-brushing techniques have been applied to the cobbles and the edging or coping stones. Note my mixing pallet is an old video cassette case, perfect for this job, as you can simply close it up when you are not using it!

To finish the tideline and the section of walling that is regularly under the water I have used lemon yellow mixed with lamp black or Payne’s grey to replicate the green slime you always see in this situation.

The yellow or green paint is applied using an old 1/8th filbert brush. I find that a well worn brush will give a better result. Always follow photographs taken of the real thing to achieve the right effect.

To achieve the wet and slimy finish, I simply went over it with a light coat of clear polyurethane varnish.

The same technique was used on the silt at the bottom of the dock, although different shades of colour were used to replicate the different colours seen in the silt. Looking at photographs for reference, the colour varies from light greys and light browns to darker greys and even shades of green in certain places. The mix of paint reacted in the same way with the brick compound with the thinned paint soaking into it, to give a very convincing result.

With all the washes complete the next painting stage could be addressed. This was to build up the tones of the stonework for both the quayside walls and the cobbles. To achieve this, the paint was applied nearly dry, building up the tones from dark to light. Dry-brushing and finally stipple-brushing techniques were used to achieve the right effect. Keep looking at photographs or reference material to obtain this, and always take your time: this way you should be rewarded with convincing results.

The same technique was then used on the wooden pilings, with dark green also added to replicate the seaweeds and slime always found in harbours and docks. Use reference photographs of the real thing, again to guide you towards the correct colour. The metalwork on the pilings will inevitably have weathered, being exposed to the elements. I used some chrome orange together with Mars or light red mixed together to give an authentic rust colour. There are, of course, rust-effect paints that are specially produced, but I find that mixing the oil paint in this way gives the desired results. This was applied using a smaller brush. Again, it is worth studying the real thing to see just how rust appears.

For the wooden pilings seen on the side of the quayside walls I used the spent sticks from firework rockets. Here, a broken and split stick makes a very authentic-looking battered wooden piling. Dry brushing the paint again above the waterline achieves a realistic appearance. The piling has also received the same treatment, as has the wall to any area on or below the waterline.

I have purposely included a different view of the same wooden piling, which illustrates its distressed and battered appearance on the model.

The horizontal beam has been added as a fender or buffer for the boats to moor up against. Note how I have again used a length of split rocket stick to give that battered, well used appearance. Another extra detail is the inclusion of a bent bolt, which has nearly rusted away.

The completed horizontal beam. All the painting has been achieved by dry brushing using oil paint.

Then all that remained was to paint the seaweed along the tideline, picking it out in various shades of green and dark brown.

ADDING THE WATER IN THE DOCK

The next task was to add the water in the dock, although I will cover the different ways of creating water in a later chapter. On this diorama only a shallow amount of water was required, as the tide was almost completely out in the dock. On the lefthand side the silt left on the bed is revealed as the tide recedes. The water was created by brushing on a few layers of polyurethane clear varnish. By brushing in a diagonal direction the ripple effect was created on the surface. This was carried through to the edge of the silt, in an attempt to replicate how the water laps against it. The last task was to paint a thin coat of the varnish over the silt and up to the tideline on the quayside wall to give it a wet appearance.

The wet effect below the waterline has been created using varnish. You don’t have to use expensive products to create an authentic look.

A light coat of varnish has been brushed over the build-up of silt at one end of the dock, achieving the wet look perfectly.

The shallow water in the dock was added by giving a few coats of the same clear varnish. Note the colour given to the dock under the surface of the water.

I have tried to capture the edge of the shallow water as it laps against the silt. Careful application of the varnish has given the results I was looking for.

Another view of the shallow water; note also the staining where the rain has run down from the copings over the dry walling above the tideline.

To give the walls even more detail, I have added some of the seaweeds that would be found along the tideline and on the wooden pilings. I used a mix of flock and sawdust to replicate these.

The weed was painted green, and varnish brushed over again to give the finished effect.

The weed was continued along the whole length of the tideline, including the facing of the horizontal beams.

In this closer image, the slimy algae seaweeds, looking like jelly, were replicated simply by using PVA and painted with thinned-down oil paint to give them a semi-translucent appearance.

Another close-up to illustrate the slimy green weed and the algae growing on the timbers. Note the realistic reflections created on the surface of the varnish. The effect is due to the dark shade of the painted bed underneath.

In this image looking down on the dock, the edge of the water can be seen clearly. It also shows the build-up of the silt concentrated in the corner of the dock.

Another view of the base of the wooden pilings to show the build-up of weed and slime on the timber below the tideline.

The quayside will need a few mooring bollards or rings to be added. For this model I have chosen the twin bollard type. I found some white-metal samples produced by PLM Cast-A-Ways. Looking at the reference photograph, besides the rusting of the metal the bollard tops are painted white. This is to improve their visibility, making it easier to locate them on the quayside when trying to moor a boat.

DRESSING THE QUAYSIDE

With the quay structure complete, the painting finished and the water added, the next stage is to dress out the quayside. I used selected products already on the market for this purpose: some are resin castings and some come as white-metal castings, though of course for this diorama I had to look at what was available in 7mm scale.

The only items I required for the edge of the quayside were the mooring bollards, which I found from the range by PLM Cast-A-Ways. These were first painted with a primer and then with the final colour, and slightly weathered following reference photographs taken of them at Liverpool’s Albert Dock.

The rest of the quayside infrastructure required will be covered in a later chapter, where we will examine items such as the different types of loading crane, capstans and the buildings, together with some of the dressings. Some of these will be relevant to finish the model of Porthwenn.

The finished diorama of Porthwenn. For the project I have just concentrated on showing how to construct, paint and finish the quayside and the dock. The buildings and quayside infrastructure will be the next task. A) quayside B) warehouses C) harbour office D) weighbridge E) stables F) blacksmith’s shop G) capstan H) loading derrick cranes I) loading canopy J) mooring bollards.

CHAPTER THREE

WHALEY BRIDGE AND CROMFORD WHARF

This second model project is based on a canal wharf prototype. I decided to look at an interesting railway in the heart of my home county of Derbyshire, the Cromford & High Peak Railway. It was constructed to link with two canals, and transported limestone and other minerals to the trans-shipment wharves alongside each of the canals. It was built over the topography of high ‘White Peak’; however, the canals were both constructed using the level river valleys of the Derwent and Goyit. To raise the railway over the limestone plateau a number of inclines were employed by the engineers, most of them found at both ends of the line, where the steep sides of the river valleys had to be traversed. The Cromford & High Peak was opened to its full length on 7 July 1831; it was used until 1967 when it was finally closed to all traffic. Most of the track bed today has been turned into the ‘High Peak Trail’. Both ends to the railway have been made into picnic areas, and most of the buildings have been preserved. I will cover the buildings in further detail later in this chapter, in particular when I consider how to build scale models of some of them for the project.

WHALEY BRIDGE

The industrialist Samuel Oldknow from Marple was a major promoter of the Peak Forest Canal, which was built as an extension of the Ashton Canal linking with Manchester. The Peak Forest branch commenced from a junction at Dukinfield. At Whaley Bridge Junction the canal split, with a ½-mile (0.8km) arm to reach the loading wharf at Whaley Bridge, connecting with the High Peak Railway. The other arm of about ¾ mile (1.2km) linked to Buxworth Basin. This canal was engineered by Benjamin Outram and William Jessop; it was on a separate level and was connected by Outram’s Peak Forest Tramway.

The tramway was one of Outram’s major projects, famed nationwide for innovation in the way it harnessed gravity as a motive force for the majority of its length from Dove Holes to Buxworth. At Bugsworth Basin the wagons were pushed into a tipping wheel, which spun them round and emptied their load into the waiting barges. The Peak Forest Tramway was very successful, with Bugsworth Basin becoming one of the busiest inland ports in the country, boasting around 5,000 yards of tramway serving the canal wharf. By 1858 nearly 380,000 tons of stone were shipped out by the tramway and the canal. The rails were to the same L-shaped design as used by Outram on the Little Eaton Gangway, with the rails spiked into oak plugs let into the stone sleepers. One of the many wagons used on the Peak Forest Tramway can still be seen, as it is preserved and on display as part of the collection at the National Railway Museum at York.

PLANNING A MODEL

For this model I have concentrated on the Whaley Bridge end of the Peak Forest Canal, together with the trans-shipment warehouse and the connection to the Cromford & High Peak Railway. I have drawn up a plan for any modeller wishing to ‘have a go’ at this interesting canal wharf, in which I have purposely omitted some of the tracks and shortened the sidings to allow a more operational layout within a smaller space. The plan I have presented I hope does not lose any authenticity for the changes I have made.

The other use of modeller’s licence I have made is to introduce locomotives to work within the wharf. The prototype would only see the locomotives working the wagons as far as Shallcross Yard, and from here they would have been pulled and shunted by the wharf’s horses. Small London & North Western classes of locomotive would have been common, although there are always exceptions – for example, I have seen a photograph of a rebuilt Royal Scot 4-6-0 negotiating the road tunnel to enter Shallcross Yard.

I have included this track plan of Whaley Bridge wharf and basin for anyone wishing to create a model of the western end of the High Peak Railway. A) canal trans-shipment warehouse B) yard weighbridge C) workshops D) girder bridge E) loading derrick crane F) stables.

The model would incorporate a good number of buildings, with the main focus on the trans-shipment warehouse. This building was reduced in size when the second floor was removed, and the re-roofed warehouse was built over the canal, allowing the boats to come right inside so they could be loaded and unloaded under cover. Other buildings required were the stables and weighbridge within the confines of the wharf and yard, while further along towards Shallcross were two rows of terraced housing, together with some more industrial buildings.

The layout plan also includes one other major structure: the bow-strung girder bridge that takes the railway over the River Goyit.

HIGH PEAK JUNCTION OR CROMFORD WHARF

There has always been some confusion regarding the name of this end of the Cromford & High Peak Railway. On maps from 1879 it was certainly called ‘High Peak Junction’, although the Cromford & High Peak Railway named it ‘Cromford Wharf’, as this was where the railway connected with the Cromford Canal. It was the site of trans-shipment originally of goods from rail to canal and from canal to rail.

The Cromford & High Peak Railway was extended from the wharf and trans-shipment sheds to follow the course of the River Derwent. The track bed was constructed on a shelf between the river below and the A6 road above, and extended for about half a mile before reaching the Midland’s main Manchester line through the Peak. At this point the Cromford & High Peak extension split to form two roads of exchange sidings. The railway company named this connection with the main line ‘High Peak Junction’, and the signalbox controlling operations here displayed the nameboard as such until the junction closed in the late 1960s.

The name of High Peak Junction has been resumed today at the wharf site, where a scenic picnic area has been set up alongside the canal. Most of the original buildings have now been turned into a visitor and heritage centre for the visiting public by Derbyshire County Council. The trans-shipment warehouse is also still standing, and has been converted to provide accommodation.

BUILDING THE MODEL

For this model I will present a few options, which will give the modeller a choice depending on how much room is available. The options illustrated will also allow the modeller to choose a scale that fits the space and his aspirations. The first two I have presented as a track plan accompanied by a three-dimensional illustration to show you what the finished model will look like. The third option will be presented in the same way, although this was developed towards a finished 4mm-scale model. The work on this diorama will be explained later, after the first two have been explored.

In this winter scene from 1963 a run of wagons is shown waiting at the bottom of Sheep Pasture Incline, looking up towards the catch pit. The workshops are on the right, and the watertank with its timber base is on the left. Not much has changed in over fifty years, apart from the track being lifted. PHIL WATERFIELD

The now demolished wharf engine shed. In the severe winter of 1963 the canal was completely frozen over. PHIL WATERFIELD

This view, taken in the summer of 1963, shows the rear end of the engine shed. The wharf locomotive on duty is an ex-LMS Kitson 0-4-0 ST. In front of the locomotive is one of the many tender watertanks; most of these were converted from old LNWR McConnel tenders. The Cromford & High Peak became synonymous for carrying water supplies to the isolated farms and cottages along the line. PHIL WATERFIELD

THE FULL VERSION MODEL

The first option is the most ambitious, but anyone attempting it will be rewarded with a very interesting and attractive model – though even if you model this layout in 2mm scale, you will still require plenty of room to accommodate it. The plan has been developed to include both the Cromford & High Peak Railway and the Midland’s Derby to Manchester main line. The plan also includes the Cromford canal running along the centre of the baseboards and including its terminus at Cromford. Another feature of this plan is the River Derwent, meandering from one end of the layout to the other.

The large option track plan that includes the Midland Railway’s main Derby to Manchester line. If you have the room this would make a super layout project. A) Lea Wood tunnel B) Lea aqueduct C) girder bridge D) Wigwell aqueduct E) Leawood pumping station F) warehouse and trans-shipment shed G) permanent way stores H) swing bridge I) watertanks J) workshops and offices K) coaling stage L) engine shed N) Gothic warehouse M) Cromford Wharf O) stables P) Cromford station building Q) waiting shelter R) stationmaster’s house S) station footbridge T) Willersley tunnel U) Cromford sidings signalbox V) PW hut.

To accompany the track plan this 3D illustration should give a good idea of what the finished model would look like.

To create this layout in 4mm scale you would require baseboards at least 4ft (1.2m) deep. The length could vary, depending on how closely you wish to follow the prototype. However, in 4mm scale you would need around 50ft (15m) or more in length to accommodate it. The length, of course, can always be shortened without losing too much authenticity.

As modellers we will always need to reach a compromise so that we create a reasonable looking layout and run realistic lengths of trains on it. So before building a layout such as this, always consider all the factors involved. Just to give you an idea, a ten-coach train consisting of 4mm scale Mark 1 stock, including a 4-6-0 tender steam locomotive, will take up around 12ft (3.7m) in length. As a rule, a train such as this will require a track five times its length for it to look right when running on the layout. Therefore, if you can’t fit this into your space, then look to run much shorter trains, or reduce your scale to 2mm where you could run a ten-coach train without it looking silly! As a rule a shorter train can visually look more convincing. This is because we are observing a much scaled-down version of the whole train.

If you choose to model this option you will also have to consider the construction of the baseboards. The topography will determine just how this is tackled by the modeller. The Derwent Valley will require the creation of different levels that will run the full length of the layout. The lowest of these will be the bed of the River Derwent, and this will be followed by the track bed of the Midlands’ Peak main line.

Next, running on a higher level, is the bed of the Cromford Canal, with the High Peak Railway and its workshops and warehouses all on a slightly higher level to the canal. The last level you will need to accommodate is that of the A6 trunk road. (See the cut-away drawing.)

I would therefore recommend open-topped baseboard frames using a series of accurately cut profile boards to create all the levels required. The plywood boards will resemble a set of steps, although the length and depth of these steps will differ depending on their position. A strip of pine timber can be glued to the top of the side of the step for fixing the base to each level. For the bases I would recommend the use of plywood again.

One thing to consider when building this type of construction is to try to reduce its weight. The best way to do this is by cutting holes into the profile boards, as this will make the construction lighter without losing any strength or rigidity.

Each level can be shaped to follow the course of the river and the curvature of both the railway track beds, together with the canal and the road. The landscaping of the river banks, embankments and land contours can be created by using a plaster-covered mesh. Alternatively use polystyrene or styro-foam, as this can be carved and sculpted to form the land.

If you do choose this larger version of the layout, it will require a great deal of landscaping – but if done correctly it could make an outstanding layout. One reason for this is that the Derwent Valley encompasses a river, a canal, two railways and a road, all running parallel with each other. This alone makes it very interesting; combine this with the landscaping and you have all the elements for a great model.

To finish the landscaping, a layout such as this would definitely benefit from a well produced back scene. This could be painted, or you may be able to create it using digital photography. Either way, time and effort spent on an effective back scene would give a model such as this the depth it deserves.

The other landscaping you will definitely need to address is how to create the water featured on this layout. In this larger version both the running waters of the River Derwent and the still water of the Cromford Canal will need to be created. In Chapter 7 ‘Creating Water, Dressings and Adding Authentic Colour’ I will explain the ways we can replicate different forms of water for our model railways. If choosing the larger model a good number of trees will be required, although the ones at the back can be created using clump scenic foam products. The ones nearer the front, however, and those bordering the river and the canal, will have to be modelled in full.

The full larger model will also require extra buildings and structures to be built. At one end of the layout the magnificent arch of Wigwell aqueduct will have to be replicated, along with the Leewood pumphouse. This impressive building was built in 1849 to pump water from the River Derwent below to top up the canal on the aqueduct. The pumphouse has been completely restored, and the steam-powered beam engine operates on a few weekends throughout the year.

Moving to the other end of the layout, more canal buildings will be needed. Two warehouses stand at the end of the canal at Wheatcrofts Wharf, Cromford. The ‘Wheatcroft’ or ‘Gothic Warehouse’ – so named because of its architectural features – stands on one arm of the canal wharf. The other warehouse is also an interesting building, with a loading canopy finished with hung slates. Other buildings required would be the manager’s house, standing at the entrance to the wharf with a weighbridge office, and stables for all the horses required for pulling the narrowboats and working within the confines of the wharf.

The Midland main line crosses the River Derwent twice along this stretch, once at the Leawood end where the line crosses the river on a steel girder bridge, and at the Cromford end, where just before the station the railway crosses the river again, this time on a two-arched stone-built bridge. Three over-bridges will be required for the main line: the first is another aqueduct, taking the Leawood arm of the Cromford Canal over the railway just beyond the tunnel; the second is positioned to take a lane over the track directly opposite the High Peak Workshops; while the last one is the station footbridge, giving access to both up and down platforms.

At this end of the layout you will need to construct the platforms and buildings for Cromford Station. The buildings at Cromford were erected by Joseph Beresford & Sons in 1874 to a French design by G. H. Stokes, the son-in-law of Joseph Paxton. The buildings here consist of the main station building with central booking hall, together with a ladies’ and gentlemen’s waiting rooms on the down platform. The up platform features a very ornate waiting shelter with a spired clock tower in the centre. The only other building on the site is the stationmaster’s house, which resembles a French château. The platforms at Cromford terminate at the north end with the portal of Willersley Tunnel. This tunnel, along with Leawood tunnel, will form the perfect scenic break for both ends of the main line. The main line would benefit from being a circuit with staggered ladder fiddle yards on the up and down lines. There is also the extra option of including Cromford sidings if space permits. (See the added section provided on the track plan.)

THE CROMFORD WHARF ONLY MODEL

The second option presented covers just the Cromford Wharf section of the full layout, and would only require around a third of the length and depth of the larger plan. This version omits the Midland Railway main line, the River Derwent, and the far ends of the Cromford Canal. It also omits all the associated structures and buildings, together with the extra landscaping required. The model only includes the Cromford & High Peak Railway, which became part of the London & North Western Railway. This company was, of course, a direct rival to the Midland Railway, which owned the main line running through the Derwent Valley. The London & North Western did, however, connect with the Midland when it was extended to reach the exchange sidings at High Peak Junction.

This track plan offers the choice of modelling the whole of the Cromford & High Peak Railway alongside the Cromford Canal. The model includes the wharf and trans-shipment warehouse, together with the C & HP workshops and the engine shed, all fronted by the canal. A) C & HP Railway workshops and offices B) swing bridge C) engine shed and coaling stage D) yard crane E) warehouse and trans-shipment shed F) winding hole G) goods office H) weighbridge I) permanent way stores J) smithy K) watertanks.

3D illustration to accompany the foregoing plan to give a good representation of the finished model.

For this smaller version of the layout I would advise working in 1:76th 4mm scale, although it will still be a long layout unless the track is shortened in the sidings. As modellers we will always have to compromise and condense our models to fit into a smaller space, though if done sympathetically the condensing can also look more convincing on the eye. The prototype allows for the railway to enter and exit at two points. The first consists of the two tracks leading to the bottom of Sheep Pasture Incline. This has been shortened slightly to keep the railway on the level: on the prototype the track starts its ascent on the incline about 100 yards before the A6 over-bridge. The bridge on our model will create the scenic break, with the tracks beyond leading to a sector plate or cassette fiddle yard.

The second is the single track on the prototype leading away from the wharf to link up to the exchange sidings at High Peak Junction. On the model a short length of this leads off the layout to another fiddle yard. For the scenic break I have placed trees to mask the trains as they run on to and off the model.

The wharf site is roughly divided into thirds, from left to right: the first third includes the warehouse and trans-shipment shed; the second third is composed of the sidings together with the weighbridge office and the lengthmen’s huts; while the final third features the main High Peak Workshops and associated buildings. At the far right end of the final third is the engine shed, where the locomotive that would work the wharf was stabled.

The Cromford Canal, together with the towingpath, runs along the front of the layout from one end to the other. Carefully positioned trees mask where the canal runs off the model, just like the railway. Gritstone walls front the layout supporting the canal towpath, with more walls at the rear along the side of the A6 road. The same gritstone appears on the lengths of retaining walls holding the earth banks away from the railway.

This model would be a good choice for a canal wharf project. It does not have all the advantages of the full layout, but still creates plenty of visual interest as well as offering a host of operating opportunities.

THE CANAL WHARF DIORAMA PROJECT

For the third version of Cromford Wharf I have presented for this book is in the form of a diorama. The diorama will feature only part of the other two layout plans, providing a practical project. I have purposely chosen the section of the wharf to include the warehouse and trans-shipment shed. The length of the baseboard is only 4ft (1.2m) and the width has been restricted to only 14in (36cm).

