Home » Big Book of Leather Chapters » Flackets – the other leather bottle

Flackets – the other leather bottle

A flacket is a type of leather flask or bottle made from only two pieces of leather, one for the front and one for the back. It has no base, but may additionally have a welt or gasket piece between the front and back. Depending on your cultural prejudices, these are sometimes also known as pumpkinseed- or pear-flasks.

Examples are few, pointing to it being an older design than those we more commonly see, such as costrels and the two- or three-piece leather bottels. Most of the surviving examples come from the Mary Rose (1545) and are regarded as among the last exemplars of the form. Accordingly, Baker is of little help other than on p59, remarking “Flasks (Flascones) as well as bottles are mentioned in Alfric’s Colloquy in the 10th century as being made by the shoe-wright…”

Designed mainly for upright use such as hanging on saddles or being worn on the hip, in common with the three-piece upright bottle, this type of bottle is almost universally asymetrical. The outside face is always deeply curved, accounting for most of the volume, with the back being raised but flat so that it sits comfortably when worn and provides a flat surface for when it needs to be put down.

Flackets from Gardiner

Line drawings of some of the flackets from the Mary Rose. Click on the image for a full page version that might do it justice.

No information about the manufacture of this type of bottle survives, so the usual divide between the rammed sand/grain/shot moulding and the wooden core moulding schools of thought exists, with an interesting twist that I’ll deal with in a moment after I’ve cast some nastursiums. No example I’ve seen produced by sand-moulding artisans has ever accounted for the asymetry required by this design, and very few manage the sharp angles and extreme stretching required to match the Mary Rose examples without resorting to ahistorically thin leather. The third school, to date only present in academic works, shows such naievity and lack of understanding of the mechanical characteristics of sewn leather that I’m including it here almost as an humourous aside. This method is blow moulding (cf Gardiner et al. p454). In this method, two flat pieces of leather the shape of the finished product are sewn together, wet, raised to the lips and blown into, in the manner of inflating a baloon. The wet leather then somehow holds it shape as it dries. I’m unsure when the embossing and stamping is supposed to be done with this method. I have seen a variation of this theme used, where the sewn leather envelope was connected to a garden hose and high water pressure used to stretch the leather to shape. It was then dried and waxed. Note that none of the inflation-based methods allow for the requisite asymetry.

I own a rather nice example made in about 1983 by an (at the time) young lad who’s dad was a member of the Leatherworkers Guild of New South Wales. It and a few other examples they sold were made by nailing wet leather to a board over an approximately shaped mound of newspaper, not unlike lasting a shoe.

I suppose the point of the tirade thus far is that we don’t have any idea how these things were originally made, so as long as your method results in an end result that is near enough to the original to make you happy, stick with it. I’ll spend the rest of this post discussing how I tooled up to produce a copy of one of the Mary Rose flackets (81A2218) for a commission. I won’t go as far as stitching it all together and sealing it as I’ll be doing that as part of a seventeenth century display at the Blacktown Medieval Fair later in May. Drop by and say hello if you’re around. Stitching and sealing were covered in my earlier post on Costrels if you need a refresher.

My technique is more or less derived from my approach to jack making although probably owes it’s heritage to the silk screening equipment I played on as a small boy in the late 1960s. There’s also a nod to the newspaper nailed under leather in this. All of the Mary Rose flackets are decorated to a greater or lesser extent with a combination of cuts, embossing and stamping. Baker observes that stamping requires a solid, stable base, so I’ve taken his advice and built a wooden core for moulding the front, and another for the back. All the embossing seems to run from the high points to the low, and may be a quick and decorative way of working the leather on to the core. I’m going to claim this in the lack of any real evidence and move on in the hope you won’t notice. A frame tensions and stretches the leather over the core.

The first step is to make the wooden cores. In my time-honoured tradition of taking the lazy approach, I enlarged the drawings from the Mary Rose book to life size on a photocopier and then made another copy. The first one I folded about the axis of symmetry and cut out along the outside. This includes stitch allowance and the carying ears and will be the plan of the finished pieces. The other I cut the thickness of the leather (about 4mm) narrower than the inside line of stitching and used it as the shape for both the cores and the cut out in the stretching frame.

The two cores, roughly cut from scrap timber. The dowel was used for the neck.

This is how I drilled the hole for the neck. The front and back are clamped together and the hole is drilled offset as the neck on the one I is deeper on the front than back

The core for the front was made from a substantial piece of spotted gum, a left-over from our back steps. Looking back, it would have been easier to do it from something soft like oak. Or mild steel. It took a lot of work with saws, files and sanding to get it to shape.

The two finished cores. The neck dowel is held in place with a filling epoxy because I’m too lazy to carve it from the one piece.

You can roughly gauge the volume of the finished bottle by holding the front and back core together in a bucket of water and measuring the volume of water displaced. Round down a bit to allow for the thickness of your chosen waterproofing solution. The required volume for this commission is the statuary 1 quart (2 pints or about 1.2l) so my halves may be just a smidge thicker than used on the original although we have no way of knowing if there’s been any shrinkage during 550 years in the Solent.