With the restricted size, compromises have to be made even on this selected section of the wharf. I also decided to move the weighbridge office and the lengthmen’s huts from their original positions to appear closer to the warehouse. As modellers we can cheat on a prototype and move buildings or other features to fit into our plan. Just be careful to avoid any crowding of buildings, and your model will still look authentic. If you are not sure of the positions, make mock-ups first, which will give you a better idea.

The project started by making a survey of the site; although the track has long gone, all the buildings still remain, along with the canal. A few visits were made to take photographs, and some measurements were taken. I also managed to obtain a large-scale Ordnance Survey map, drawn and revised in 1924. This gave me an accurate track plan to this date to follow for the model.

After further research of the site and on the Cromford Canal itself, I decided to set the diorama between the mid-1920s and 1930s. The canal was still used at this time for carrying coal and other materials, although by this date it had been truncated after the final collapse of the Butterley Tunnel in 1900. Coal was the main cargo, which was transported by local merchants Nathaniel Weatcroft & Son and W. Dawes & Son on their fleet of narrowboats. The coal was shipped from the collieries at Pentrich and Hartshay on the eastern end of the canal. The coal would have been offloaded at various wharfs along the route, including trans-shipment for use in the engine houses along the Cromford & High Peak Railway as well as the nearby cottages.

THE HARD LANDSCAPING

The wharf running up to the edge of the canal was set with different sized cobbles of local gritstone. I have replicated these on the model using Das modelling clay, with the cobbles all scribed out and painted. The Das was taken over the edge of the canal, with all the edging stones individually scribed, together with the facing walls. All the retaining walls running along the back of the diorama were given the same treatment, and finished using the scribed Das again.

The small diorama, which concentrates on the wharf and the transhipment warehouse only. This diorama is the subject for the canal wharf project, focusing on construction methods for the wharf and the associated buildings. The construction methods used for the wharf also feature on my second DVD production ‘Creating the Miniature Landscape’. A) warehouse and trans-shipment shed B) goods office C) yard crane D) weighbridge E) permanent way stores.

The existing 4mm-scale model depicting High Peak Junction and Cromford Wharf, showing the C & HP workshops in the centre and the swing bridge in the bottom right. The model was built by Peter Barnett in 1984 and is in the workshop building with the hipped roof; it forms part of Derbyshire County Council’s Visitor Centre at High Peak Junction.

The small office connected to the workshops at High Peak Junction; note the tall LNWR signal post alongside.

Another view of the workshop complex, looking towards the bottom of the Sheep Pasture Incline.

One of the two watertanks standing at the foot of the Sheep Pasture Incline. The tank is supported on a timber base; originally a coaling stage was also provided alongside.

The canal swing bridge at High Peak Junction, with the workshops visible in the background.

The trans-shipment warehouse and extended canopy viewed looking along the wharf. The rails ran between the pillars supporting the roof of the canopy, and through the large doors just visible in the photograph.

In this view looking along the old track bed, the goods offices are nearest the camera, with the main trans-shipment warehouse and canopy beyond. Note also the loading canopy over the side doors to the warehouse, and the loading gauge suspended from the long cross beam.

The main trans-shipment warehouse from the railway side. The wharf can be seen under the extension canopy.

The weighbridge office, built from local stone. Long gone now are the exchange sidings, which would have been located in front of this building.

The track is all 16.5mm gauge, using SMP Scaleway lengths and points. I preferred to use this as the bullhead rail profile and correct British sleeper spacing and chair detail to look more authentic. The track was ballasted using fine sand and grit to replicate the ash ballast used on the prototype. Most of the track on the front of the wharf is set within the cobbles. I had to pay particular attention along the inside of the rail to allow for the flange of the rolling stock. A groove was scribed out to the correct depth, using a wagon to keep checking that it would run freely along these sections of track.

The canal was created by painting the bed using Payne’s grey and yellow ochre oil paint. Layers of clear varnish were then brushed over this once it had completely dried. (I will discuss the creation of stillwater for canals in more detail in a later chapter.)

THE SOFT LANDSCAPING

A small amount of landscaping was required on the diorama above the retaining walls, and the foundations for this were made using the card mesh process. I regularly use this method as it is cheap and gives good support for the scenic areas. The card mesh can be made by cutting cereal packets into strips about 15mm wide; these are then glued to supports attached to the back of the retaining walls and the back profile boards (see illustration on page 63). With these now fixed into position, more strips can be added running in the opposite direction; these can be woven to form a mesh, which when completed will form a substantial sub-base ready for the next stage.

Plaster bandage or ‘Mod-Rock’ was then cut into strips before wetting and laying over the cardboard mesh. This was then left to dry off, when the plaster became a solid foundation. I tend to brush on an extra layer of plaster, though this time mixed with a little PVA glue. I find this extra coating just gives stability for the scenic materials to be added on top. Before this latter stage, however, the plaster will need to be painted a ground colour to represent the soil.

The scenic materials used were a mixture of carpet underlay felt, teddy-bear fur, static grass fibres and Woodland Scenics foam flock. The bank above the retaining walls is composed of rough grassland, and I found mixing the materials gave the best results. A certain amount of scrub, such as brambles, was replicated by using rubberized horsehair and natural lichens. Finely grated foam flock was then added by sprinkling it over the horse hair and lichen, using hair spray or spray mount to fix it into position.

A small strip of land was left bare, for the allotment gardens to the cottages. To this I added a few crops in regimented rows growing in the soil. Most of the vegetables were modelled, as they had just gone over. This is because this diorama was modelled in the winter months rather than in the spring or summer. This also applied to the grassland with most of the grass was dying back: the natural colour of teddy-bear fur replicates this perfectly. Observation will reveal that even in mid-winter, some weeds remain green, and the foam flock available from the likes of Woodland Scenics will give a convincing replication of these.

DRESSING THE MODEL

To finish this diorama a few extra details such as the loading crane and loading gauge would need to be included. Other dressings such as sleepers and chairs would be added outside the length huts, together with a bench and a number of tools. Extra piles of timber baulks can be positioned on the wharf for loading the boats. A few figures of workers engaged in loading duties would be required to populate the wharf. Last of all are the locomotives and wagons required to shunt in and out of the wharf. The wharf stabled its own locomotive for these duties, and provided an engine shed to house it. After the extension was added to link with the Midland main line at High Peak Junction, other locomotives could have shunted as far as the wharf.

This photograph is for reference, as it shows the north portal of the Leawood Tunnel. This would form the scenic break for anyone attempting the full version of the model. Note that the track has now been reduced to a single line. This was once the busy main Derby to Manchester route running through the Peak.

The loading gauge in close-up, illustrating how it has been suspended from the long cross-beam.

This delightful rustic-looking stone shed would originally have been a smithy. The building is located at the rear of the wharf and close to the road.

For anyone deciding to model the whole scene, this building would make a fantastic feature. The tall building is the Leawood pumping station, which houses the beam engine. The lower building attached is the boiler house, with two Lancashire boilers providing the steam. Connected to this is the tall stone chimney with its distinctive rim. The pumping station was provided to pump water from the River Derwent below to top up the canal over the Wigwell aqueduct. The pumping station is still in operation today, steaming for the benefit of the visiting public on special event days and on a few weekends throughout the year.

This long building along the wharf was built to accommodate the platelayers who maintained this section of the railway. The huts are built from local stone and still exist today.

Two sections cut through the layouts, to illustrate their construction. The top one shows the full version of the layout; the bottom one illustrates the second version with only the length of the wharf featured.

Another view of the workshop office, with plenty of detail evident for the modeller.

This painting depicts one of the local boats, Shamrock, on the Cromford Canal at Bull Bridge, and is included to show the livery of the Cromford carriers W. Dawes & Sons. The livery had to be derived from the tones on a black and white photograph as no official records could be found. It would be perfectly correct to include this boat, along with those of G. Weatcroft & Sons, on a model of the wharf.

LOCOMOTIVES

The choice of locomotives for this diorama will be dictated by the prototype. The wharf’s own locomotives were originally London & North Western classes, which included the ‘Bissel’ 0-4-2 Saddle Tanks, and ‘Chopper’ 2-4-0 Side Tanks. Later the London Midland & Scottish Railway introduced the North London 0-6-0 Side Tanks. After nationalization the wharf saw the introduction of the J94 0-6-0 Saddle Tanks, together with the ‘Kitson’ 0-4-0 Saddle Tanks. The J94 class of locomotive became iconic with the Cromford & High Peak Railway in the later years. Just before final closure a diesel was employed at the wharf in the form of a ‘Drewery’ 0-6-0 shunter locomotive. The J94 class steam loco and the ‘Drewery’ diesel locomotive are available in 4mm scale as ‘ready-to-run’ models. The ‘Kitson’ is available in the form of an etched brass kit from Judith Edge Kits. The ‘North London Tank’ can also be purchased as a kit.

This illustration was produced in 2008, and shows the location of the painting of Shamrock at Bull Bridge. The first quarter of the drawing is from the actual site taken from old reference photographs and Ordnance Survey maps; the rest is completely fictitious, although I have included prototype buildings from other locations. This is a concept worth considering for your models, where factual prototypes are blended with fiction. A) Cromford Canal B) canal bridge C) pigs D) allotments E) weighbridge office F) office G) Scotch derrick crane H) canal basin I) canopy J) yard crane K) coal merchant’s office L) engine shed and coaling stage M) engine crews’ mess huts N) watertank O) PW hut and store P) grain store Q) warehouses R) canal lodge S) blacksmith T) stables U) wharf office V) cottages W) stables.

THE CANAL BOATS

The diorama would require a narrowboat placed on the canal, alongside the trans-shipment shed. I have included a horse boat on the model, built from a kit by Langley Models. The kit is a very good replication of the prototype and is scale length. Some models on the market are far too short, but I suppose if space is an issue then this might be the best choice. The Langley kit comes with the hull and cabin complete in one resin casting, which did require quite a lot of cleaning up. I then painted this using spray paint, first with red oxide, and then after masking, the outside of the hull was sprayed with ‘Humbrol’ matt tank grey.

The rest of the components of this kit are made of white metal; again, I found these needed cleaning before any painting or assembly could take place. I found some photographs of the narrowboats on the Cromford Canal, which gave me reference for the liveries. The only problem was that all the photographs were in black and white with no colour reference available. I have therefore guessed at the colour scheme used on the model, but based on the grey tones of the original photographs.

This is a problem that modellers are always faced with, if trying to replicate the past in miniature: the lack of colour photography from the period before World War II, and the lack of any colour scheme records, which will always restrict the production of a true replication.

The best reference book I could find on narrowboat liveries was Colours of the Cut by Edward Paget-Tomlinson. I would certainly recommend this superbly illustrated book to anyone modelling the boats that plied a trade on our inland waterway system – but it still only concentrates on the larger shippers, and there was no reference to the small companies that were shipping coal along the Cromford Canal.

ADDING THE BACK SCENE

This now completes the model diorama in three dimensions. To finish, a two-dimensional painted back scene will be added, depicting the wooded side of the Derwent Valley.

Under the loading canopy of the Gothic warehouse at Cromford Wharf. Note how narrow the wharf is, providing only enough room for one boat at a time to load at the warehouse.

The south end of the warehouse, with the interesting wooden goods loading ramp provided from the road dock.

The complete view of the entire end elevation of the Gothic warehouse. It shows the canopy and the wooden loading ramp as well as the narrow confines of the wharf.

In this three-quarter view of the Weatcroft warehouse, more detail is evident on the canal side. Note also the castellation on the north end: it is this feature that gives it the name ‘Gothic warehouse’.

Bridge number one, known as Lawn Bridge, on the Cromford Canal, totally constructed from local stone.

One of the many mooring rings embedded into the edging stones. Rings were preferred to bollards along this stretch of the canal.

The other warehouse at Cromford Wharf, with its distinctive slate-hung canopy. The canal at this side was fed from both the Cromford Sough and the Bonsall Brook, with the water from each channelled to form the second arm. The narrowboat belongs to the Friends of the Cromford Canal and is used throughout the summer months as a trip boat.

The large house in this photograph was provided for the agents serving the wharf. Originally the gap between the house and the small office would have been occupied by the stables.

The south portal of Willersley Tunnel: as Leawood Tunnel, this would form the scenic break on the layout of the large version.

In this view the eastern arm of the canal is shown terminating under the canopy of the Gothic warehouse.

The north elevation of the trans-shipment warehouse at High Peak Junction. Note the rail entrance doors, with the sign above which reads ‘ENGINE MUST NOT ENTER THE WAREHOUSE’. The stub of the yard loading crane can also be seen in the foreground, together with the full length of the beam supporting the loading gauge.

Cromford station: the tunnel mouth is visible at the end of the platforms. Also of note is the ornate architecture of both the ‘up’ platform waiting shelter and the stationmaster’s house in the background. Notice the spire topping the clock tower in the centre of the waiting rooms. The typical Midland Railway station footbridge is also of interest, provided with sets of steps built from stone. The station was designed by G. H. Stokes, son-in-law of Joseph Paxton, and would make another superb feature on the large version of the layout.

The model diorama under construction, showing the cobbles and the edging stones, again all scribed out of Das modelling clay.

Here the trans-shipment warehouse is shown under construction on the workbench. I have used mounting board for the main material, but as you can see, this has been strengthened with strips of balsa wood, creating an internal frame.

The associated buildings along the wharf were also constructed from mounting board. The weighbridge office shell has already been assembled.

The shell of the platelayers’ or lengthmen’s huts has again been constructed using mounting card. All these buildings will receive a skin of Das modelling clay to create the stone masonry.

The skin of Das modelling clay has been added to the lengthmen’s huts, but as you can see the overspread of clay will need cleaning before any scribing can be done.

The trans-shipment warehouse has also been given a skin of Das modelling clay. The next stage is to scribe out the stone coursing, starting at the corners. The right-hand corner has already been marked out ready for this to start.

Here, the stone coursing has been scribed on to the gable end. You will also see that the grain has been scribed into each stone, together with the mason’s chisel marks evident on the large stone lintels over the entrance doors. It is always worth adding this extra detail as it is prominent on the prototype building. The next stage will be to paint the stonework, starting with a wash of oil paint.

This view of the model from above gives a good idea of the random pattern of the cobbles used; note how they have been set in between the rails. Also metal tie-bands are seen, holding the large edging stones together. The surface of the canal has been achieved by using several coats of clear gloss polyurethane varnish.

Another view from above, clearly showing the different materials at the back of the wharf. The surface of the service road that runs down to the trans-shipment warehouse was created by sieving fine sand into a bed of dilute PVA. Where the roadway crosses the railway, sleepers have been laid; these were replicated on the model with strips of card, although balsa wood could also be used. The front consists of scribed and painted cobble, and the finished result looks quite convincing.

The finished part of the wharf. An LMS Class 3F shunts a short train of wagons; note the ashballasted track at the back, and the track set in the cobbles at the front. Also shown are the stone retaining walls holding back the earth banks behind; all that is required now to complete the model is the back scene.

All the components of the butty or horse narrowboat kit produced by Langlay Models. Before any assembly I decided to give the white-metal and resin hull a coat of red oxide primer spray paint. The kit is available sheeted or unsheeted: I chose the latter. Looking at photographic reference, these boats carried for the most part cargoes of coal, which did not require sheeting over.

This is the narrow boat built up from the Langley Models kit. The boat has been painted using a combination of spray and Humbrol enamel paint; however, some of the decoration was executed using fine felt-tip pens.

CHAPTER FOUR

BLACKWATER QUAY PROJECT

I have presented here another quayside project based on a small river estuary port, but this time I have scaled it down to 4mm 1:76 scale. The diorama is very loosely based on ‘The Hythe’ at Maldon, Essex. Maldon stands on the Blackwater estuary, therefore I decided to call the model Blackwater Quay. As this model consists of only the quayside area it will be presented as a diorama rather than a model railway, although it could be extended to include more railway operations.

I decided to include this photograph, taken at daybreak along the Blackwater estuary, because for me, it oozes atmosphere, which I would love to try and capture in a model.

The track plan illustrated is completely freelance, although the buildings are based on ones found in the area. A) slipway B) boat repair cradle C) loading derrick cranes E) grain warehouse F) warehouse G) the Ship Inn H) wharf cottages I) weighbridge and wharf offices J) boatyard K) boathouse.

This photograph was taken a little later on the same summer’s morning, looking back towards Maldon and the Hythe Quay. With the low, early morning light picking out the buildings, this would provide the perfect backdrop and setting on which to base my model.

A 3D illustration from my plan of the proposed model of Blackwater Quay, using this as reference, together with all the photographs taken. A reasonable representation of the scene should be possible in miniature. A) slipway B) boat repair cradle C) derrick crane D) Thames sailing barge E) grain warehouse F) warehouse G) the Ship Inn public house H) wharf cottages I) weighbridge and wharf offices J) boatyard K) boathouse.

BUILDING THE BASEBOARD

The first task was to prepare the plan, which was drawn to scale, and in this case a three-dimensional interpretation of the finished model was prepared as well. The next job was to build a baseboard for this diorama. When planning the baseboard I decided to use the sandwich beam method for the construction of the frame sides. This would give the strength and rigidity required, but would keep the board as light as possible. The side frames comprise two strips of 60mm wide plywood fixed together with blocks of pine positioned in between as the middle of the sandwich. The blocks used were 60 × 40mm (2.5 × 1.5in) and 80mm (3in) long. Two beams were constructed, one for each side; these were then glued with PVA and secured using screws to the 4 × 2ft (1 × 0.8m) sheet of plywood to create the baseboard top. Two end stretchers were added, made up from another strip of the 60mm wide plywood; these again were first glued before being secured with screws.

The surface of the plywood top was sanded down, and any defects and any screw heads showing were filled. I used standard woodfiller for this, and then sanded everything down flat. I decided to give the board top a coat of paint as this would be the base for the water; I used a dark camouflage brown spray paint, now available in the Halfords’ range. I did not have to cover the whole of the plywood top however, because the quayside and the land beyond were going to be added next.

To do this, I found a couple of sheets of fibreboard (the sort used for the foundation for laminate flooring). These were ideal, as not only are they light, but the thickness was just right, and they are easy to cut with a Stanley knife or scalpel. The edge of the quay was marked on to the boards, and this was then cut and glued down in position on to the plywood. Extra pieces were cut to shape to form the maintenance and boatyard docks.

LAYING THE TRACK

The fibreboard was also ideal for laying the track directly on to it, without any need for cork underlay. The make of track selected to use for this diorama was from SMP, as this representation of British standard-gauge track has the correct sleeper spacing and good chair detail. The track also comes in metre lengths ready for laying.

The points, however – in this case a single slip – would have to be assembled from a kit, which in this case involved soldering the rail on to copperfaced sleeper strips. The point kits are reasonably simple for anyone who is confident using a soldering iron – though I must confess I am not! The point I used was found already assembled, acquired at a model railway exhibition. Always check over any assembled point work like this before purchasing it, making sure that the point blades fit up to the rail and are level; also check that it is attached properly to the tie-bar. Make sure that any fogs and crossing Vs are also level, and that there are no obvious obstructions. It is not always practical, but if you can, ask if you can run a wagon through the point to make sure everything is good.

The model’s construction will start, as always, with a baseboard. In this view the construction for the frame is clearly shown. I opted to use the block and beam method for the sides, to give it both strength and stability. I have also used single strips of plywood for the end stretchers, and 3mm ply for the baseboard top.

The quayside is first cut to the shape, then glued and secured to the plywood baseboard. I used 9mm fibre insulation board for this, the type used for the foundation under laminate flooring.

The single slip point was going to be fixed down first, before any further fixing, so it was placed in position with the tie-bars marked where they appeared on the baseboard. The point was then taken away so that two slots could be cut through both the fibreboard and the plywood underneath: these slots are to accommodate the operating pin from a point motor fixed underneath the baseboard. The pin will then locate with the tie-bar, providing the mechanism for the point to be switched over to the desired direction. Before fixing it might be worth drilling a few holes for the wiring of the point. Once this has been done and tested, the single slip point can be finally fixed into position. I used a few track pins first, the idea being that these would either be lifted out or cut off later when the glue and ballast had secured the point in position.

Now the rest of the track can be laid to fit up to the point. Most of the track would be on a curve, with just the siding into the boatyard and the wharf remaining straight. To achieve the gentle curves required, I would recommend using one of the track templates supplied by the likes of Peco. Fishplate joiners can be used for any joints, though make sure you use the correct ones required for the electrical circuit to work properly. The lengths of track were first pinned in the same way as the point, before the glue and ballast were added to secure it to the fibreboard. It would be worth looking at the baseboard joins now. This is a tricky job, which must be right in order for the trains to run freely from one board to another. You will also have to make some kind of electrical connecting method to continue the electrical contact over the join.

The best way to join the boards together and make sure that everything is aligned over the joint is by using pattern-maker’s dowels. The sets of dowels come with one male and one female: the males would be fixed to the end stretcher of one board and the females fixed to the end stretcher of the next board.

BALLASTING AND PAINTING THE TRACK

Moving back to the track, all that remained to do was to ballast and paint it. First, I mixed the fine 2mm-scale ballast with some barbeque ash, and sprinkled it over the track. I then carefully brushed it off the tops of the sleepers and the tops of the rails, and anywhere else where it had spilled over. The next stage was to soak the grains of ballast and ash with water, using a garden mister: this will gently soak the ballast without washing everything away.

The track layout and the edge of the quayside can be seen clearly in this view. The left-hand side has been cut away to accommodate the boat repair yard, together with its slipway.

The next task was to make up a mix of PVA with water, roughly about 50 per cent of each. It is always worth adding a few drops of washing-up liquid to the mix, as this will help break down any surface tension that might occur. To apply the diluted PVA you will need either an eye dropper or a syringe; load this with the mix and then squeeze it out into the damp grains of ballast and ash. The liquid PVA will spread between the grains, bonding them together and bonding everything to the foundation, before leaving it to dry off completely.

The ballast and the track can now be painted, using oil paint for the ballast and Humbrol matt enamel for the rails and chairs. A mix was made of oil paint using Payne’s grey with small amounts of yellow ochre and mixing white added. A good amount of turpentine was added to this to make a wash, which was then brushed over the ballast. The wash of paint will flow and soak into the grains, giving convincing results. I used a mid-brown Humbrol No. 82 to replicate the rust colour of the rails and the chairs, using a fine No. 1 brush to paint them.

CONSTRUCTING THE QUAYSIDE

Moving away from the track work, a start was made on the quayside. The walls are made of two different materials, the main quay from stone masonry and the walls of the boatyard area from timber. Starting with the boatyard, I looked around for the best material to replicate its construction; I finally decided to use matchsticks, which would be about the right size for the planking at this scale – although the prospect of fixing these together was rather daunting at the start! But once I had laid and secured the first few rows it did not seen too bad, and it wasn’t long before this section of quayside wall was complete.

The quayside walls along the stretch for the boatyard are made using timber planks. I decided that matchsticks would be fine to replicate the material at the scale I was working to.

This construction process did take quite a while, but the result was rewarding.

The finished result.

The matchsticks were glued together with an impact adhesive, trying to prevent the glue from wandering on to the face of the sticks. The matchsticks did require cutting from time to time, especially on the construction of the corners to the docks, but overall the finished result looked reasonably convincing. All that remained was to add the wooden pilings at regular intervals across the front. I used balsa-wood strip for most of these, although rocket sticks were also used again for a few.

Now moving on to the main quayside, this was going to slope up to the highest level from the boatyard end; I used a strip of mounting card with the slope cut at the appropriate end. This was then covered with a thin skin of Das modelling clay applied into a coating of PVA. Special care was taken to make sure that the wall stayed flat when it was drying out, as the clay and the PVA glue will both shrink when drying, and will tend to warp a strip of card like this. To prevent this happening I put a couple of heavy books as weights on to the strip while it was drying, leaving it like this for around twenty-four hours. I could then move on to scribing out the stone masonry: I followed photographs of various prototypes, and this resulted in a convincing-looking quayside wall.

The last job was to fix the wooden pilings into position. For all of these along this section of quay I used old spent rocket sticks, which suited the purpose perfectly.

The next task was to create the quayside on top of the facing walls. For this I used various types of card, although foamboard was mostly used in its construction. The boatyard area just needed filling in up to the top level of the planking. The main quay, however, had to be built up, especially at the high point, to make a platform, with the level ground on the railway siding side. This was constructed from strips of 3mm foamboard, creating a framework to support the top of the quay.

The tops could all now be cut to shape and glued to the sub-base, and in the case of the platform, on to the prepared framework. I used the 2mm mounting board for all the tops, which was then coated in PVA, before another thin skin of Das modelling clay was applied. Once this had completely dried off, the cobbles and edging stones were all scribed out – a fairly long laborious job, but well worth it for the results achieved.

Starting to add the Das modelling clay along the quay’s surface.

PAINTING THE QUAYSIDE

Before moving on to the water again, the quayside together with the facing walls would need to be painted. As for all my painting projects, I used artist’s oil paint. I started with the timber planking, and mixed a colour to represent the ageing timbers, all the time following reference photographs taken of such timbers. The paint from the tube consisted of Payne’s grey, Naples yellow and mixing or titanium white, mixed with plenty of turpentine to create a wash. When applied to the wooden matchsticks, representing the planks, the paint wash soaked straight into the grain. This was also the case with the other wooden parts used on this section. I still intended to follow this up with a drybrushing technique, to give that aged silvering finish to the dry part of the old timbers.

The next painting challenge was to create the stone masonry colour along the main quay walling. This was executed in exactly the same way as the 7mm scale wall on the Porthwenn project covered in Chapter 2, using a wash of paint first before drybrushing to finish.

The next painting stage was to look at creating the tide or high water mark along both walls; this was simply achieved by using a darker colour to anywhere below this line. The process was explained in the previous chapter, though always be aware of the scaling down required. The seaweed and slime would be best replicated by just using paint in the smaller scale perhaps. The clear varnish to create the wet look will still need to be added, but keep this to a minimum of one light coat only.

The tops can now be painted to pick out the cobbles used, and the edging stones to the main quay. The technique and paint used to replicate this has already been explained, but just be aware of the scaling down of colour. You may have to go over the dry brushing a few times to achieve a weathered finish to the cobbles.

While we are looking at the painting techniques used on the model, it will be worth now going over the water with another coat of paint. For this I mixed some burnt umber and yellow ochre, together with a small amount of terra verte. This gave a deep colour, to represent the depth to the water required along the front of the quays. This coat will take a few days to dry before any more work can proceed on the diorama.

Here, the first coat of paint is applied to the river. I have used ‘Camouflage Brown’ from the Halfords’ range of acrylic sprays. This was sprayed straight on to the face of the plywood, though first, any defects in the ply, or any screw heads showing, were filled with woodfiller and sanded clean.

In this photograph the slight ripple has been added to the surface of the water. This was achieved by using ‘No More Cracks’ ready-mixed plaster filler. By using a dapping technique a reasonable effect can be obtained.

Once the plaster was dry, the whole of the surface area was painted again. By using artist’s oil paints, a mix of raw umber, Payne’s grey and yellow ochre resulted in a colour that resembled the depth of the water.

The next stage was to add a skin of Das modelling clay to form the top of the quaysides.

More Das clay was then applied to the area between the quayside walls and the edge of the sidings.

The fine ash ballast is added to the area edging on to the sidings. This was bonded to the surface using diluted PVA.

Once the ballast had dried, it was painted with a wash of oil paint. The rails and the chairs were also picked out using rust brown colour enamel paint. The painting of detail such as this will require careful attention using a fine brush.

EXTRA FEATURES

Once the paint is dry, a few extra features will need to be included in the docks alongside the boatyard: a wooden cradle, a slipway and wooden runner rails.

WOODEN CRADLE

A wooden cradle is provided so that boats can be worked on at low tide. The boat would simply have been positioned and anchored on the high tide over the cradle, and when the water level receded, it would be left sitting high and dry on the cradle allowing the hull to be worked on. However, this type of cradle was designed for flat-bottomed craft, and would be of little use to boats with a keel.

The cradle on the model was constructed by once again using lengths of spent rocket sticks. The first task was to mark out the position of the cradle on the surface, and locating where the upright legs would stand. Holes were then drilled straight through the baseboard top to accommodate them. For this scale, I used a 4mm drill bit to fit 4mm square posts or legs. These had been pre-cut to length and fitted snugly into the holes drilled, before being glued in to secure them. The cross-bar beams were then cut to length and fixed across the upright legs. I used track pins to make the fixing although I did use a little glue as well. The two bars at each end were purposely cut shorter to accommodate the bow and stern ends of the boats.

The construction of the boat repair cradle, using 4 × 4mm strips of wood.

The finished result, painted with oil paints to represent the aged and weathered timbers, with varnish added to the timbers that are submerged under the water when the tide is in.

To add to the ripple in the surface of the water, I experimented with the ‘Making Waves’ product from ‘Deluxe Materials’; the white resin was dapped on, trying to keep the direction constant.

The ripples and small waves created can be seen after a top coat of clear varnish has been added. Careful attention was made when applying the varnish around the boat repair cradle.

The quayside to the boatyard is now complete. The strip of ground between the quay and the railway sidings has been landscaped to represent the rough grassland and weeds that occupy it.

The cradle was painted in the same way as the timber walling to the quay, although because it would be below the waterline most of the time, it was given that slimy green appearance with paint, and varnish was added to create that damp finish to the timbers.

THE SLIPWAY

The other feature along this quay is the slipway: this was made up from various pieces of card with the front edge cut to a very shallow angle to meet up with the surface of the water. The top of the slipway was coated using a thin coat of ‘No More Cracks’ plaster mix to replicate the concrete textured surface, with the sloping sides coated at the same time.

WOODEN RUNNER RAILS

The last feature to be constructed was the wooden runner rails positioned down the centre. These were provided to haul the boats carrying a shallow keel up and down the slipway. It was constructed from two lengths of 3 × 2mm pine, with spacers made from mounting card fixed and spaced out in between.

The finished result, with the concrete surface painted using artist’s oil paints. I have also added a little green where the slipway has been under the water, to represent the green seaweed and algae coating the concrete and the timbers.

The product ‘No More Cracks’ was used to represent the concrete surface of the boat slipway. Also the rails have been added to accommodate the boat keels.

A photograph taken at Liverpool’s Albert Dock basin to illustrate the build-up of green algae and weed found on the waterline of this cobbled slipway.

The wooden quay walls to the boat repair yard on Maldon’s Hythe Quay. These were replicated on the model using matchsticks.

Another view to illustrate the boatyard junk and paraphernalia found at the same yard. This is all worth adding to the model to give authenticity.

FINAL PAINTING

With the construction work completed these features now required painting. This was carried out in the usual way using a wash of oil paint first, followed by dry brushing. The colours used from the tube were Payne’s grey, Naples yellow, burnt umber and mixing white. These colours were mixed together to give a replication of the concrete used on the slipway. The wooden rails were painted using light greys, with the lower section receiving shades of green where the rails are under water when the tide is covering them. The green was also spread on to the concrete surface of the slipway to replicate the seaweed, slime and algae building up at the bottom. To finish the slipway a coat of varnish was applied over the green to give the impression of this area being damp.

This completes the quayside project as far as we need go for this book. I have filled in the area between the ballasted track and the cobbles of the boatyard quay: being unkempt, grass and weeds have colonized this strip of land, and I have tried to replicate this on the model by using a mixture of readily available scenic materials. First I used the ‘summer grass’ static grass fibres from Green Scene, and some dry grass from Double O Scenics; both of these were applied using the static grass applicator. Next, a few clumps of teddy-bear fur were added. To complete the scene, Woodland Scenics foam flock was also added to represent the weeds.

CHAPTER FIVE

MODELLING THE BOATS

When it comes to modelling the boats on inland waterways, rivers and estuaries, basically they come in two categories: wide-beam craft and narrowboats.

WIDE-BEAM BOATS

Wide-beam boats, as the name suggests, are those built to a wide beam in order to carry more goods. These boats were to be found sailing and plying a trade on the navigable rivers and the larger canals, as well as coastal sea-going craft. The boats range from steam packets and sailing barges to the not-so-glamorous scrap-carrying barges and Tom Puddings.

KEELS AND SLOOPS

Of all the British inland waterway craft, there was probably no vessel more distinctive than the Humber sailing keel. These boats had a single mast with a square rig, which follows the traditions of our Norse and medieval ancestors. The keels had many variants, determined by the navigations on which the craft were employed. Some of the keels had to rely on horses or tugs to pull them and did not require any rigged sail, while others sailing the river estuaries, and those that made coastal passages, carried enough sail for the job in hand.

The original keels were built of wood, but later iron and steel keels were built right up to the 1930s. The majority of keels were owned by large carriers such as Furley & Bleasdale, operating from the Yorkshire side of the Humber.

The sloops had basically the same hull and like the keels had many variants, and were designed to sail the inland navigations. However, most were in fact restricted to the Humber estuary, with a rig that suited the river’s conditions. The main cargoes included sand and gravel from the Trent lowlands and chalk stone from Barton. From Lincolnshire they regularly carried building materials such as bricks, tiles and cement, while the smaller market boats carried vegetables from Barton to Hull.

Both these types of boat were heavily decorated with elaborate artwork. The hull colours were very distinctive, with blue and green being the most popular; however, yellow was the preferred colour of Farleys of Hull. The Trent Navigation favoured white, while red was the choice of John Hunt of Leeds. The later boats with steel keels did not have the elaborate decorative embellishments of their wooden counterparts, apart from the timber heads, rails and beadings, which were picked out in contrasting colours.

SHEFFIELD KEELS

The Sheffield keels were powered by sail, steam and motor. They worked both the Sheffield & South Yorkshire and the Sheffield canals, and were also common carriers on the Aire & Calder and the River Ouse. William Bleasedale was one of the major owners working boats out from Hull. These boats carried a blue and white colour scheme until they came under the control of British Waterways and were repainted in the familiar corporate colours of yellow and blue.

The owners of Swan Flour Mills in Hull employed six steam keels to work between Hull and Rotherham. These boats wore an overall green livery with the hawse plates painted in a diagonal red and white pattern. The funnel was white with a black cap, and it was hinged to negotiate the low bridges. The principal cargo carried by the Sheffield keels was coal, grain and of course from Sheffield, steel.

WEST YORKSHIRE KEELS

Also members of the keel family were the shorter Yorkshire keels, more commonly known as West Country boats. These boats would travel over the Pennines to the ports of Manchester and Liverpool. This type of boat was also employed on the Calder & Hebble navigation. Most of the fleet was painted in a yellow and black livery, though with additions of red, green and sometimes blue, making the latter similar to the British Waterways livery.

THE YORKSHIRE TANKERS

The two companies that played a major role in canal and river tanker operations were Whitaker and John Harkers. The main cargoes were creosote and petroleum, carried in drums until bulk liquid carriage started in the 1920s. The Whitaker barges were painted in a mainly red livery, while the John Harkers fleet adopted a blue colour scheme.

STOVER CANAL BOATS

Devon is not really noted for its canals, and the Stover Canal was only around 2 miles (3km) long. It was built to link the navigable part of the River Teign estuary with Teigngrace, where the trans-shipment point was originally established with the Haytor Granite Tramway. The barges were wide-beamed, and consisted of flat-bottomed wooden hulls. They were equipped with a single square-rig mainsail for use on the Teign estuary when the tide permitted passage. They mainly carried ball clay and granite, which would be trans-shipped on to larger ships at Teignmouth; they would return with loads of coal, timber and sand.

In appearance their hull was tarred black, with the gunwales picked out in white or green. The Great Western Railway took over the ownership of the Stover Canal, and in the later years of its existence the barges were pulled first by steam and then motor tug boats.

TAMAR KETCHES

The Tamar ketch was a shallow-bottomed boat with two or sometimes three masts. It was a small class built specifically to trade cargoes up and down the River Tamar on the Devon and Cornwall border; in particular it transported locally mined copper and tin ore to Aberdulas in South Wales for smelting. On the return journey the boats would be loaded with limestone or coal, to be broken and mixed together for burning in the lime kilns to produce quicklime. This would be used as a commercial fertilizer, to be spread on local fields to sweeten the acidic soil. Alternatively the coal was used to fire the boilers of the myriad steam engines that abounded around the mines.

The ketches normally required a crew of three; they would land on the (high) tide, when the crew would manually unload around 15 tons of ore. The coal or limestone carried on the return journey would again have to be manually loaded, and the ketch would set sail on the next but one tide. The return journey could be hazardous, having to battle the rough seas, especially around Land’s End and the Lizard Peninsula. This back-breaking exercise would be repeated again on arrival, and it was hardly surprising that physically these men were completely worn out by the time they reached the age of thirty. The ketches were often built at the small boatyards spread along the Tamar. One such ketch was the Gladstone, which today can be seen at Morwellham Quay Museum. She was built at Goss’s boatyard, which now stands under the Calstock viaduct. Goss’s was a typical small boatyard, and there is a model of it at the National Maritime Museum in Greenwich.

The ketches usually lasted a long time in service, being largely in salt water, which preserved the timber hull. To counteract the fact that they spent half their life in fresh water, which would rot the timber, a characteristic feature of the ketch was that it carried boxes containing rock salt, fitted under the beam shelf. The decks would be regularly washed down with salty water and left overnight because the salt would pickle the wood; the heat of the sun the next day dried all the salt into the timber.

The names given to the ketches did not follow any pattern as such, with most being named after a member of the owner’s family, usually the daughter. Some of names listed at the Appledore Maritime Museum are Clare May, Garlandstone, Shamrock, Kathleen & May, Amazon, Emma Louise, Brazil, Two Sisters, Tamar, Atlantic and Flora May.

NORFOLK WHERRIES

The rivers and broads of Norfolk demanded an adaptable craft. Originally square-rigged keels were used, but from the eighteenth century a gaffed wherry became the obvious choice. These vessels were easier to sail, and having a saucer-shaped hull were ideal for a shallower draught when loaded with cargo. The wherries survived, though in lower numbers, right through to the 1930s. The main shipping cargo for this part of the land was sugar beet and bricks for local building. One of the Norfolk wherries, Albion, survives today and has been fully restored, and a scale model of this craft is also on display in the collection at the Merseyside Maritime Museum in the Albert Dock, Liverpool.

The wherry’s colour scheme was fairly standard, with a black hull and black sail. The coamings above the hull were painted in blue and white bands, and all the hatch covers and boards in red. Blue, black and yellow beading was used on the cabin panels. The mastheads were heavily decorated, with bands of colour and usually a star painted around the halliard sleeve pin bearing. The name of the boat, together with the port of registry, was picked out on the panels at the front, flanking the mast.

THE THAMES AND MEADWAY SAILING BARGES

The Thames sailing barges were not totally inland craft, although they did use the navigable rivers and larger canals. They were built in large numbers and were synonymous with the Thames. Their elegant shape and full sail, together with their familiar bowsprit, made them a well loved craft. Thames sailing barges would often cross the North Sea using detachable leeboards, but their main routes involved carrying cargoes up and down the east coast. The owners would decorate the barges with elaborate scrollwork. The bulwarks were painted dark greens and blues, and the name of the barge and the port of registry were painted on to a scroll or garter background, positioned each side of the stern post.

A Thames sailing barge; the detail shown includes the stem, anchor, stay fall tackle, windlass, bowsprit and bowsprit shrouds.

One of the bulk grain barges, alongside Chelmer River Quay at Maldon. In the background is one of the grain loading silos.

Looking along Chelmer River Quay, a number of vessels are moored, including the bulk grain barge, a floating dock, a sailing barge and a small coaster.

Another view looking along Chelmer River Quay at Maldon.

Two different designs of stern on the sailing barges Hydrogen and Thistle, both registered at London.

A few of these sailing barges remain; today Hydrogen, registered in London, is one such example of the preserved craft, and there are seven usually moored at Maldon’s Hythe Quay in Essex. These historic vessels are now used for leisure, offering sailing barge cruises, along with corporate hospitality including wedding receptions and birthday parties. One of the cruises includes a visit and history talk about the port of Ipswich and the Thames sailing barges on the River Orwell. Therefore the barges now bring in a very different kind of income from the freight cargoes they were originally built for.

The sailing barge George Sweed moored at Hythe Quay, Maldon.

A small ketch grounded on the Blackwater estuary mud.

The impressive schooner Kathleen and May moored at Canning Dock, Liverpool.

Albert Dock in Liverpool is now home to many historic boats.

WICH BARGES

The River Severn was well known for its various craft, but the most common were the Severn ‘trows’. A group of these vessels picked up the name of ‘Wich barges’. The wooden-hulled, single-masted craft were limited in length, because of having to negotiate the locks on the Droitwich Canal further up the river. The canal was extended to link with the Worcester & Birmingham in the mid-nineteenth century. Salt was the main cargo for the boats in one direction, while coal from South Wales and the Forest of Dean was brought back on the return journey.

The barge hull was painted black, with red along the gunnels, and the masthead was picked out in bands of red and white. The boat’s name and the port of registry were written on each side of the stern post. The Wich barge Harriet still survives, though it is marooned on the banks of the Severn at Purton.

DUCKERS

The name ‘duckers’ was given to the craft operating along the Bridgewater Canal. They were a type of craft known as ‘flats’, and were owned by the third Duke of Bridgewater, before being operated by the Bridgewater Department of the Manchester Ship Canal Company. Before steam-tug towage was introduced, these vessels would have to hoist sail along the River Mersey. After World War II the wooden-hulled duckers were replaced with more modern steel-hulled craft; they were also given diesel engines, and were employed carrying imported grain to the Kellogg’s factory at Trafford Park, Manchester.

The teak wheelhouse of the Kathleen and May. The schooner has been restored to her original condition.

The bowsprit belonging to the schooner Kathleen and May.

Another fine restored vintage yacht moored in Albert Dock.

The Gloucester docks are also now home to historic marine and river craft.

The livery was a black-painted hull with red and green above, with yellow lettering. The later steelhulled craft were given a green and yellow livery. One of these barges is preserved at the Ellesmere Port Boat Museum.

WEAVER PACKETS

The Weaver packets were introduced on the River Weaver by the Winsford salt producers, H. E. Falk. First, the steam vessels were designed to tow an unpowered barge laden with salt to Liverpool or Birkenhead. The salt would be trans-shipped at the docks for export worldwide. More steam packets were built capable of towing up to three fully laden dumb barges. The packets started life as sailing vessels and were originally built with wooden hulls. They remained in service until the mid-1930s. The Vale Royal was built in 1875 and converted to steam power in 1883, and was not withdrawn from service until 1953, although by then she was used as a steam lighter on the Mersey.

The Weaver steam packets followed the tradition of the sailing flats, with bands of colour to the masthead. W. J. Yarwood & Sons continued to build Weaver packets for Bunner Mond and their successors ICI until 1947; these comprised four steamers and five as motor vessels, with Crossley diesel engines. The last packet to be built, Wicham, is now at the Merseyside Maritime Museum, where she has been fully restored.

ROCHDALE BOATS

The Rochdale Canal was possibly the busiest of the trans-Pennine routes. The Rochdale boats consisted of both keels and flats; the keels were built in the West Riding and the flats were built in the yards of Rathbones & Muggs of Stretford. The hulls were made completely of wood up until the last eighteen, which had steel frames to carry the wood planking. These vessels were built between 1906 and 1914. Both keels and flats required horses to pull them along, although steam packets and tugs took over the towing duties along the Mersey and the Manchester Ship Canal.

The Rochdale boats’ livery was a black-tarred hull with red, white and blue above, though white was the prominent colour and the red and blue were used for embellishments; the boat name and company name were cut into the stern rails, painted in black letters.

PUFFERS

The Puffers were synonymous with the River Clyde and gained the name of Clyde puffers, although the vessels were also common on other rivers and canals. The puffer was also, of course, a coaster because of its sea-going capabilities. Although puffers were associated with Scotland, they did venture south to Tyneside and Middlesbrough. Hays were owners of the biggest fleet on the River Clyde; this totalled nearly one hundred vessels, of which most remained in service under steam power well into the 1960s. The vessels that were converted to diesel power lasted another ten years. The early puffers were equipped with a sail. The name originated from the sound given by the non-condensing steam engine, which carried through to the later diesel-powered boats.

Langley Models produce a very good kit in resin and white metal of a Clyde puffer, along with a few other boats in 1/76th 4mm scale.

I hope I have covered an interesting selection of wide-beam craft for you to consider for your model railway and diorama requirements. Nevertheless, there are many other wide-beam craft that I have not mentioned here, and I would suggest you seek out further reference books that specialize in such vessels. Alternatively, trips out to visit the inland waterway and the many maritime museums would be worth considering.

MODELS OF WIDE-BEAM BOATS

There are kits available of a few of the boats I have listed from specialist model boat suppliers, however they do not always match up to the standard scales of our model railways. I would suggest looking through the catalogues or lists on the internet to see just what is available, and what would suit your particular requirements.

If the type of craft is not available in kit form, then you will have to scratch build it. This can be an overwhelming task, and it requires special skills and knowledge of the craft to obtain realistic results. It would be worth trying to obtain some scale drawings and photographs of the craft, if these are available, before you start. This aside, attempting to build a model boat could be very rewarding, giving you the opportunity to try your hand at something completely different to modelling railways.

SCRATCH BUILDING THE Sylvia May

I have included here a guide to scratch building the Tamar ketch Sylvia May, by Chris Peacock.

The model was based round a block of balsa wood, first made to size by gluing smaller blocks together with PVA glue, then shaped with an orbital sander. The mast positions were located, and two 6mm holes drilled to accommodate them; this was done on the pillar drill to ensure that the holes were vertical. These two holes then became the datum for the rest of the boat building.

Next, a template was fixed over the holes with the deck shape drawn out. The template was then used continuously to ensure that both sides were the same shape while using the sander. Once the desired shape had been achieved, the hull was painted black using poster paint. The template was then used to form the deck, which was marked up using a fine marker pen to represent the planking. The decking was given a wash of ochre paint before being glued to the hull, using the holes as fixing points.

Using the vertical shape of the deck as a marker, the two bulwarks were next shaped and cut from 1mm card and glued to the decking. PVA glue was used throughout the construction process, usually applied with a small paintbrush. 2mm pine was used to represent the stanchions, first cut to size before being glued into position to the inner bulwarks. Finally the top rail, made from 4 × 2mm pine that had already been steamed to shape, was glued on top. It is important to realize that problems could easily occur due to the many curves in the design, as the deck is not flat in any direction, simply to allow the water to run off easily.

The masts, jib and bowsprit, and other pieces of mast work, were made from either 6mm or 4mm dowel rods. These were placed into the lathe, although a power drill can also be used to create a slight taper to the lengths of rod. This was achieved by using a fine sandpaper: the tapering produced is not a lot, but it is definitely apparent. Various pieces of additional woodwork were cut from the 2mm pine and attached, again using PVA glue. The gearing to operate the jib was all made with small locomotive gears; these were first soldered together, before being fixed into position. Epoxy resin or Superglue can be used to secure the metal parts to the wood.

The main guy ropes holding the mast in place were made from four strands of wire using a length of 7/0.2 layout wire. This was completely stripped, then four strands were selected and twisted to produce the hawsers. Pins were soldered to the tensioned wire, which had first been placed into the mast. Various suppliers such as Hobbys sell items aimed directly at the model boat builder, such as pulleys, ropes, chain, bells and anchors, and all the other ropework for the model was made from these sources.

When any rope is being threaded through a pulley, it is well worth clearing the hole with a small drill first. For this model, when the rope was at the desired tension, a small blob of PVA was introduced at the point where the rope exited the pulley; it was then allowed to dry. This method ensured that all the rigging remained as it should, without any twisting or snagging, but it does mean there is no way of pulling or lowering the sails into position. However, on a model such as this, moored up against the quayside, the sails would be in the lowered position anyway, so there is no need to change things.

The sails themselves were made from a thin cotton material, bought especially for this task and obtainable from material suppliers found on the market or along the high street. The material was first coloured to a buff shade by soaking it in cold tea. To cut the sails to the correct shape, a paper template was made first, then fixed to the material, which was cut around it. Once cut out the sails were rolled up and tied to the relevant jib. Making templates first and then rolling the material up in this way might seem a waste of time, but it will ensure that only the correct amount of material will be used, which will produce a believable-looking result.

To produce the wheelhouse, 2mm plywood was used, with the doors scribed in to represent planking. Small holes were then drilled for the portholes. The ship’s wheel was procured from Hobbys, and was fixed to a shaft running into the wheelhouse. A piece of timber was shaped and attached to the roof of the wheelhouse as the cradle for the jib to rest against when the sails were lowered.

All that was now left to do was to provide the various winches and dollies, together with the anchors. After referring to photographs at the Appledore Maritime Museum, these details were made up from a mixture of brass, wood and plastic, and components from model boat suppliers.

During the construction process, parts and sections of the boat were painted and varnished. It was felt that this might be an impossible task to do once the model was complete, as trying to paint into all the corners would be very difficult. However, this also meant that whilst carrying out the later work, clean hands and care were needed so as to avoid damaging any of the earlier work.

The painting consisted of only four main colours: black for the hull and the inside of the hold, ochre for the decking and the masts, grey for the bulwarks and finally white for the top rails.

To ensure that all the colours used remained constant throughout the building process, the paint was made up in a large enough batch to last throughout. The paint media used on the model were both acrylic and poster paints.

The name of the ketch is the name of a good friend, which fitted with the traditions of these craft: Sylvia May.

NARROWBOATS

Let us now take look at some of the vessels built to navigate our inland canals with narrow locks. The narrowboats were built with a beam of around 6ft (2m), hence the name ‘narrowboat’. The early boats were all towed by horses; later, a few narrowboats were built with steam-powered engines, though the majority of the later boats had diesel engines. These were known as ‘motors’, and for a greater load-carrying capacity, the ‘motor’ was paired with a non-powered boat called a ‘butty’. This arrangement became common practice right up to the end of commercial carrying on our inland waterway system. From the many narrowboats built, I have presented a selection of the best known to consider for a model. However, before we look at this selection, it is worth mentioning the ‘flyboats’.

This was the name given to the boats that carried high value goods and perishables, and provided a non-stop express service. Flyboating was introduced in the late eighteenth century for both broad-beam and narrowboats. The flyboats were given priority at the locks, and were allowed to overtake other craft and to pass through locks at night. For recognition of priority a symbol was given to the boats, usually in the form of a large red diamond on the cabin side. This fast service required the employment of double crews to keep the boats going day and night. The large carrying company Fellows, Morton & Clayton introduced steam flyboats for the London, Braunston, Birmingham, Leicester, Nottingham and Derby services.

The rear of the boat cabin of the Fellows, Morton & Clayton butty boat Kildare, showing the decorated doors and interior dressings.

The front end of three Fellows, Morton & Clayton boats. Note the forecabin on Kildare.

FELLOWS, MORTON & CLAYTON LTD (JOSHERS)

It would be fair to say that Fellows, Morton & Clayton Ltd were the best known of all the many canal-carrying fleets. The company had both the largest number of boats and range of operations, together with its own warehousing. James Fellows introduced company boats as early as 1837. By 1860 the prospering company was also run by James’s son Joshua, from whom the boats picked up the nickname of ‘Joshers’. During the 1870s Fredrick Morton joined the partnership, and in 1889 the company amalgamated with the well established firm of Thomas Clayton.

The extensive fleet included three of the first steam-powered narrowboats. President can be seen today fully restored, and making appearances at the vintage boat rallies. She is kept along with her butty boat Kildare at The Black Country Living Museum.

The FM & C butties totalled around two hundred at the peak of operations. Most of the boats were constructed of wood, although some had hulls of both wood and iron. Fellows, Morton & Clayton built the majority of the boats themselves at Saltley, Birmingham and Uxbridge. A good number of the butties feature a forecabin, and the preserved Kildare has a good example of this feature; the lowprofiled cabin gave accommodation for boat families’ children to sleep side by side.

Thomas Clayton’s motor Stour, moored in the basin at the Black Country Living Museum.

Rear view of the same three Fellows, Morton & Clayton boats. Note the cabin door decoration and how the boats are roped together.

A closer image of the forecabin of Kildare: this provided the sleeping accommodation for the boat family’s children.

The signwritten cabin side panel of a Fellows, Morton & Clayton boat. Note the colour scheme is of the later red, green and yellow colours adopted by the company. Also worthy of note is the black panel carrying the boat’s place and number of registration.

The company livery in the early days was predominately black and white, with bright red for all the beading and trims and the cabin tops. From the mid-1920s the company adopted a red and green livery with the beading and trims picked out in yellow. The steamers, however, still carried the black and white livery to the end of service. The early style for lettering was white with a light blue drop shadow, with unshaded black lettering on the white panels. The later livery still used white lettering, but this was shaded yellow with green flashes added.

SAMUEL BARLOW COAL CARRIERS

The well known carrier for coal on the canal network was Samuel Barlow. The fleet was based at Tamworth in Staffordshire and at Birmingham, and transported most of London’s coal via the Grand Junction, now the Grand Union Canal to the capital. The coal was extracted from the pits around Coventry, Bedworth, Nuneaton and Tamworth. By 1944 the company had a fleet of seventy long-distance boats, besides the local day boats.

The grandson of Samuel, Edwin Barlow, started a separate carrying and coal merchant business, and the cabin sides of his boats had the lettering ‘S. E. Barlow Canal Carriers’. These boats were eventually taken over by the Samuel Barlow Company in 1957. The fleet of boats were still in regular service into the 1960s.

The decorative cabin side panel of a Samuel Barlow coal-carrying butty. Note the dark green background colour, framed with a painted wood-grained effect. This elaborate colour scheme remained until the end of commercial carrying on the canal system.

The decoration added to the rudder of butty boat Ilford. Also note the decoration to the tiller arm, which is reversed in its mounting when not in use.

The livery was predominantly a dark green edged on the cabin with a painted wood-grain effect; the beading separating this from the green was yellow. The cabin tops and trims were bright red, along with a red-painted stern and rudder post on the horse boats and butties. The lettering on the cabins was signwritten with white letters shaded with red, while all the boats sported a rose design added to the top corners of the green cabin panels. The non-motors including a rear panel painted with traditional castle artwork.

For those readers interested in both the Samuel Barlow fleet and canal life, I would recommend finding a copy of A Canal People, which presents a portfolio of photographs of Robert Longden. The collection depicts both the families and the working environment of our canals, making it a perfect reference for any modellers trying to capture this way of life on their model railway or diorama.

GRAND UNION CANAL CARRIERS

This carrier came about as an attempt to create a modern commercial system after the amalgamation of the canals from both London and Birmingham and those serving the Derby and Nottingham coalfields. The original fleet of 370 wooden and iron boats was gradually replaced as newer ones arrived. The company ordered various types, although the main classes were the ‘Stars’ and the ‘Towns’, these being delivered between 1934 and 1938; some of these boats were built by shipbuilders Harland & Wolff of Belfast.

The bright colour scheme given to the boats of the Grand Union Canal Carrying Company. Note again the decoration of roses and castles added to the door panels.

The livery for the earlier boats was dark blue on the cabin sides, edged with light blue. The lettering was unshaded white, although the fleet number appears in red with a white outline to the numerals. The beading and trims were also picked out in white, with the cabin tops retaining the dark blue.

Later the livery changed to a bright red for the centre of the cabin panels, edged with the corporate dark blue. The lettering was signwritten in white again, although this had a drop shadow included in the dark blue colour. The fleet numbers were changed to blue, with the white outline retained. The lettering was also changed during the austerity years of the war, when the name that appeared in full on the cabin sides was replaced by the simple initials of G.U.C.C. CO. Ltd. This livery of a more austere decoration remained well into nationalization.

THE POTTERIES BOATS

The best known company for carrying the raw materials used in the pottery trade was Potter & Sons of Runcorn. The boats would carry clay, flint and feldspar in one direction, and return with loads of coal and crated pots in the other. All the original company boats were constructed of wood, and would have been towed by horse. The company only acquired a few motors secondhand in the late 1940s, with the last of the Potter boats trading up until 1958.

The boats had a livery similar to that of Samuel Barlow, with a dark green cabin colour edged with a frame of painted wood graining, with yellow beading. The back panel was decorated with the characteristic design of roses and castles. This type of decoration was very popular with boatmen on the Trent & Mersey Canal, and was known as ‘knobstick’ style. The forward panel was a plain black, with the registration town and number lettered in plain white. The cabin lettering was white with a yellow drop shadow shaded red in the corners.

All the boat names for the fleet began with the letter ‘S’, some after birds such as Seagull for example, while another series began with ‘sun’, for example Sunlight. The boat names appeared in white letters on a red background, this time shaded light blue; the red was extended under the stern. The cabin tops were mainly red, although a lighter green was used in places, including the band on the top of the rudder. For all the elaborate decoration applied, the stove chimneys remained plain black without any brass rings.

THE SEVERN CANAL CARRIERS

The Severn & Canal Carrying Company resulted from a merger with competitor J. Fellows of Fellows, Morton & Clayton. One of the company’s main customers was Cadbury’s of Bournville, although Cadbury’s did have their own fleet of boats. After 1928 Cadbury’s gave up their boat fleet and used other carriers, most notably the Severn & Canal Carrying Company. New, welded wroughtiron motors were ordered from the shipbuilders Charles Hill, of Bristol. This new series of boats was called the ‘Severners’, and was one of the longest seen on our canal system.

The livery was kept simple, with royal blue being the main colour for the cabin sides, edged with plain white. All the lettering was white sans serif without any drop shadow used; however, there was an exception to this: the company used the large cabin sides of the motors to advertise their services, and the company name was also displayed in a curved banner with a serif style of lettering adopted, this time with the initial letters larger than the others. The top corners of the cabin sides were filled with a white scroll design. All the funnels and stove chimneys were plain black with no brass embellishments.

THE RAILWAY COMPANY BOATS

As the railways took over ownership of most of the canal navigations, they also had their own fleets of boats, though a good number of the railway-owned craft were employed for maintenance work rather than cargo-carrying duties. The Great Western had ten boats, and the London, Midland & Scottish had sixteen, with thirteen inherited from the London & North Western and the Midland Railway. The London & North Eastern also had a number of boats, although these were all used for maintaining the navigations.

The liveries of the railway boats were kept very simple. The Great Western adopted a cream and black colour scheme, with cream the predominant colour. The centre of the cabin panel had the initials ‘G. W. R.’ painted in black. The fleet number was also painted black, appearing in the centre of the rear panel. Sans serif letters and numbers were used, although the boat name was more ornate, with block serif letters painted black with a red drop shadow.

The London, Midland & Scottish used a mid-grey as the predominant colour for the cabin side. This was framed with a white border, with red-painted beading and trims. The initials ‘L.M.S.’ were larger than those on the Great Western boats. The lettering was in Clarendon-type face, which was used for the corporate identity for the railway. The letters were white with a black drop shadow, making the letters stand off the neutral grey background.

The fleet numbers appeared in the centre of the rear cabin panel, painted black, with a mid-grey drop shadow used, because this panel was painted plain white. The boat-name panel was also white, with the name of the boat appearing in the same style of Clarendon lettering as the cabin sides, but this time in black with no drop shadow.

DREDGERS AND ICE BREAKERS

Other maintenance boats included the spoon dredgers and the ice breakers. These were both vital vessels, employed to keep a clear passage along the inland waterway navigations.

NARROW-BEAM TUG BOATS

The narrow canals employed a number of tug boats; originally these would have been steam powered, but craft that were built later and rebuilt craft were powered by diesel engines. These tugs were much shorter in length, since they did not require any hold space for carrying cargo. Their main duty was to tow long trains of unpowered barges to maximize load capacity; others were used for towing assistance through the long tunnels on the navigation, while some were employed for the ever-growing tasks of canal maintenance work.

The liveries for the tug boats varied, although for the most part they were kept very simple and did not receive any of the elaborate decorations given to the narrowboats.

BRITISH WATERWAYS BOATS

The canals, just like the railways, were nationalized under the Transport Act 1947 on 1 January 1948. This resulted in a good number of the cargo-carrying fleets owned by navigation authorities being brought together under the body of the Docks & Inland Waterways Executive of the British Transport Commission, which resulted in the birth of British Waterways. The majority of the boats came from the Grand Union Carrying Company, the Severn & Canal Carrying Company, and by 1949 boats also came from Fellows, Morton & Clayton.

A new nationalized corporate colour scheme was needed to identify these boats, and yellow and blue was chosen. The early livery favoured yellow as the predominant colour, edged with a deep blue. Later, however, this was reversed and blue became the predominant colour. The styling was kept simple, and a sans serif typeface was used with a drop shadow. The lettering for ‘British Waterways’ appeared on a gentle curve, with the fleet number or boat’s name positioned centrally in a straight line directly underneath. The lettering was painted in the yellow with a black drop shadow on the latter livery, and blue with a black drop shadow on the early yellow-painted cabin panels.

The later livery also included a new transferred logo, usually in the centre of the back cabin panel. The river class of boat introduced in the later years included a porthole in this position, so the logo on these boats appeared just to one side.

Although the livery to the outside was kept simple, the boats retained the traditional decorative embellishments to the inside. The cabin doors and some of the cabin interior fittings received the roses and castles decoration.

BLUE LINE CARRIERS

The final fleet of narrowboats included here came into existence from a hire fleet called Blue Line Cruisers based at Braunston. From this hire fleet, a new fleet of cargo-carrying boats known as ‘Blue Line Carriers’ was born; although only consisting of a few boats, they existed as an independent carrying organization. However, the contracts soon ran out due to competition from the railways, and also by this time the roads, and the last commercial runs were made in October 1970. One of the last carrying boats was the butty Raymond, which was paired with the motor Roger. Raymond has now been completely restored and can be seen at most of the boat rallies and gatherings.

The front end of three British Waterways’ boats. Braunston church steeple is visible in the background. The graveyard here contains many graves of working boat families.

The rear of the three British Waterways boats in their distinctive blue and yellow livery. Note again the out-ofuse position of the tiller arm of butty Bordesley.

The livery consisted of a blue centre cabin panel, with the name of the company and the Braunston telephone number all appearing in white block serif lettering with a black drop shadow. The company logo was also included: a distinctive large ship’s wheel positioned at the front of the cabin side panel, again painted in white.

The cabin side panels were edged with a painted wood-grain effect, with a yellow trim separating this from the blue panel. The cabin tops were bright red with green trims on the hatch sides. The butties such as Raymond had more decoration added, with the name panel on the stern painted red, and the boat’s name lettered in white with a blue drop shadow. The name panel also included a compass roundel, together with a diamond freeze situated under the first quarter of the cabin. The rudder post was also highly decorated, with another compass roundel appearing in the centre. The stern was painted red, with a collection of roses painted directly under the name panel. The butty would also include a rear cabin panel decorated with a traditional castle. The cabins of these butty boats featured a porthole positioned just off the centre, and to accommodate this, the company name had to be split.

The boats lasted in operation until the 1970s, and would make an attractive addition to any model based in this period.

There are many more narrowboats and carriers that I have not covered here. As always, if modelling a particular location and period in time, I would advise researching these to keep your model as authentic as possible.

The livery given to the boats of the Grand Union Canal Carrying Company, with dark and light blue being the predominant colours.

Fellows, Morton & Clayton butty Kildare moored up at Braunston.

One of the later built, 70ft (21m) long Grand Union Canal Carrying Company boats waiting to go through Dallow Lock on the Trent & Mersey Canal. Note the simplified livery, using just the initials G. U. C. C. Co. Ltd. in cream on a red-painted cabin. Also worthy of note is the addition of the portholes to the cabin sides, these being common on narrowboats that were built later.

The front end of the same motor; in this view the extra-long length is evident, together with the sheeting over the cargo hold.

One of the standard iron-hulled carrying barges. Note the lack of any cabin provided for the boatmen. Barges such as these were towed by horses, or later tugs, and carried loads of coal, limestone or scrap iron. They were a common sight in the Black Country, sometimes seen in long trains roped together. This example was photographed moored alongside the lime kilns at the Black Country Living Museum.

Another type of maintenance boat required to clear the navigation in the depths of the winter months. The boat pictured is the ice breaker Ross, built in 1847 for the Birmingham Canal Navigations Company (the BCN). It is now the only one left of the BCN ice boats, and is the oldest working narrowboat on British canals. It was horse drawn, and was employed for clearing sections of canal between the mines of Cannock Chase and the power stations around Walsall and Wolverhampton.

One of the railway maintenance boats at the Black Country Living Museum. Note the lack of decoration on this boat belonging to the Great Western Railway.

This short narrowboat is the towing tug Coventry.

One maintenance boat that was required on a regular basis was the spoon dredger. This sample has an original riveted iron hull. She was built at the Birmingham Canal Navigations Company workshops at Oker Hill, Tipton, in 1875. She was sold by British Waterways for private ownership, and was rebuilt in 2005–2009 to her original condition; she is now a working display vessel at the Black Country Living Museum.

NARROWBOAT DECORATION

Probably the feature that everyone associates with the fleets of narrowboats is the very elaborate painting. A good amount of the painting was functional, such as displaying the company name on the sides of the cabin, but much more was simply for decoration, and the type of artistry became commonly known as ‘roses and castles’. The decorated boats did not start to appear until the boatmen brought their families to live aboard. Besides the decorative paintwork the boatmen’s wives would display their bric-a-brac collected over the years.

There has always been a theory that the decoration evolved from the gypsies, though there is little proof that this was ever the case. Nevertheless, the style and choice of decoration of a gypsy caravan is very similar to the narrowboat, and this resulted in the boatmen’s families being referred to as ‘water gypsies’.

Flowers, and especially roses, have formed a decorative feature on pottery for many years, and it is therefore highly possible that the original roses and castles were painted by artists who would normally be associated with painting ceramics and clock faces. The same style would then be adopted by the boatyard painters. The inclusion of the castles must have come later as an addition to a painted landscape.

As the amount of boat painting grew, it became apparent that a house style was necessary so the boats could be painted more quickly, so the artwork became much more stylized. This did not, however, detract in any way from the quality that could only be produced by such skilful painters.

The castles were always painted on to a white background, with the blue sky and clouds added first.

Next the water was painted, a lake or a river being the usual choice. The background colours were then added, along with the castles. Lastly, any trees would be painted if they were included in the composition. Some of the painters added swans or sailboats on the lakes, although the main contents varied little. The roses were painted in groups, with the leaves painted first. Each rose would start with a coloured disc, and the petals would be added one by one using a single stroke of the brush. Finally, details such as the veins to the leaves and stems were painted in using a fine brush. It was not only roses that were painted; many boat painters used pansies and daises to fill in the panels.

Looking across the boatyard basin at the Black Country Living Museum. A good number of narrowboats are present, including Fellows, Morton & Clayton steamer President, the ice breaker Ross and W. H. Cowburn’s motor Swallow.

Most of this type of artwork was painted on the cabin door panels and on a panel alongside the main signwritten cabin side panels, but the roses and castles did spill over on to the cabin furniture and items such as the water cans.

More formal decoration was applied to the narrowboats – for instance the cabin backs and fronts were painted with scroll-type designs. The boat owners would have their own distinctive designs, which would identify them on the canal, and which were also applied to the hatch or cabin slides, the latter being fixed over the cabin entrance. These were also painted in various designs, which might consist of a playing card suit as a centre piece, with a scrolled frame of a contrasting colour.

The tiller and ram’s head of the motors were also highly decorated; again these designs identified the boat owners, becoming an elaborate corporate livery. The tillers of the horse and butty boats consisted of eight-sided curved lengths of timber, and were painted in contrasting bands of colour on each side along their length. On other boats the tiller would be divided into vertical bands of colour. The tillers on the motor-powered narrowboats were much simpler, with tubular metal being used rather than wood. This was bent to form a ‘Z’ shape, with the ram’s head running down to the rudder painted either in bands of colour, or in a narrow angled, twisted design resembling a barber’s pole.

The empty hulls of barges moored alongside the lime kilns. Note that this is a separate arm of the canal to serve the kilns.

The top of the rudder post on the horse and butty boats was again decorated with elaborate designs. Bands of colour might be used, with the head picked out in red, blue or black. The sides of the rudder post might be painted with more roses, along with a compass roundel resembling a kaleidoscope pattern. The Trent & Mersey boats favoured a pair of red-painted, elongated hearts positioned back to back on a white background.

Besides the painted decoration, the tillers and the ram’s head would also have elaborate ropework; this type of design was almost certainly the work of the boatman’s wife.

Moving on to the stands and the box masts, these would also be painted, the designs varying depending on the owner: some used solid colour with chamfered edges picked out in a contrasting colour, while others preferred geometrical designs of different coloured diamonds or triangles.

Moving further forwards to the front, the cratch often supported artwork, with the centre sometimes repeating the mast and stands. The triangular sides would also be decorated, again usually with the familiar roses. Other boats had a more simple design applied to the cratch; for example, the Ovaltine boats using this space to advertise their product, with the slogan ‘Drink Delicious Ovaltine for Health’.

A few narrowboats featured a forecabin, a space usually reserved to accommodate the boat families’ children. The cabin would display the name of the boat, signwritten on the side panel and repeating the colour scheme of the main cabin sides. The fore end would again be decorated with geometrical designs or with elongated heart shapes, and the compass or solid roundels might also make an appearance.

Moving to the stern of the narrowboat, the counter of the motor would have bands of horizontal colour, most commonly red and white. The stern of the butty would sport the boat’s name, signwritten to fill the panel space, so the characters would start or end large depending on which side was in view. The letters would be white or yellow on a bright-coloured background of red, blue, green or black; occasionally black letters were used on a white or yellow background. The name panel was edged with a contrasting colour, with either a compass or solid roundel often used. A frieze of diamond patterns would extend along under the cabin sides. The elongated heart pattern could also be seen on some boats joining the name panel to the gunnels.

The boards, funnels, stove chimneys and the cabin tops in most cases did not receive any elaborate paintwork. The boards and cabin tops were painted red or with red oxide, although some narrowboats may have received other basic colours. The funnels and stove chimneys were always painted black, with a number of brass bands appearing near to the top. The steamers and some motors used black only, without any decorative brass bands. The stove chimneys were fitted with a brass garland that hung down the rear and was purely for decoration.

DECORATING MODEL NARROWBOATS

On a model narrowboat, especially those in the smaller scales, trying to hand paint such elaborate decoration would be very difficult, and a suggestion of the paintwork might be a better solution rather than trying to painstakingly paint in every last detail. The signwriting might also be an issue, and an alternative might be to originate the cabin side panels on a computer, using relevant graphics software.

Langley Models include sets of pre-printed side panels and stern name panels, plus some decorated panels and stands. All these can be carefully cut out and glued into position; however, you will be restricted to only what is available in the range.

PLEASURE CRAFT

Over the last fifty years or so there has been a boom in the private ownership of pleasure craft using our rivers and canal systems. This all started around the 1930s, with the upper classes wanting to spend their leisure time ‘messing about on the river’. At this time the boating leisure activities of these few were restricted to the rivers and estuaries and the Norfolk Broads, as the canals were still a going concern for commercial goods traffic and were not suitable or attractive at the time.

After World War II, however, the canals were being run down and were even less attractive, becoming overgrown, polluted and in a state of disrepair. Then in the late 1950s Tom Roult decided to do something about the state of the canal system. He converted an old narrowboat into a pleasure craft by adding extra accommodation; the boat was named Cressey. His task was to try and navigate some of the most run-down canals in the country to prove that they could still be used for leisure activities.

This started a campaign with like-minded canal enthusiasts, who took it upon themselves to clear the debris- and weed-choked canals. All this was done without the consent of the authorities, who tried to block them at every opportunity. Nevertheless, boat rallies were organized by the newly formed Inland Waterways Association, and these were very popular. They attracted visiting boats, which at this time were mainly small cruisers. And the events became a major success, gaining public support and exposure through the media.

This was extended throughout the following decades, with both privately owned boats and fleets of holiday boats all making an appearance. The canals were now seen to be an attractive way of spending leisure time and holidays for a good number of people, and furthermore this was now not the reserve of the upper classes, as the middle and working classes could afford their own boats, or families could treat themselves to a holiday on a hire boat. The canals were now cleaner, and wildlife began to establish itself along their banks even in the towns and cities.

Today, this leisure industry has become a massive concern, turning over millions of pounds every year. Large boating marinas have been established or built up along the canals, and the formerly old, dirty wharves have now become new developments for homes and leisure pursuits. Gas Street Basin and Brindley Place in Birmingham have become the city’s most desirable area, with a host of arts’ activities held alongside classy eating and drinking establishments, all fronting on to the canals. The canals have now become busier in the summer months than when they were carrying goods.

The majority of the leisure boats now seen on the canals are narrowboats. These use the same basic hull as on the commercial goods-carrying boats, however where the commercial boats would have given most of the space to carry cargoes, this is now used for accommodation. So although the narrowboats still look traditional from the outside, the insides have been transformed to provide all the modern luxuries that people have now come to expect.

MODELS OF LEISURE CRAFT

If modelling the inland waterways from the 1930s up until the present day, a leisure boat on a river or modern-day canal scene will not look out of place. There are a few kits in the railway scales available, most of these produced in resin, especially when it comes to the hulls. Langley Models comes to mind, with a 52ft (16m) holiday boat and a small river cruiser available in their range. Other craft could be scratch built maybe using balsa wood for the hulls.

COASTAL AND OCEAN-GOING VESSELS

There are far too many craft that fit into this category, so for this book I will concentrate on the smaller vessels that would fit into a model of a port or coastal harbour. I will start with the fishing boats that spent all their existence fishing the seas around our coast. Fishing boats have been around for hundreds of years, once man found that the seas provided a bounty of food to be harvested.

LUGGERS

The earliest fishing boats I would like to cover in this book would be the luggers. This small craft was synonymous with the Cornish coast, where at certain times in the year they would be employed in bringing in the pilchard harvest. This was one of Cornwall’s major industries, and coastal towns such as St Ives grew on this trade. The luggers had two masts, both with a square-rigged sail, and they also feature a ‘stern sprit’ to hold the rear sail.

BRIXHAM TRAWLERS

Brixham was once the home of the world’s largest fleet of wooden-hulled sailing trawlers, and it was in Brixham that the method of beam trawling was developed. Between the late 1880s and the late 1920s over 300 trawlers were built, most of them in the shipyards of Brixham. Today only six of these graceful-looking craft remain, all belonging to the Brixham heritage fleet.

The trawlers carried a gaff rig, which enables fore and aft sails to be set, four-sided rather than triangular. The boats were between 60 and 80ft (18 and 24m) in length, with a long straight keel. The trawlers were famous for their red sails, which were coated with red ochre to give that distinctive appearance.

DRIFTERS

The other type of fishing boat was the drifter, so called because they fished by using a drift net, rather than the trawl net, which was dragged along the sea bed. Most drifters fished for herring, and became known as ‘herring drifters’. The boats were originally all sail rigged, with steam and diesel power taking over, although the boats were assisted by a mizzen sail. This was used to steady the boats when the nets were put out. The drifter fishing boat was common to most of the fishing harbours around the coast of Britain.

COASTERS

The coaster was a small trading vessel that carried cargoes around the coast of Britain. They did, however, cross the Channel to take trade to the ports of Holland, France and Belgium, while some ventured even further afield. The coaster would carry various general cargoes including timber and other building materials. Some were designed for carrying chemicals and oil-based products. ‘Everards’ were probably the best known shippers, owning a very large fleet of coasters.

This model of a Tamar ketch was built by Chris Peacock for his narrowgauge layout based on Halton Quay at Calstock. CHRIS PEACOCK

COLLIERS

Collier ships, as the name suggests, were designed for carrying coal. The first colliers were sailing ships, fitted with square rigs. These were soon followed by the steam-powered colliers, which would be seen on a regular run sailing along the east coast. The ships would be loaded with coal in Newcastle and the other coal ports of the north-east, with most of the coal bound for London.

In this chapter I have tried to present a little background on the smaller craft to include on a model of a port or inland waterway wharf. The selection listed here should give most modellers some idea of what type of boat to include on a model. I have purposely only looked at the smaller craft, which would suit the smaller layouts. I have not included any smaller naval craft or the passenger ferries.

If you have plenty of space for your layout, then you could consider larger ships to include. The modern image modeller might be interested in producing a container port, but if this is your choice you will need a large space to include a massive container ship. A popular theme recently has been to model a military dock or quayside including a variety of naval ships.

Any model of a port or inland waterway wharf will need to feature a vessel of some kind, and whatever your choice, be prepared carry out some research. The boats will possibly be the focal point of your layout, so it is always worth trying to model them accurately.

A drifter fishing boat features on this modern image layout.

An excellent model of a steam-powered coaster with the addition of sail is shown on this pregrouping layout. Note the stacked cargoes waiting to load on the quayside. Extra detail such as this all adds to the overall scene, recreating the past in miniature.

Another fine model of a steam-powered yacht on the same layout.

The shunting operations along the quayside. This model shows high standards of both railway modelling and maritime modelling.

This model photographed at an exhibition of a canal basin depicts the murky, polluted water found in an industrial scene of the 1950s. The boat is made up from one of the kits supplied by Langley Models.

This close-up photograph illustrates the attention to detail, from the deck of the boat to the wagons on the quayside.

Another drifter fishing boat on a period model. Also shown are the different materials used on the quayside walling; of interest is the weathering applied, especially the rusting of the metal railings, and other parts. It is clear that observation of the prototype has resulted in a convincing replication on the model.

As part of the First World War anniversary celebrations in 2015, the Liverpool pilot boat Edmund Gardener was painted using a technique invented by Norman Wilkinson known as ‘dazzle’ painting. The brightly coloured stripes were to act as camouflage by breaking up the outline of the ship, thus making it very difficult for enemy submarines to identify and attack. You could have a go at replicating this on a model if you choose the First World War as the period in which to set your layout.

The deck of a steam dredger in close-up. Maintenance vessels such as this can also make interesting models.

CHAPTER SIX

THE WHARF AND QUAYSIDE INFRASTRUCTURE

In this chapter I want to take a look at the infrastructure that would be associated with a canal wharf and the quayside of a port or harbour. I have included most of the structures and buildings, together with some of the equipment that would have been used on a daily basis. It is also worth looking at some of the cargoes carried, as well as the methods of handling these. In some cases such as the fishing industry, the cargo would have to be processed on site. I will therefore look at the handling and processing that would have taken place on the dock or quayside.

I have included a selection of photographs to illustrate the prototypes; these can be used as reference for our modelling projects. I have also selected and included some of the models available on the market. Most of these will be in kit form, although some come as one-piece items that just require painting and locating in position on the model. Some of these will need to be added to the diorama projects to make them complete.

MOORING BOLLARDS AND RINGS

Mooring bollards and mooring rings are common both to canal wharfs and to any quaysides of ports and harbours. Any vessel, from small rowing boats through to the largest ships, will require some substantial anchorage to moor up to. These will vary in size and profile, depending on the type of vessel that will be using them. Just about all are made from strong iron or steel, and are well secured into the masonry to give them good anchorage. There are, however, a few exceptions where I have seen wood, stone and concrete also used.

A standard mooring ring embedded into the quayside edging stones on Liverpool’s Canning Dock.

Also photographed at Liverpool’s Canning Dock was this ‘T’ style of mooring bollard.

Another mooring ring; in this closer view you can see how the ring has been anchored on to the edging stones.

The twin style of bollard. Note that the tops have been painted white to assist visibility. The rusting is also worthy of note for when it comes to painting this on a model.

Another type of bollard along the quaysides of Liverpool’s Canning Dock.

This mooring bollard resembles a squat mushroom. Note again how this has been anchored to the quayside stonework.

Another type of ‘T’ bollard, this time with a hollow rounded top.

This design of twin bollard has an extra anchor to hold the ropes and chains in position.

The shapes of the bollards range from those that resemble large mushrooms, to a large capital letter ‘T’. The wooden ones have a steel peg running through them situated near to the top. The mooring rings are the other type of mooring furniture commonly found. These consist of a simple steel ring attached to a steel anchor pin that is buried into concrete or embedded into a stone block. This type of mooring apparatus is more commonly seen on the canal wharves, although I have seen them used at Gloucester Docks and Liverpool’s Canning Dock. The bollards are painted black, with a white top to make them stand out along the wharf or quayside. Black and white has always been a common colour for dressings and items of infrastructure, especially on the canals.

Along with bollards and mooring rings, ropes would be needed to tie the vessels to them: these would come in various thicknesses, depending on the size of vessel they were intended for. Ropes would always feature along a wharf, dock or quayside, and there are buildings that would be specifically designated to store them, and even to make and repair them. I will look at these later when covering buildings. Chains might also be used to make a secure anchorage to any large vessels docking.

There are not too many examples of mooring bollards available from the model accessory suppliers. PLM Cast-A-Ways produce a twin bollard on a base in 7mm scale; a similar style and a single bollard is produced in 4mm scale by Langley Models. The mapping pins available from any reputable stationers could be used as a reasonable representation of single bollards. The pins come in bright colours so they will need priming first before painting in more appropriate shades. The mooring rings are produced by Langley Models in white metal. You could try the maritime model suppliers, using the bollards intended for the decks of boats and ships.

This twin style of bollard is available in 7mm scale from PLM Cast-A-Way’s as a quayside accessory.

ROPES AND CHAINS

The maritime and boat model suppliers would be a good resource for obtaining scale ropes. Alternatively you might find appropriate twine from garden centres or craft shops, or you could even try fishing tackle suppliers. Chains can be obtained from model railway and boat equipment dealers, or maybe try the jewellery craft trade.

When not in use, ropes are piled on the quayside.

The mooring ropes attached to one of the button mushroom styles of bollard.

Chains and hooks: this type of dockyard hardware was often seen along the quayside. All good reference material for dressing a model.

A large ship’s anchor, again worth adding to the scene, and it would not look out of place, especially if you are modelling a maritime scene.

Another feature of quayside furniture would be capstans.

CAPSTANS AND GEARS

Other items of equipment found along the wharf or quayside would be capstans used for winding ropes or chains to manoeuvre boats or ships into position, or to assist with shunting the railway wagons into position without the need for a locomotive. Again, the best choice for obtaining these in model form would be marine model suppliers such as Cornwall Model Boats, as I have not seen them listed by any of the usual model railway traders. Besides the capstans, gear sets mounted on the quayside could be used for the same handling process. These can be made up from the many gear-wheel parts supplied by the likes of Langley Models in 4mm scale, or Duncan Models, S & D Models or Skytrex 2013 in 7mm scale. These will definitely be available from marine model suppliers.

Just like mooring bollards, capstans come in many different styles depending on their use.

This design has a double winding ring. The square holes are where the wooden staves would be inserted to turn the capstan and wind in the ropes.

Another type of hand-operated winch, possibly used to winch in the boats on a slipway.

Besides capstans, hand-operated winches such as this one at Liverpool’s Albert Dock would also be part of the quayside furniture, and well worth including on a model.

CRANES AND DERRICKS

These come in a host of sizes and types, depending on the type of cargo and the weights they were designed to lift. The cargoes in some cases were entirely loaded or unloaded by hand, although this was mainly on the canals. Most of the loading and unloading processes would be done with the aid of a crane or derrick of some kind.

The small derrick cranes seen on the canal wharves and quaysides could cope with only small tonnages at a time, and all these would be manually operated, usually by the boat crews themselves. Larger cranes were provided where the loading capacity was much greater and the loads heavier, and in this case a crane operator would be needed; the crane would therefore have an operating cab, or at least some protective cover for the operator. In commercial docks, most cargo ships were fitted with sets of derricks for loading and offloading the cargo, though these could only handle a certain tonnage. For heavier loads, and for moving cargoes along the quayside, and also because of the need to provide a faster turnaround, dock cranes would be provided. These large cranes that once graced our docks were continually in use loading or unloading massive tonnages of cargo. This type of crane would also move along the dock or quayside on its own set of rails. The early types of this crane were steam driven and included vertical boilers; the later cranes were all operated by electricity or even hydraulics.

A simple swing-out derrick crane. This sample is outside the canal maintenance shed at Wychnor Locks on the Trent & Mersey Canal.

An early example of a quayside crane with a curved jib at Cotehele. CHRIS PEACOCK

Another early style of dockyard crane with a wooden jib and stays.

Another crane with a straight jib, positioned on the edge of the wharf to load the narrowboats.

This type of crane was common on the quaysides for loading stone blocks and other heavy materials. It was known as a Scotch derrick. The two support legs gave it extra stability when dealing with heavy loads. CHRIS PEACOCK

The gearing system used on the Scotch derrick in closeup. CHRIS PEACOCK

A simple wooden gibbet loading crane, now preserved as a feature on the wharf in front of the ‘Shroppie Fly’ public house at Audlem.

This ground-level hand-operated crane with a wooden jib is sited at Swarkestone on the Trent & Mersey Canal.

A similar type of crane mounted on the quayside at Gloucester Docks.

This all iron-constructed hand-operated crane is located along the old canal at the Blists Hill Victorian town. The crane features an extended counter-balance weight, which has been cantilevered out from the main structure.

Up until the 1960s we were exporting about the same amount of goods as we were importing. Today, of course, this trend has changed, with most of the cargo being imported. The methods of unloading have also changed, as most cargoes are now containerized. Massive crane rigs now unload vast numbers of containers, with one operator using computer-assisted controls.

A small all-iron hand crane has been provided under the warehouse arches at Liverpool’s Albert Dock.

A steam-powered rail crane at Gloucester Docks. The advantage of this type of crane was that it could move along the set of rails provided to various positions along the quayside to assist in loading and unloading duties.

A preserved Tamar ketch moored at Morwellham Quay museum. Note also the wooden-constructed Scotch derrick on the quayside. CHRIS PEACOCK

Besides the cranes positioned along the wharf, dock or quayside, there were also large and small derrick cranes mounted either over, or to one side of, the warehouse loading doors. These were provided to lift cargo up to the relevant floors for storage in the building, and again would be mostly manually operated using a system of pulleys, ropes and chains.

Models of cranes and derricks are available in a good number of kits for the model railway market. Smaller cranes and warehouse derrick cranes are produced by Langley Models, Ratio, Mikes Models and Wills, or try converting one of the rail-mounted crane kits in 4mm or 7mm scale. Duncan Models and also Skytrex 2013 and a number of others provide kits for the 7mm modeller, but the larger dock cranes are much harder to come by, and you might have to revert to scratch building a type relevant for your model. There is still a large dock crane in the range first produced by Airfix and now under production from Dapol, which just might suit your requirements. For anyone modelling the modern dock scene, there are a few models of container lifting rigs, including an addition to the Bachmann range, which features a working example.

Before moving on from cranes it is well worth considering the methods used to attach and pick up the load. These would depend on the type and weight of the load concerned. Timber loads, for instance, would be chained or roped together before lifting, while other cargoes would be lifted using a canvas or rope net sling fitted to the crane’s hook. Other loads would need to be lifted on a pallet secured with a chain at each corner, with all four chains connected to the crane’s hook. Minerals such as coal would need a grab bucket fitting to the crane.

Two different styles of swing-out warehouse loading crane.

One of the swing-out styles of hoist derricks provided alongside the warehouse doors.

Another method of hoisting the cargo, where systems of pulleys are used in a fixed position mounted to the warehouse wall.

A swing-out hoist crane, similar in style to the first one.

The same hoist, showing how it swings back against the warehouse wall when not in use.

The kit of the generalpurpose dock or wharf crane produced by Duncan Models. The kit of parts has been pre-painted ready for assembly.

This kit of a generalpurpose warehouse crane is available from Skytrex 2013. Again the components of the kit have been undercoated awaiting assembly.

Most of these extras would have to be scratch built, although parts such as pallets are available from the likes of Ratio, Peco, Ten Commandments and others to suit any model in 4mm scale. Skytrex 2013 and others will satisfy the needs of the 7mm modeller.

TIPPERS, CHUTES, STAITHS AND HOISTS

The other way of loading minerals, especially coal, was to tip the load directly into the holds of the narrowboats, barges and ships. In the case of the narrowboats and barges, this could be done from a simple tippler device fixed to the wharf or quayside. Some of these used a wagon turntable to turn the wagon on to a short length of track with the rails turning up at the end. This would hold the wagon in position for the end door to be opened, emptying the load into the waiting boat. If this was level, then the wagon would have to be emptied by shovelling the load out by hand. If the track was inclined, however, the load would be tipped by gravity as soon as the end door was opened. Other tipplers could tip from a level plane if the wagon could be raised at one end. This method required a plate to hold the wagon while it was raised to the appropriate angle by some means, either by hand cranking or by a hydraulic system.

A very early method of loading from an elevated tramway system, which allowed the loads of minerals to be tipped into the waiting boats. This sample is at Morwellham Quay Museum, and the hopper wagon would be transporting copper ore from the nearby mines. CHRIS PEACOCK

A wagon turntable, a common feature along the docks, quaysides and wharfs. The wagons were turned through 90 degrees to enable the loads to be tipped or shovelled out using the wagon’s end door.

In this closer photograph of a wagon turntable, the arrangement of the rails and the deck consisting of wooden planking can be seen.

The tipping chutes used to load china clay at Charlestown, near St Austell. The chutes would be lowered into the tipping position using a method similar to a castle drawbridge.

An interesting coal-loading tippler features on Pete Abbott’s layout ‘Fenby Quay’. The tippler at the end of the long siding was originally designed for loading barges on the canal with coal; now it serves as a refuelling point for the pleasure craft using the canal.

The same method was used with the extra aid of a chute to direct the coal or other minerals, concentrating the load into a desired position in the hold. Other chutes were used mounted higher than the hold. This required raising the wagons to the desired height first before tipping again by the means of a chute. In the north-east this was a common method for loading coal. The coal wagons of the North Eastern Railway were built as hoppers, which meant that the sides were angled from a wide top to a narrower bottom. The wagons would be shunted up on to long wooden structures known as staiths. These would run parallel to the moored boats waiting below. This type of wagon was also fitted with a set of bottom-opening doors, so once the doors were tripped open the load would instantly fall out into a chute, which would then direct the coal straight into the hold of the ship.

Another way of carrying this out was to lift the wagon in a structure known as a coal hoist. These were common in the east of England at ports such as Goole and Immingham. This hoist would lift the whole wagon on a tipping cradle to the desired height, before tipping the cradle to allow the wagonload to fall via a chute straight into the hold of the waiting ship. This method was very quick, though at the same time very dusty, I should imagine. A good number of this type of coal hoist was built, but only one remains today, preserved as a museum piece at Goole Docks.

Structures such as these will almost certainly have to be scratch built, but it is always worth looking at some of the kits that might supply you with parts. Try some of the structures in the old Airfix range now supplied by Dapol, or those produced by Ratio. I am sure these could be ‘kit bashed’. I would also recommend trying to find drawings of some of these structures. I spoke with Alan Gray at an exhibition where he was displaying his 7mm model ‘St Georges Quay’, a layout that features a working model of wooden coal-loading staiths. Alan also showed me all his archive photographic collection of material, together with the working drawings he had acquired before starting to build this superb model.

BRIDGES AND TUNNELS

The canals feature many different designs of bridge. Most of the over-bridges would have to accommodate the towpath as well as the canal, and so most of the early bridges built in this way would have only a narrow passage for the canal, so there was only room for one boat to pass through in one direction. The majority of the bridges were built from local stone or brick masonry.

Typical design of a brick-arched canal over-bridge. This sample is on the Shropshire Union Canal.

A wider brick-arched bridge at Sandiacre Lock on the Erewash Canal. Note the use of stone as well as brick in its construction, and the weathering to the brickwork, with the lime mortar bleeding out and staining the face of the brickwork. Also of interest is the green slime covering the lock gates and lock chamber seen through the arch: this is a detail worth considering when painting a model of such a bridge.

A simple canal swing bridge to give access to the Lea arm of the Cromford Canal.

One of the graceful, curved cast-iron bridges located at Braunston. This type of bridge was common in the Midlands, especially on the canals in the Black Country, where they would have been cast in the local foundries.

Another example of an ornate castiron canal bridge. It forms part of the Black Country Living Museum.

From time to time a bridge had to take the towpath over the canal to resume on the other side. Again, a good number were built to an arched design, using stone or brick masonry, though in the Black Country iron bridges were favoured, forged in the local iron foundries, as this type of bridge could offer a wider span. The abutments would still be constructed of engineering bricks, and most featured raised rows of bricks on the inclined towpath, providing a measure of grip for the towing horses.

Also located at the Black Country Museum is this vertical canal lift bridge. Note the method of operation using pulleys, chains and balance weights.

The opposite side of the bridge, which clearly shows the apparatus for handwinding the bridge up and down, together with the large counterbalance weights used to make the operation much easier.

In certain locations a level crossing of the canal would be needed, when a lift bridge or swing bridge was the best way of allowing a clear passage for boats on the canal. They were mostly constructed from timber, although some were made in iron and steel. Both of these types of bridges were manually operated, the lift bridges using counter-balance weighted beams. There are some very good examples of this type of bridge along the Shropshire Union and Oxford canals, still in use today.

The brick abutments to an iron bridge. Note the raised bricks on the pathway to enable towing horses to keep a firm grip when crossing the bridge.

Note again the raised bricks, however this time they are provided to help the horses grip when negotiating their passage through a bridge.

Lift and swing bridges also featured in the ports and docks around the country, though in these locations the structures were much larger and generally had a wider span. This type of bridge would need an operator to control its opening and closing, and the larger bridges in the docks would have a control cabin for the operator and the controls. If a road crossed the dock or a navigable river, the operator would be responsible for closing off the road when the bridge was about to be opened. Most commonly a set of gates was used, very similar to the railway sets of crossing gates, with protective signals or warning lights installed. Lift and swing bridges would be operated by using a hydraulic system. A few still exist in use today especially on navigable river crossings such as those on the Tyne, Clyde and Weaver – and not forgetting the most famous lift bridge of them all: Tower Bridge on the Thames.

The portal to Gregory Tunnel on the Cromford Canal. Note that this tunnel also included the towingpath, although the horses were taken over the top while the boats were pulled through by the boat crews.

This larger tunnel is situated at Snarestone on the Ashby Canal; it is much longer and did not take the towing-path. Before motor canal boats were employed, the boat crews would have propelled the boat through the tunnel by the process known as ‘legging’.

Gregory Tunnel taken from the inside looking out. It clearly shows how the towing-path shares the tunnel with the canal. Also the wide expanse of the canal just outside was provided for boats to stack up, waiting their passage through the tunnel. Including a tunnel such as this on a model would allow you to bring a canal into the scene from one side, using the tunnel as the scenic break.

An early sandstonebuilt bridge with an elliptical stone arch. This now marooned bridge was the first on the Pinxton arm of the Cromford Canal.

The master components that I produced for a production model of this bridge. The kit will be available in both 7mm and 4mm scale from Skytrex 2013 by the time this book is published. DAVE BAILEY (SKYTREX 2013)

One of the many road lifting bridges or bascule bridges found in the Merseyside docks. This survivor, complete with operation cabin, can be found at the western end of Stanley Dock in Liverpool.

The canal network also had to negotiate high land where the use of locks would be totally impractical, and the only solution in this case would be to put the canal in a tunnel. These tunnels varied in length and size, although most were only built to take a boat travelling in one direction – and this caused problems, as traffic would build up at each end. The shorter tunnels accommodated the towing-path as well.

The same bridge looking from the opposite direction to show its construction. The large building in the background is the Stanley Street tobacco warehouse: when it was built in 1900 it was the largest building in the world.

A model of this type of bascule lifting bridge, photographed at the Peak Model Railway Exhibition.

One of the swing bridges found in the Liverpool docks. This one gives entry to Albert Dock.

Another view of one of the cast-iron bridges found at Braunston; the church steeple and the tower windmill can be seen in the background.

My model of an early bridge designed by canal engineer James Brindley; it was modelled on the prototype survivor at Shobnall. The model was constructed using a foamboard shell, to which a skin of Das modelling clay was added before scribing out all the stone and brickwork.

If you would like to include a canal tunnel on your model, this would have to be scratch built, although you might find that a bridge side, or even a railway tunnel portal could be used. You might also find that one designed for a smaller scale than your model would look better, giving you the narrow bore of most canal tunnels.

LOCKS AND LOCK GATES

The need for a lock occurred whenever there was a change in the level of the ground on the route of the canal – in other words, the topography required the canal to rise or fall, and generally the only way to achieve this was by providing a lock, or in some cases a flight of locks. The locks on the canals were either narrow or wide: in the first, narrow type only one boat could negotiate the passage, while in the second type, two boats could fit side by side. The working boatmen would rope the motor to the non-powered butty to take both boats through the lock system. The depth depended on the rise of the individual lock – some could be very deep.

The bottom set of lock gates at Weston-on-Trent on the Trent & Mersey Canal. Note the raised bricks provided to help foot grip when opening the gates.

The bottom gates of Sandiacre Lock on the Erewash Canal. Also of interest is the accompanying lock keeper’s cottage.

Sandiacre Lock looking in the opposite direction to show the top lock gates and the lock keeper’s cottage from the north side. The lock and the cottage would make an interesting model project.

The full lock model kit, now produced by Skytrex 2013. This made-up sample is in 7mm scale. The kit will be added to the range of 4mm models by the time this book is published. DAVE BAILEY (SKYTREX 2013)

The lock chamber occupied with two Skytrex 2013 model FMC steampowered narrowboats, one sheeted and one unsheeted. DAVE BAILEY (SKYTREX 2013)

Close-up of the top lock, showing the rear of the two steam-powered narrowboats. Note how, on this made-up sample of the lock kit, the gates and lock walls have been given a light coat of green paint to replicate the algae growing in the damp conditions. Look at the previous photographs of Sandiacre Lock to see this for real on the prototype. DAVE BAILEY (SKYTREX 2013)

One of the restored lock gates at Liverpool’s Canning Dock.

More detail of the gates, to use as reference material for a model.

One of the old sets of lock gates at the entrance to the Albert Dock. Note the recessed wall to accommodate the gates. Also worthy of note is the water depth gauge, carved into the stones using Roman numerals. The weathering of the wood of the old gates and the coloration it has given the stonework is well worth noting, to try to replicate on a model.

A similar old gate, all valuable reference material when it comes to painting and weathering.

The gates provided on the canals were constructed mainly of wood, with opening paddles to let the water flow through. This type of lock gate would be operated by the boat crews using a windlass to operate the mechanism for the paddles. Some locks, especially on the larger canals, employed a lock keeper, who would be responsible for seeing the boat safely through the locks.

The sea lock and the entrance to the docks from the River Mersey. The photograph is full of reference material, especially for the coloration of the tideline on the sea wall.

This photograph illustrates the weathering to the timber of the sea gates, along with the walls. Note also the build-up of mud and silt at the bottom of the dock.

This model of a sluice gate has all the same mechanisms of a lock gate. Note how the addition of the figure leaning on the rail has brought it to life, creating a little cameo scene.

The navigable rivers also required locks where the main channel flowed over a weir. Weirs were needed to alter and control the flow of water on the river to avoid flooding, or to use the water to power industry. To divert boats away from this hazard a set of locks would be provided. The lock gates on this type of lock would be much larger, with steel being used as well as timber in most cases. These locks would also require a lock keeper to oversee the operation.

The entrance to a dock from the sea or a river estuary would be controlled by lock gates, which would be opened on the high tide to allow boats in and out. The gates when closed would also keep the deep water in the docks to give the larger ships enough depth when docking. In some cases lock gates were supplied between docks to control the amount and depth of water required in a dock. The graving or dry dock also required a set of gates to close it off from the other docks, so the water could be pumped away. In all these cases the gates would need to be of substantial construction. The gates were nearly always operated from a control room by an operator, and were usually powered by a hydraulic system.

There are a few kits on the market of lock gates for the canal system. Skytrex 2013 produces a kit of the whole lock chamber, including the two sets of gates and all the associated equipment. The lock kit is available in both 7mm and 4mm scale. Larger gates would have to be scratch built, although you should be able to acquire the mechanical parts from other kits available on the market. It might also be worth looking at what is available from model boat suppliers, especially when constructing the sea or river estuary dock entrance gates.

THE DRY OR GRAVING DOCK

Most of the larger docks, wharfs and harbours included a dry or graving dock. The graving dock is basically where boats and ships are maintained and repaired. Shipwrights would also scrape off the barnacles and shellfish that attached themselves to the bottom of the ships: this process is called ‘graving’, which gave this type of dry dock the name.

Once the ship or boat had docked and the lock gates had closed, the water was pumped away to leave it high and dry. The boat would sit on a series of wooden blocks positioned along the centre of the dock’s base; the hull would also be propped from the base and sides with wooden beams, allowing the work to proceed.

Another photograph of the Tamar ketch sitting in the graving dock at Morwellham Quay. CHRIS PEACOCK

The deep graving dock adjoining the Canning Dock at Liverpool. Note the stone-stepped sides along with the wooden blocks to support the keel. The Liverpool pilot ship is seen occupying the dock, awaiting attention.

The second graving dock at Liverpool, this time occupied by a schooner. The schooner has been left high and dry supported on the keel blocks, but also the wooden beams are shown that prop the vessel in an upright position.

The terraced walls to the graving dock. Also note the weathering to the stonework.

The graving dock would make an interesting feature for a model dockyard; however, it would have to be cut through the baseboard to achieve the required depth. Most of the larger graving docks were also built with stepped or terraced side walls, which would make an interesting modelling challenge. The smaller docks found on the canal network only required vertical walls, as they were shallow compared with the deep marine docks.

If you are modelling a commercial dock scene and you have the room, you might consider including a floating dock. This was used for the maintenance and repair of boats just the same as the graving dock, however, as the name suggests, the boats were afloat, so they could be moved around. I am not aware of any kits for a floating dock on the market, so scratch building or ‘kit bashing’ might be the only option for constructing one.

BOAT BUILDING AND REPAIR YARDS

The graving dock would also feature as part of a boat repair yard. Another method of providing a repair facility on the tidal rivers and estuaries was the boat repair cradle. This consisted of a series of wooden or concrete beams supported on upright legs sunk into the river bed. The boat requiring attention would be anchored above this on the highest tide, and when the tide receded the boat would sit on the cradle; extra wooden beams would then be added as props.

Some of the dry docks found in boatyards were under cover to allow work to proceed protected from the elements. These featured on the canal yards where narrowboats were built or repaired. One system used was to provide a telescopic cover, usually made from a steel frame and clad with corrugated sheeting. The sides of this construction sat on a series of rails, allowing the covering to be positioned over the work in progress, and moved when the position of the work changed.

The sign to the Castle Fields boatyard at the Black Country Living Museum.

The office and workshops to the Castle Fields boatyard.

The boatyard would feature other buildings, including a carpenter’s shop, possibly a forge and metal-working shops, storage sheds for materials such as timber and paint, a varnish shop, and perhaps a sail-making shop. The yard would also have plenty of nautical junk items that would have been removed for scrap, or heaps of accumulated junk waiting to be reused one day.

This image is full of interest and atmosphere for any model maker trying to replicate a period canal boatyard.

Another image of the boatyard workshops. The ramshackle sheds and boatyard junk make this the perfect composition to use as reference to create an interesting model.

Another close-up view of the wooden workshop sheds. Just look at the coloration of the weathered timbers, together with the rusting winch and other equipment, including the associated junk.

The boatyard from the canal. By incorporating the sheds with the boats, and with careful attention to detail, a scene such as this could be replicated on a model.

Another much wider view of the boatyard to use as reference for a model.

An interesting addition to the boatyard would be this rotting hull of an old boat.

Another close-up of the wooden workshop sheds. This end of the block features the paint shops. Note how workers have cleaned out their brushes on the planks of the shed and the door.

This shed has been made from an old boat turned on its end, making another very interesting rustic building to include on a model boatyard.

The yard would nearly always include a slipway from which boats could be launched. These would be built from stone or brick, or constructed from timber or steel. Depending on the type of boats or ships built in the yard, provision would be made to accommodate the keel on the slipway. Ship- and boatyards would also have cranes for moving materials around the site, their size depending on the yard and the materials to be moved around, ranging from hand-operated cranes to large overhead rigs.

Another close-up that could be used as reference for a winch used in the boatyard.

A pile of related junk outside the sheds. Again, this can all add to dressing your model.

More boatyard junk. The grounded boat is in the process of having its hull tarred black.

Another boatyard, this time situated along the Erewash Canal at Trent Lock. Note the main boathouse, constructed from timber and corrugated iron sheeting.

The grinding stone will always be part of the boatyard setting.

The boat dry repair dock is enclosed within this building at Braunston boatyard.

An old tugboat from the River Thames under restoration at a boatyard in Maldon, Essex.

More boatyard junk at Maldon, including piles of old leeboards used on the Thames sailing barges.

The boatyard along with the river bailiff’s office at Maldon.

The boat repair yard of Dobsons at Shardlow. The repair building is constructed from a steel frame clad with corrugated asbestos sheeting. Many boatyards throughout the country have buildings just like this one.

More boatyard junk, including an old winch from a sailing barge. This sort of junk can always be used as extra dressing to any model.

THE BUILDINGS

The wharfs, docks and harbours would require special buildings for the storage, trans-shipment and processing of cargoes. Other buildings would be needed for the storage and maintenance of equipment, together with office accommodation, including customs and excise at ports. Also at ports, buildings for navigation would be required such as lighthouses and others belonging to Trinity House. If modelling ferry ports, the terminal buildings and landing stages would also need to be included. The canals required their own special buildings at the wharfs and along the navigation, including the lock keepers’ cottages.

The most common building to be found on the inland waterways and marine ports would be the warehouse. The buildings were designed to store cargoes and produce before these were moved on, and were built in various sizes depending on the capacity of storage needed. The large ports around the country featured huge, tall warehouses with acres of floor space available. On each floor the end wall or the long side walls would have sets of large doors, provided with a derrick crane or some kind of hoist to lift the cargo up to the desired floor for storage. Some of the largest warehouses built in our ports were used for the storage of tobacco imported from the West Indies and America.

Smaller warehouses were also built in the ports and harbours and in the canal wharfs, though most still consisted of two or more floors. Most warehouses were built to store a specific cargo or produce that required special features such as a ventilation system, or a particular design of window.

In most cases the warehouses for a model will have to be scratch built. Also the larger warehouses will take up a great deal of room. The best solution if space is going to be an issue would be to model the building in half relief or less, just concentrating the modelling to the front elevation of the building. The only problem with this type of modelling is making the roofline look convincing, especially if a back scene is included.

The original warehouses belonging to Fellows, Morton & Clayton at Nottingham. The boats sailed right into the building to load and unload.

A set of loading doors on each floor of this tall warehouse at the Gloucester docks. Note the weathering to the paintwork of the doors.

The other buildings found around the wharf at Shardlow. Note their distressed appearance, especially the roof, all worth considering and trying to replicate on a model.

One of the Shardlow warehouses, now converted into apartments. Note the semi-circular windows, a typical feature of this once inland port.

A set of warehouse doors at Shardlow.

The design of the semi-circular metal window frames used for the warehouses around Shardlow. Note the distressed look to the rendering, and the remains of the signwriting of the company name. It is always worth trying to replicate the distressed condition of an industrial building to add character to the model.

There are a few warehouses available on the market in different scales and materials. Most of them come in half relief or less, and some give you the option to make them up to various depths. Skytrex 2013 supplies warehouse fronts in resin for both the 7mm and the 4mm modeller. Langley Models produces a vacuum-formed polystyrene warehouse frontage, and Metcalf produces low-relief warehouses in pre-printed cardboard, although this lacks the masonry relief of the others.

The window frames and the warehouse door with their distinctive elliptical tops.

Note the distressing of the paintwork to this corrugated iron-clad canal store shed.

The Clock Warehouse, also sited at Shardlow. The large arch seen is where the boats entered to load and unload. The warehouse has now been converted into a pub and restaurant, sporting a navigation theme.

The restored Great Western Railway trans-shipment warehouse. It is situated on the quayside at the Canning Dock, Liverpool. Note the stone terraces of the graving dock in the foreground.

The postmaster’s house at Liverpool’s Canning Dock. It is always worth considering other buildings on the dock or quayside.

One of the grain storage silo buildings along Chelmer Quay, Maldon.

This interesting image has been included to illustrate the whole frontage of this warehouse complex.

Another building found in or around a port: the port police station at Morwellham Quay. Note the slate-hung walls, a common feature of buildings of South Devon and Cornwall. CHRIS PEACOCK

The customs house would also be worth adding to a model.

All the other buildings would need to be scratch built, although certain parts may be available by using selected kits. I particularly like some of the ramshackle huts that are found around boatyards, and those used for storing fishing nets. Some of these are made from the upturned hulls of old boats, which were common on the coast of Northumberland. The conversions made delightful-looking huts, and one of these in miniature would certainly make a charming and interesting feature on any model.

The inland portmaster’s house at Shardlow, on the Trent & Mersey Canal.

Another West Country port building can be seen in the background, built from local slate. CHRIS PEACOCK

The West Country has many interesting buildings worth modelling, including those found in the ports and harbours around the coast. This store is also constructed from local slate.

I always look for buildings that have character. This net store has been recycled from an old boat, which has been turned over and sheeted together with a set of doors added. These are a common feature of the ports of Northumberland.

Another boat turned into a shed; this time the boat has been stood on end. The reuse of old boat hulls in this way seems to be common practice. I am not sure of the usage, although I wonder if it could be the boatyard’s outside convenience!

This model was made by the author for the Skytrex 2013 production kit of a low relief warehouse gable front, combined with a section of quayside.

The 7mm resin kit produced by Skytrex 2013 of a steam-powered narrowboat. The model is based on the Fellows, Morton & Clayton steamer President. DAVE BAILEY (SKYTREX 2013)

A model of a boatyard office, utilizing an upturned boat hull. This model is full of character and makes a lovely little cameo scene added to the boatyard.

The same model showing a boat storage shed, again with the cart loaded with boat spare parts: this makes another interesting cameo scene to this corner of the model.

A model warehouse I produced for a customer a few years ago. The loading doors are cantilevered out from the gable end. This end also includes a lucum or hoist house, providing cover for the loading and unloading processes.

This double-fronted warehouse was again built and painted by the author. It was intended for use on a canal wharf diorama. The model has recently been passed on to Skytrex 2013 to produce a frontage or low relief kit in 7mm scale.

Another delightful cameo of a boatyard scene, modelled by Chris Peacock for his Halton Quay narrow-gauge layout.

This Skytrex 2013 catalogue image depicts the canal wharf range with the addition of the girder bridge. DAVE BAILEY (SKYTREX 2013)

A catalogue image from the Skytrex 2013 range of wharf or dockside buildings, structures and accessories. DAVE BAILEY (SKYTREX 2013)

CHAPTER SEVEN

CREATING WATER, AUTHENTIC COLOUR AND FINAL DRESSINGS

In this chapter I will first consider how to model the water of a port or inland waterway successfully, whether it is the still water in canals, wharfs and sheltered docks, or the rougher water at the entrance of harbours and the docks. The wind, of course, can also have an effect even on still water, creating ripples on the surface and even small waves if it is particularly strong. It might therefore be worth considering the weather conditions when planning a model, as the waves on the surface can add more visual appeal.

Before trying to replicate any water, we must first consider the bed if the water is shallow, and its visual appearance when it is deep. In the first case the texture of the mud and silt will be visible below the surface. Deep water, however, will only require a few coats of paint, the colour carefully mixed to achieve the right effects. I would suggest you try to photograph both deep and shallow water under the surface, by using a polarizing filter fitted to the lens.

This section of quayside walling complete with wooden pilings is part of the Skytrex 2013 range. The master was modelled by the author and designed so that sections can be joined together to make a long length of quayside walling, harbour or a jetty.

The section of resin quayside painted and weathered by the author.

CREATING AUTHENTIC COLOUR

To create authentic colour in the bed and when giving depth to the water I use artist’s oil paints. The colours I use from tubes are yellow ochre, burnt umber and Payne’s grey, and by mixing these basic colours together you can achieve a convincing result. By adding more burnt umber (brown) and yellow ochre, the dirty waters found in most commercial docks and canal wharfs can be achieved. And if your model is set in the 1950s, don’t forget the amount of pollution to be found in the water from this and earlier periods. The harbours, however, might appear clearer due to the ebb and flow of the tides, although the busy commercial harbours would still see a good amount of pollution from the number of ships and other craft docking there; inevitably the spillage of oil and other pollutants would sully the water at some time.

The same colours could also be used on any exposed mud banks or where silt has built up, often in the corners of a dock or harbour. In the cleaner harbours of the coast the sand would be exposed at low tide. In this case I would recommend using Naples yellow along with Mars red or light red, especially if you are trying to replicate the sand of South Devon. The shingle beaches that appear in certain areas can be replicated in miniature by using real sand; the type of sand found on the dunes around north Cornwall is perfect for this, as the small grains of granite are just about the right size and they will not require painting, as the natural colour is perfect for models. It might be worth planning a visit to the area you wish to model to observe the harbour at high and low tides, taking photographs all the time to use as reference. Don’t forget to take photographs of how and where the tideline appears on the harbour or dock walls.

Sand has been used to create the silt found in and around a harbour.

The sand required painting to give the authentic colour, and this was achieved using oil paint; here the basic colours of burnt umber, yellow ochre and Naples yellow have been put out from the tubes into a tin ready for mixing.

Here mixing white has been added to lighten the colour.

By adding Payne’s grey to the mix, a reasonable representation of the mud and silt can be achieved.

The two finished panels, painted to replicate mud and sand.

A selection of panels has been painted to represent variations in the colours of silt, sand and mud. All these were painted using washes of artist’s oil paint.

The mud that has built up on the edge of a tidal river. Also note the rotting timbers and the steel pilings. Distressed timbers such as these are always worth trying to replicate on a model.

This photograph of a rotting landing stage on the River Chelmer is for reference. The large shed in the background is worth noting for its rusting corrugated cladding.

Another photograph of the tidal River Chelmer. It is full of reference material to aid the modeller trying to replicate texture and colour.

This photograph illustrates the green slime and the mud that has built up against the quayside.

This landing stage is in better condition, although the timbers are covered in green slime. The surface and colour of the water are also worth noting for reference.

CREATING REALISTIC EFFECTS OF THE SEA

In previous chapters, creating realistic water was explained for the specific projects. However, it is still worth discussing the methods that can be used to create certain water effects, and which have not been already included.

If you choose to model a harbour or jetty there is a good chance that you will need to include the rough water outside the confines of the walls. There are various ways of achieving this, with materials acquired from either the DIY store or from new products now available from the model market.

One tried and tested way to create realistic waves is by using Artex or similar types of skimming plaster. By applying the plaster using a brush or a roller you should be able to create a wave pattern. Rough waves can be achieved by lifting the wet plaster with a sponge. This technique will need a little practice, so try it out on a spare piece of board first.

To create the sea, I used this ready-mixed plaster filler. You could also use Artex as the base for the surface and the waves.

The outer harbour walls at Whitby. There are many items here for reference, although the main reason for including this image was to show the rough seas on the outside of the walls. This would certainly be challenging to recreate on a model, but well worth having a go.

By applying this with a spatula and working with a brush, a raised texture can be created.

ADDING COLOUR TO THE SEA

When painting the sea, many modellers are tempted to paint the water blue. This is especially evident on many layouts I have seen in the past at exhibitions where the sea has been depicted. The blue colour we observe is, of course, the blue sky above reflected in the water surface. Deep seas can also appear green when looking into the depths. The Artex or plaster used for the waves can be painted this deep green colour using artist’s oil paints. I would suggest terra verte to create this deep green colour, and it can be lightened to a turquoise colour by adding titanium white or mixing white. The sea tends to appear this lighter colour wherever the water is shallow. White oil paint can be lightly brushed around the waves to create the effect of bubbles appearing just under the surface.

Once the paint has dried properly, a couple of coats of gloss varnish will need to be added.

To finish, the white water breaking at the top of the wave will need to be addressed. This can be achieved by brushing on a small amount of ‘Making Waves’ resin from the Delux Materials range.

Rough or choppy seas can appear a browner colour due to the silt being swilled around. When the sky is more overcast with cloud, this will again be reflected in the water surface, so the water appears a light shade of grey, or even dark grey in some cases. I would recommend experimenting with oil paint, mixing together yellow ochre and burnt umber; lighter shades can be obtained by adding Naples yellow or mixing white. The grey seas can be replicated by using Payne’s or Davy’s grey. You could try adding a little Naples yellow to this, or terra verte (green).

The light in these conditions can change dramatically, with the sunlight sparkling on the surface when and wherever it breaks through the cloud cover. My advice would be always to observe the sea, or look through reference photographs and film material to achieve the right effect. It will, of course, be up to your own choice when modelling the sea, but be aware of the many different colours that can be used, and try something different from blue perhaps.

The first coat of paint was applied using a deep green colour spray paint. This ‘Brooklands Green’ from the Halfords’ acrylic range worked well.

The next stage was to add more colour using a mix of terra verte and mixing white oil paint.

Here the second coat of the mixed oil paint has been added to the plaster.

In this photograph more white has been added and the tops of the waves have been picked out in white, using just the mixing white oil paint.

The next stage was to apply a coat of gloss varnish all over.

The surface of the water created for the river estuary. Note the brown colour used to give the water the depth required, with the surface waves picked out in white and then varnished over as before.

CREATING THE WATER IN A CANAL WHARF

In contrast to the sea, the water in a canal wharf will for most of the time be still. However, the wind can also create ripples in the surface of stillwater. The way to create canal or wharf water is just as before, the starting point being to create the bed. This can be achieved by paint, without adding any texture to the bed.

ADDING THE COLOUR

I would choose a dark brown colour for most canals and associated wharfs, although photographs will show that the colour can differ, depending on the geology of that particular area. For instance, the water of the Trent and Mersey Canal around Kidsgrove and the Harecastle tunnel has a distinctive bright yellow ochre colour because it is stained from the bedrock it runs over, which contains ironstone minerals. The Kennet & Avon Canal for long stretches is tinged from the local clay deposits, which turn the water a light greeny grey colour. The water of the Kidsgrove area can be replicated by using yellow ochre paint direct from the tube to the bed of the canal. To achieve something like the colour of the water in the Kennet & Avon Canal you will need to mix Davy’s grey and terra verte, with titanium white added. These are natural colorations due to the bedrock and clays.

Water can also be discoloured by man-made pollutants, especially in wharfs, where boats would dock in large numbers. The later narrow- and widebeam boats would be powered by diesel engines, and quite often the discharge from the engines could be seen entering the water. The resulting effects would discolour the water, with deposits of oil residue appearing on the surface. The many industries built alongside the canal would also contribute to pollutants entering the water, and if you decide to model an industrial urban area this will be even more evident. In certain areas large industrial chemical plants are built alongside the canals, and the effluent from these is deposited straight into the water. Up until the 1970s most of our canals in the towns and cities were in a rundown state, and the water had become very much polluted.

To recreate this on a model a dirty greyish brown or yellowish brown would be needed to convey the colour of this pollution to the depth of the water. It might also be worth experimenting with adding oil or thinned-down oil paint into the varnish. Also try adding the varnish coats before allowing the bed you have painted to dry properly, as this should create a reaction with the paint, which will contaminate the varnish to create a dirty-looking, polluted appearance. The surface oil can be replicated by dropping small amounts of used engine oil into the varnish just before it dries: again, this should react to give a reasonable effect. I would advise you to have a practice run with both these suggestions first, before trying them out on your model. Always be prepared to experiment with different materials – you might be surprised at what can give the scenic results you are looking for.

All the colour mixing and techniques described for the canal wharfs can also be used when creating a dock scene. The amount of pollution seen both in and on the surface of a busy dock will be much similar to any busy canal wharf. Careful observation and reference photographs will always help towards achieving a realistic model.

ADDING MORE AUTHENTIC COLOUR

Let us now turn our attention to the colours seen on the quay and wharf sides, together with the associated buildings and structures. The construction of both the quay and wharf walls would usually involve different forms of masonry being used, though in some cases timber or concrete may be the favoured materials, and steel pilings are also common for the facing of quaysides. This material will have been used to replace ageing masonry or a rotting timber construction, although many new docks will have been constructed using this material from the start.

The masonry colour will depend on the material used: stone will vary depending on the area as local stone would be used in most cases. If, however, local stone was not available in that particular location, it would have been specially shipped in, or alternative materials used. The projects in this book have used stone for the quayside at Porthwenn and for the canal wharf at Cromford, as both these areas of Cornwall and Derbyshire are rich with local stone. The Blackwater Quay diorama, however, is based in Essex, where local stone is not abundant, so the stone fronting the main quayside would have been brought in, while the quayside fronting the boat repair yard has been constructed from timber.

This image of the mud and silt, together with the plant life found on the saltings of a river estuary, is full of reference material for any modeller wishing to replicate such a scene on a layout or diorama.

The metal pilings often used to shore up a river, canal bank or dock side. Note the colour variations, from rust to the green coating of algae and the mud staining of the lower sections.

Another reference photograph of the tidal mud found on the river.

This reference photograph shows the silt and weed found on the bottom of a harbour when the tide is out.

The process for painting any stone or brick masonry would be to paint the mortar or gaps first by mixing a colour wash. Mortar colours will also vary, from greys, reds or buffs depending on the sand used in the mix. Check with photographs of your prototype if you want to replicate this accurately on your model. The colour will first have to be mixed from artist’s oil paint – for instance, the buff colour can be achieved by mixing yellow ochre together with titanium white or mixing white, while the red shades can be achieved by mixing warm red or Mars red with the same white. For grey shades use Payne’s or Davy’s grey with a small amount of white. Once you have mixed these colours together in a tin, mix in turpentine or white spirit to a consistency of 20 per cent mixed paint to 80 per cent of turpentine or white spirit to give you a colour wash. This technique to colour the mortar can be used on any masonry, including the buildings, of course.

The face of the masonry can be painted by using a drybrushing technique; this will apply to any type of stone as well as brickwork. The basic colours from the tube will need to be put on to a pallet first; I usually put the paint out a few days before I am going to apply it, because this way, most of the linseed oil will evaporate out to leave a drier pigment. The colours can then be mixed together, trying to replicate something like the tones of the real thing. This will take a little time, because you will have to keep going over the surface of the subject a few times to achieve an authentic representation. Most of the masonry I have included in the projects has been produced by using Das modelling clay. The oil paint reacts perfectly with this material, giving what I think is a reasonable result; this is because the paint soaks into Das, rather than staying on the surface.

The washes and the drybrushing technique using oil paint can also be applied to all the other materials I have mentioned for the construction of the quaysides and the wharfs. For concrete I again use Das, although ready-mixed plaster fillers can be used. For timber constructions, balsa, lime, pine or obechi wood is used. These take oil paint well, as it soaks into the grain of the wood. The metal pilings that you see shoring up the quaysides can be replicated by using some of the embossed styrene, vacuum-formed styrene sheets or resin castings that are available from model railway suppliers. I would always recommend using an acrylic priming paint on these first before attempting to paint them with the oil paint. The primer will give a base for the paint to key to, and as long as it is prepared properly, the same results can be achieved.

The wooden pilings used as buffers for the boats and ships to moor up against will require painting in the same way as other timbers. Weathering will also be evident on these, with rust from the securing bolts and the dark green slime found on and below the waterline. The timber above, if not treated, will almost certainly turn to a silvery-grey colour. This colour can be replicated by using Davy’s or Payne’s grey mixed with titanium white and a little Naples yellow. The dark green can be created from terra verte or sap green, and the rust from light red and a little chrome orange. Anything painted on and below the waterline will require a light coat of gloss varnish to give the impression of this area being constantly wet.

FINAL DRESSINGS FOR THE MODEL

In the last chapter I have already covered some of the dressings to complete the miniature impression of a quayside or a wharf. This can be taken a stage further by dressing the model with people working: by including figures on your model, it will bring it to life, creating those little cameo scenes along the quayside or the wharf.

A few model suppliers cater for this, although most only supply the 7mm modeller. PL M Cast-A-Ways has the largest range, produced in resin and white metal. They include such items as fishmongers and fishwives in various working situations, including gutting the fish on the gutting table. Other figures can be used as dock workers, from the likes of S & D Models and Duncan Models, although again these are for the 7mm modeller. For the 4mm modeller, white-metal figures by Langley Models will suit the purpose, or try some of the workman figures produced by Dart Castings, as these can be adapted to use as dock workers. You might find that the plastic set of railway staff now produced by Dapol could also be adapted.

All the figures produced will, of course, require painting. I use artist’s oil paints again, although you could use Humbrol enamels or acrylics. Whatever paint you choose, you will need to prime the figures first. I find that the grey priming spray paint from Halfords is ideal for this purpose. You must take your time when painting figures to make them look realistic, and I find it is always worth looking through books for reference. The clothing, for instance, needs to be the correct drab colours, especially when modelling period work clothes – and don’t forget the flat caps! Modern-day workers, however, will most likely be wearing high visibility outfits, according to the ‘Health and Safety’ requirements prevailing in the workplace today.

These dressings produced in resin from PLM Cast-A-Ways will be useful to dress a fishing quay scene.

The quayside will require plenty of rope to dress the scene. Try using linen thread such as this, or you might be able to use garden twine.

Two fishermen are engaged in conversation on the quayside. These delightful sculpted figures are now from the Invertrain range called ‘Whitby Fisher Folk’. The white metal castings were first primed, before being painted with artists’ oil paints.

Another cameo group of fishwives on the quayside. These figures and accessories are all available from the PLM Cast-A-Ways range.

Besides the figures, in order to capture the authenticity of the setting you will need to acquire the vehicles used on the quaysides. These will range from handcarts to motor-powered vehicles. Most of these will be available from the same suppliers as the figures. If you are modelling an early period, you will most likely need to include the workhorses, ponies and in some cases donkeys that were employed, harnessed to various carts and wagons. Heavy horses were also used to pull the boats, or to assist in manoeuvring them into mooring positions. Some horses would be used for capstan shunting operations along the quay- or wharfside.

Here, packing cases are waiting on the quayside to be loaded. The resin cases are again from the range produced by PLM Cast-A-Ways.

These white-metal pallets would also come in handy to dress the quayside. These are from the range of accessories produced by Skytrex 2013.

You might decide to include other animals, such as dogs or perhaps the quayside cat, begging for scraps on the fish dock. Birds will also need to be added to the scene, especially when modelling a harbour or fish dock, as herring gulls and other gulls would certainly be attracted to the fish-processing operations along the quayside. Also, the inland canal wharf will benefit from the addition of a few swans or ducks, bringing extra life to the model.

All animal accessories are again available from the same suppliers. In recent years you can even obtain animal and bird sound chips to add to model quayside scenes – although my advice would be to use these sparingly, and to be subtle with the volume, otherwise people could be driven mad listening to them all day long at exhibitions!

More packing cases and drums from the Skytrex 2013 resin range.

A group of oil drums and canvas sheeting from the Skytrex 2013 resin accessory range. This is another dressing worth adding, to create a busy quay or wharf scene.

CREATING A WINTER SCENE ON THE CANAL WHARF

After looking over the archive photograph taken by Phil Waterfield (early in Chapter 3) in the hard winter of 1963, I was intrigued by seeing the canal completely frozen over, and started thinking how we might be able to model a winter scene and recreate the iced-over canal. Modellers tend to play safe, it seems, and set our models in the spring or summer months; those who have decided on a winter theme will usually include snow. I decided, however, to recreate a hard frost, rather than snow; after all, we are more likely to see frosty days during British winters than those with snow fall.

The first thing was to look at reference photographs of frost and icy conditions, and observing one morning how the ice had formed on the fish pond in the garden. The ice forms a layer on the surface of the water, so I decided to try to create this layer on the already prepared surface of the canal.

I needed something that would create a thin skin over the surface and at the same time something that could be worked over with paint; my thoughts tuned towards experimenting with watered-down PVA. I know from experience that the PVA will dry to create a rubbery skin. A mix of 50 per cent PVA to 50 per cent water was made up before brushing the mix all over the varnished surface to the canal. Two coats were applied before letting this dry off completely.

Once the skin of PVA was dry, then I looked to create the colour and texture of the ice. For this I experimented with different spray paint colours, before deciding on using two that would create the right effect: a metallic spray from the Humbrol military range called ‘Gun Metal’ and the white primer from the Halfords range. I found that a combination of the two gave a very reasonable replication of the ice. To add to the effect and give that glint and sparkle to the ice, I sprinkled on some ‘Icy Sparkles’ available from the Deluxe Materials range.

To take this scenic modelling effect on a stage further, I decided to try to create the effect of the ice cracking. This was achieved quite easily by scratching through the thin painted skin of PVA with a sharp scalpel blade. Again I would advise looking at photographic references to achieve the most realistic result. The technique using the scalpel was also extended to scraping away small sections of the skin to reveal the varnished water surface underneath. Cameo scenes can be created using this modelling technique, with a boat crew trying to free boat from its iced in moorings, perhaps!

I decided that PVA glue would be the best material to create the skin required for the ice.

The PVA was mixed with water to a consistency of 50 per cent PVA to 50 per cent water.

The watered-down PVA mix was brushed over the varnished water surface of the canal.

The thin coating of PVA covering the surface of the canal; two coats were applied to achieve the thickness required.

I selected a metallic ‘Gun Metal’ spray paint from the Humbrol military range for the first coat of paint to apply.

A light coating of the spray was required over the surface of the canal and also over the wharf.

The second colour selected was a white primer spray paint from the Halfords range.

For extra effect to give the ice a glint, ‘Icy Sparkles’ from Deluxe Materials was sprinkled over.

The finished result, with a convincing replication of the iced-over surface achieved.

By scratching through the skin of the painted PVA, a convincing replication of the ice cracking resulted.

This photograph shows how, by lightly gouging with the scalpel, gaps can be created revealing the surface of the water underneath.

The glint and sparkle to the ice can be seen to advantage on this photograph. Note that this has been extended onto the frost covered wharf.

The narrow boat breaking free from its iced in moorings. Creating small cameos such as this can add realistic interest to your model.

I have included this overall picture of the wharf to illustrate the effect of using the materials and techniques described to produce realistic-looking winter scenes. This makes a pleasant change from those usually seen on most model railways.

USEFUL CONTACTS

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Scale rules, small squares, scalpels, blades, cutting mats, paintbrushes, evergreen styrene strip/sheet and general tools.

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100, London Road, Bognor Regis,

West Sussex PO 21 1DD

Telephone: 01243 842424

www.squirestools.com

Eileen’s Emporium

Unit 19, 12 Higham Business Centre,

Newent Road, Gloucester,

GL 2 8DN

Telephone: 01531 828009

www.eileensemporium.com

Hobby Holidays

The Spinney, Low Street, Beckingham,

Nr Doncaster, South Yorkshire

DN 10 4PW

Telephone: 01427 848979

www.hobbyholidays.co.uk

FOAMBOARD, DAS MODELLING CLAY, PAINTS, BRUSHES, STYRENE SHEET AND STRIP

Freestone Models

28, Newland Mill, Whitney, Oxfordshire

OX28 3HH

Telephone: 01993 775975

www.freestonemodels.co.uk

Slater’s (Plastikard) Ltd

Old Road, Darley Dale, Matlock, Derbyshire

DE 4 2ER

Telephone: 01629 734053

https//slatersplastikard.com

Evergreen Scale Models, Inc.

12808 NE 125th Way, Kirkland,

WA 98034, USA

Squires Model & Craft Tools

(See above)

Hobby Holidays

(See above)

Eileen’s Emporium

(See above)

SCENIC MATERIALS, ACCESSORIES, FIGURES AND DRESSINGS

Woodland Scenics

PO Box 98, Linn Creek, MO 65052, USA

Heki – Flor

HE KI-Kittler GmbH, Modellbahnzubehör,

D-76437 Rastatt, Germany

Green Scene

60 Hollymount, Worcester, WR 4 9SF

www.green-scene.co.uk

Double O Scenics

33, Willis Road, Haddenham, Buckinghamshire

HP 17 8HL

www.doubleoscenics.weebly.com

Dart Castings

17 Hurst Close, Staplehurst, Tonbridge Wells,

Kent TN12 0BX

Telephone: 01580 892917

www.dartcastings.co.uk

Langley Models

166 Three Bridges Road, Crawley, Sussex

RH 10 1LH

Telephone: 0870 0660 416

www.langleymodels.co.uk

Springside Models

2 Springside Cottages, Dornafield Road, Ipplepen,

Newton Abbot, Devon TQ12 5SJ

Telephone: 01803 813749

www.springsidemodels.com

S & D Models

Highbridge Works, PO Box 101,

Burnham-on-Sea, Somerset TA9 4WA

www.sanddmodels.co.uk

Duncan Models

34 Waters Road, Salisbury, Wiltshire SP 1 3NX

Telephone: 01722 321041

www.duncanmodels.co.uk

PL M Cast-A-Ways

12 New Street, Merryhill, Wolverhampton,

WV 3 7NW

Telephone: 01902 570810

Mobile: 07804 651121

Invertrain Model Railways

Heroes of the Footplate (Whitby Fisher Folk)

33 Rose Gardens, Cairney Hill, Dunfermline

KY12 8QS

www.invertrain.com

Omen Miniatures

c/o Unit 4

9 Harris Road, Calne, Wiltshire SN 11 9PT

Telephone: 07812 983313

www.omen-miniatures.com

BUILDING KITS, OFF-THE-SHELF MODELS AND ACCESSORIES

Truetexture

13 Middleton Street, Wymondam,

Norfolk NR 18 OA B

www.truetexture.co.uk

Superquick Model Kits

www.superquick.co.uk

Cooper Craft

Broom Lane, Oake, Taunton, Somerset

TA4 1BE

Telephone: 01823 461961

www.cooper-craft.co.uk

Metcalfe Models

Bell Busk, Skipton, North Yorkshire

BD23 4DU

York Model Making

Unit 13, Bull Centre, Stockton-on-the-Forest,

York YO32 9LE

www.yorkmodelmaking.co.uk

Skytrex 2013

Skytrex 2013, 1 Charnwood Business Park,

North Road, Loughborough,

Leicestershire LE 11 1LE

(order line: 01509 213789)

www.ogauge.com

‘Scenecraft’ by Bachmann

Bachmann Europe plc

www.bachmann.co.uk

Skaledale by Hornby

Hornby Hobbies Ltd, Westwood,

Margate, Kent CT9 4JX

www.hornby.com

www.expressmodels.co.uk

Email: sales@expressmodels.co.uk

SUPPLIERS OF MARITIME ACCESSORIES

GE DE Model Shop

21 Heathcote Street, Hockley, Nottingham

NG 1 3AF

Telephone: 0115 9412211

www.geedee-modelshop.com

Cornwall Model Boats

www.cornwallmodelboats.co.uk

WHARF AND QUAYSIDE LIGHTING

RMLectronics

1 Glebe Gardens, Beeford, East Riding of

Yorkshire YO25 8BF

Telephone: 01262 481264

www.rmlectronics.co.uk

Email: rmlectronics@btinternet.com

DCC Concepts

DCC Concepts Pty Ltd, 3/13 Lionel Street,

Naval Base, WA 6165, Australia

www.dccconcepts.com

Track

C&L Finescale Modelling

Aran Lodge, Severn Road, Hallen, Bristol,

BS10 7RZ

Telephone: 01179 505 470

www.finescale.org.uk

Peco

Beer, Seaton, Devon EX12 3NA

Telephone: 01297 20580

SOCIETIES AND ORGANIZATIONS THAT MIGHT BE OF INTEREST TO THE MODELLER

The Scale Four Society

www.scalefour.org

The EM Gauge Society

Email: membership@emgs.org

The Gauge 0 Guild

www.gauge0guild.com

The N Gauge Society

http//ngaugesociety.com

The 009 Society

www.009society.com

The 7mm Narrow Gauge Society

www.7mmnga.org.uk

The Midland Railway Study Centre

www.midlandrailwaystudycentre.org.uk

The LMS Society

www.lmssociety.org.uk

The Lancashire & Yorkshire Society

www.lyrs.org.uk

The North Staffordshire Railway Study Group

www.nsrsg.or.uk

The Great Western Study Group

www.gwr.org.uk

North Eastern Railway Association

www.ner.org.uk

The Cumbrian Railways Association

www.cumbrianrailways.org.uk

London & North Western Railway Society

www.lnwrs.org.uk

London & South Western Railway Society

www.lswr.org

The Historical Model Railway Society

www.hmrs.org.uk

Thames Sailing Barge Trust

Telephone: 07840 862685

www.bargetrust.org

IWA The Inland Waterways Association

www.waterways.org.uk

Tramway & Light Railway Society

www.tramway.com

MUSEUMS AND PLACES OF INTEREST TO VISIT

This list has been compiled to aid and assist any modeller wishing to model a port or inland waterway wharf.

Blists Hill Victorian Town

Ironbridge Gorge Museums, Telford,

Shropshire TF7 5DU

Telephone: 01952 884391

www.ironbridge.org.uk

Black Country Living Museum

Tipton Road, Dudley, West Midlands

DY1 4SQ

Telephone: 0121 557 9643

www.bclm.co.uk

National Waterways Museum

LIanthony Warehouse, The Docks,

Gloucester, GL 1 2EH

Telephone: 01452 318200

www.nwm.org.uk

Beamish Museum

Beamish, County Durham DH 9 0RG

Telephone: 0191 370 4000

www.beamish.org.uk

Crofton Beam Engines

Crofton, Marlborough, Wiltshire SN 8 3DW

Telephone: 01672 870300

www.croftonbeamengines.org

Etruria Industrial Museum

Lower Bedford Street, Etruria, Stoke-on-Trent

ST4 7AF

Telephone: 01782 233144

www.stoke.gov.uk

Museum of Liverpool

Museum of Liverpool, Pier Head,

Liverpool L3 1DG

Telephone: 0151 478 4545

www.liverpoolmuseums.org.uk/mol

Merseyside Maritime Museum/Maritime Archives & Library

Albert Dock, Liverpool L3 4AQ

Telephone: 0151 478 4499

www.liverpoolmuseum.org.uk/mol

The Boat Museum (Ellesmere Port)

Ellesmere Port, Cheshire L65 4FW

Telephone: 0151 355 5017

The Canal Museum (Stoke Bruerne)

Stoke Bruerne, Towcester, Northamptonshire

NN 12 7SE

Telephone: 01604 862229

Anderton Boat Lift

Anderton Boat Lift, Lift Lane, Northwich,

Cheshire CW 9 6FW

Telephone: 01606 786777

www.andertonboatlift.co.uk

Shardlow Heritage Centre

‘Canalside’, London Road, Shardlow

DE 72 2GA

Telephone: 01332 792935 – 01332 799482 – 01332 792334

Fradley Junction (British Waterways)

Alrewas, Burton upon Trent,

Staffordshire DE 13 7DN

Telephone: 01283 790236

Morwellham Quay Museum

Tavistock, Devon PL 19 8JL

Telephone: 01822 832766

www.morwellham-quay.co.uk

Crich Tramway Village

Crich Tramway Village, Crich, Matlock,

Derbyshire DE 4 5DP

Telephone: 01773 854 321

www.tramway.co.uk

High Peak Junction Workshops

Cromford Canal, Cromford,

Derbyshire DE 4 5HW

Telephone: 01629 823204

www.derbyshire.gov.uk/countryside

Leawood Pumphouse

Cromford Canal, Cromford,

Derbyshire DE 4 5HW

Telephone: 01629 823204

www.derbyshire.gov.uk/countryside

INDEX

adhesive, impact 83

anchor 99, 119

back scene 155

barge 90, 91, 92, 94, 97, 129

basin 32, 39, 55

beading 90, 92, 102, 103

board 66, 111, 173

base boards 18, 45, 48, 59, 60, 62, 80, 81, 82, 86, 14

fibre board 81, 82

foam board 45, 46, 84

lee boards 94

boat 6, 7, 8, 48, 71, 88, 90, 91, 97, 98, 99, 100, 102, 103, 104, 105, 106, 107, 110, 111, 112, 113, 118, 119, 120, 122, 129, 131, 137, 142, 143, 145, 146, 149, 161, 175, 181

boat yard 145, 146, 149, 161

fishing boat 112, 113

fly boat 100

narrow boat 15, 100, 104, 107, 109, 110, 111, 129, 145, 175

wide beam boat 90, 100, 175

bollards 54

bridge 12, 40, 61, 62, 131, 133, 134, 135, 139

foot bridge 61

lift bridge 32, 134, 137

swing bridge 32, 135

bulwarks 94, 98, 99

butty, butties 100, 105, 106, 107, 111, 142

cabin, fore cabin 100, 102, 103, 104, 105, 106, 107, 109, 110, 135

capstan 54, 120

cargo, cargoes 17, 27, 31, 37, 63, 90, 92, 94, 105, 113, 117, 121, 122, 126, 153

carriers 100, 102, 104, 105, 107

channel 13

chutes 10, 131

cobbled, cobbles 46, 47, 49, 50, 63, 66, 85, 89

concrete 88, 89, 118, 119, 145, 175

container, containerized 13, 125, 126

cradle 86, 87, 99, 145

craft 32, 86, 90, 92, 94, 96, 97, 98, 112, 113, 114, 168

coast, coastal 6, 9, 26, 34, 43, 90, 112, 113, 161, 169

collier 9, 39, 114

canal 6, 9, 39, 40, 55, 60, 63, 66, 90, 91, 96, 98, 99, 102, 105, 112, 121, 131, 133, 134, 137, 139, 142, 145, 153, 167, 168, 175

coal, coaling 7, 9, 14, 26, 27, 34, 37, 39, 40, 63, 72, 90, 96, 102, 114, 129, 131

crane 10, 15, 27, 34, 37, 54, 121, 122, 125, 126, 129, 149

derrick crane 121, 153

Das Modelling Clay 46, 47, 49, 63, 66, 84, 178

diesel 41, 71, 100, 175

diorama 15, 45, 48, 51, 54, 57, 62, 63, 66, 79, 81, 86, 102, 117, 178

dock, docks 6, 18, 22, 27, 31, 34, 36, 37, 48, 50, 51, 84, 114, 119, 122, 125, 126, 135, 143, 145, 153, 168, 169, 171, 175, 178, 181

drifter 113, 135

estuary 7, 43, 79, 90, 91, 112, 143, 145

exhibition 45, 48, 81, 131, 181

exporting 8

ferry 12, 42, 114, 153

fiddle yard 18, 61, 62

fish, fishing 12, 28, 34

foundation 83

frame 80, 97

freight 94

funnel 104

gauge 8, 17, 66

narrow gauge 15, 32, 33, 43, 45

standard gauge 32, 33, 45, 81

girder, girders 40, 61

goods 6, 9, 12, 34, 56, 90, 112

graving 143, 145

harbour 6, 18, 22, 26, 27, 28, 31, 34, 45, 47, 50, 112, 113, 117, 118, 143, 153, 167, 168, 169, 171. 172, 180, 181

hatch 92, 106

heritage 43, 56

hoists 36, 39, 131, 153

hold 36

horse, horses 6, 7, 15, 31, 56, 60, 71, 90, 97, 100, 111, 133, 180, 181

hull 72, 86, 92, 99, 161

ice 12

incline 30, 31, 42, 62, 129, 133

industry, industrial 7, 43, 175

jetty 32, 37, 39, 42, 172

jib 99

joshers 100

keel 86, 88, 90, 92, 97, 149

kit, kits 17, 18, 22, 41, 42, 71, 72, 81, 98, 114, 131, 143, 145, 161

landscape 60

lift 121, 126, 153, 173

liner, liners 12, 39

load, loading 18, 54, 121, 122, 131

lock 99, 100, 137, 139, 142, 143, 153

lock gates 142, 143

masonry 83, 84, 118, 133, 155, 175, 178

mast 99, 111

materials 10, 43, 47, 66, 83, 89, 90, 114, 146, 149, 175

mines 7, 26

moor, moorings 51, 118, 119, 181

motor, motors 97, 100, 102, 104, 105, 110, 111, 142

navigable 6, 90, 91, 135, 142, 153, 155

navigation 32, 39, 90, 91, 99, 104, 105

oil paint 49, 51, 66, 84, 173, 175, 178, 179

Ordnance Survey 63

paddles 142

pattern makers’ dowels 82

pier 13, 27

piles, pilings 47, 48, 50, 84, 178

plaster bandage, ready mixed plaster (No More Cracks) 66, 87, 88, 173

ply, plywood 45, 60, 80, 81, 82

polystyrene 45, 60, 155

port 6, 10, 12, 17, 34, 43, 92, 114, 117, 131, 135, 153, 167

port hole 105, 107

PVA 46, 48, 66, 80, 83, 84, 98, 182, 183, 184

quarry, quarried 8, 15, 43

quay, quayside 12, 18, 27, 30, 32, 34, 45, 46, 47, 48, 49, 50, 54, 79, 81, 83, 84, 86, 87, 89, 114, 117, 119, 120, 121, 125, 129, 175, 178, 179, 180, 181

resin 155, 173, 178, 179

rig, rigging 90, 92, 113, 114, 125, 126, 149

river 6, 28, 36, 39, 43, 55, 59, 60, 61, 79, 91, 92, 105, 109, 112, 135, 142, 143, 145

road 6, 27, 30, 32, 56, 135

roses & castles 107, 109, 110, 111

roundel 107, 111

rudder, rudder post 102, 103, 106, 111

rust 178

sail 99, 146

scale 14, 71, 72, 79, 80, 85, 87, 98, 121, 126, 129, 139, 143, 155

scalpel 47, 48, 81

scenery 89

scribing 47, 63

sea 6, 26, 90, 98, 112, 143, 173

seaweed 48, 50, 51, 89

shed 146

ship 10, 13, 18, 28, 36, 37, 48, 99, 103, 113 114, 119, 120, 129, 131, 143, 149, 168

shipment 32

shippers 72, 114

shunting 56, 120, 131

silt 48, 50, 51, 168, 173

sleeper 7, 55, 66, 81, 82

slipway 87, 88, 89, 146, 149

stable, stabled 40, 60, 62, 66

staiths 9, 131

stationery engine 26, 30

steam, steam powered 7, 17, 27, 90, 91, 97, 100, 114

stern 87, 96, 98, 102, 103, 107, 111, 113

stove 104

styrene 178

styrofoam 60

syringe 48, 83

template 82, 98

tide, tideline 51, 84, 86, 89, 91, 143, 145, 168, 169, 171

timber 26, 34, 37, 45, 48, 66, 83, 84, 87, 90, 91, 113, 126, 146, 149, 178

tipplers 10, 129, 131

towpath 133, 137

track 15, 18, 40, 48, 55, 57, 59, 62, 66, 82, 83, 87, 89, 129

tramway 7, 14, 27, 32, 37, 39, 43, 55

trans-shipment, trans-shipment shed 9, 15, 17, 36, 39, 55, 71, 91, 97, 153

transport, transporting 8, 10, 26, 28, 41

trawler 34, 113

turntable 27, 129

varnish 51, 66, 85, 87, 146, 173, 175, 178

vehicles 22, 180, 181

ventilator, ventilation 41, 153

vessel 27, 31, 34, 97, 98, 99, 112, 113, 114, 118, 119

vintage 100

wagon, wagons 15, 36, 41, 55, 120, 129, 131

war, First World War, Second World War 13, 18, 39, 72, 94, 112

warehouse 18, 31, 34, 55, 60, 62, 63, 100, 126, 153

waves 167, 173

wharf, wharves 9, 14, 31, 34, 39, 55, 56, 62, 63, 71, 114, 119, 120, 125, 129, 143, 153, 167, 168, 175, 178

wheelhouse 99

winch 99

winter, modelling 182, 183, 184, 185

wire, wiring 82, 99