The next step was to make the frame. The base is from a substatntial lump of radiata scrounged from a building site rubbish pile and the top is from ply for ease of shaping, with a 50x25mm radiata frame to strengthen and provide a surface for clamping.

This is the base (feft) and the top (right) of the stretching frame. I’ve drawn the shapes on the top so I can cut it out and the base to assist in alignment of the core.

After cutting out the hole in the top piece and cleaning up the edges where necessary with a file, the stretching frame was ready to assemble. To keep the tension on the frame even and avoid pincing the leather at the neck end of the bottle, I put two pieces of the leather I had planned to use as a spacer between the top and bottom before attaching the rather substantial hinges. This is to ensure the top and bottom are parallel when the leather is being clamped.

The finished frame with the back core in place for moulding.

Soaking the leather. I know you know how to do this bit but I’m really showing off my first attempts at coopering – the two new staves in the tub.

The frame was now ready for use. While soaking the leather (I’m using 3.5mm carving leather in this case), centre the back core on the frame base using the pencil lines as a guide. Lay the wet leather skin side up on the core and lower the top leaf of the frame. Clamp in place, smooth any puckering or bubbling with firm pressure and leave to dry.

Clamping the back. Make sure you work the leather around the wooden core and the core is approximately aligned before clamping.

The area around the base of the neck seems to be a particular problem so I used an off-cut of leather to cushion the pressure and worked it down with both thumbs until it sat neatly around the core. This left a curved line not unlike the one shown in the dig report illustration. I found the points where the leather puckered on the back coincided almost exactly with the embossed decoration on the back of the target bottle, 81A2218, so I copied the embossing with the back of a butter knife after stamping my maker’s mark. This left the leather conforming tightly to the whole core.

Embossing the back while still wet. The “W” inside the shiled is my mark, based on the Marian “M” on some of the other bottles. Yes, I am using the back of a butter-knife.

We nipped off for a quick pike drill in the park and when we came back 40 minutes later, released the clamps and removed the leather.

The moulded back-piece. Total elapsed time was about 50 minutes and could have been less if we hadn’t ducked out for half an hour.

An unusual inside view of the finished back piece.

I then repeated the process for the front and found the puckering was different as the leather was stretched differently to the back, but again found that it corresponded to the embossed decoration on the original, particularly the double lines at the base of the neck were essential to getting that area to conform properly to the mould.

Here’s a tip. When you are carving a stamp that includes letters in the design, you have to make sure that you carve the letters in reverse to how you want them to appear. I do think my second attempt at the stamp is better. 😉

The completed front. I was able to work all the creases out by dampening them and using thumb pressure.

There’s a couple of changes that I’ll make next time I make a frame for flackets. I had chased a line in the clamping surface of the top piece with a sharp chisel. this was supposed to leave a raised cutting line on the finished piece, but was too fine and didn’t show clearly enough to be useful. I’ll have to think about making it wider and deeper at some point. With the trouble I’m having shaping the base of the neck where it joins the body of the bottle, I think next time I’ll carve an arch in the top so the pressure is more even across that part than just clamping the sides of the neck turned out to be.

This view is meant to show the different shapes and depths of the front and back.

I had expected to have to drill a couple of holes in the base and use dowels to positively locate the cores on the base but found leaving them loose meant they self-centered far more precisely than I could have managed with a fixed location and didn’t end up leaving any marks on the leather from wriggling around while the clamping pressure was applied.

The moulding was all done on a mild Autumn day, with this sort of frame I could mould at least ten halves in a normal working day in these conditions. Three or four would easily enable me to start mass-production, particularly if there was any heating in the workshop.

That’s enough to be going on as you probably already know the rest of the process. I’ll stop at this point and follow up when I’ve dyed, stitched and sealed it in a month or so.


Part 2; in which it all goes horribly wrong

Part 3; in which I have another crack

See also: stick a cork in it

 

 

 

Advertisements

26 thoughts on “Flackets – the other leather bottle

  1. Thank you very much for this website. I have been researching on-line for about a year for some information on making costrels, jacks, bombards, and what not. Just finished a tamped sand bottle and thought there had to be a better way that was still period. You helped clarify some of my own thinking and for that you have my thanks.

    One question though: which book from the Mary Rose do you/did you find the most helpful? “Sealed by Time” or “Before the Mast”.

    Thanks in advance!

    • Hi John,

      Thanks for your comments. I use “Before the Mast” a lot, I found “Sealed by Time” didn’t have enough detail. I’m really hanging out for the next volume on armaments, it is (theoretically) due out by Christmas.

      Wayne

  2. Hi Wayne,
    Great stuff, I’ve been debating trying something similar to this for a while…you beat me to it.

    Maybe I’ll still do it, right after I blow one up like a balloon 😉 sheesh.

    I have a question about this comment:
    “This type of bottle is almost universally asymmetrical. The outside face is always deeply curved, accounting for most of the volume, with the back being raised but flat so that it sits comfortably when worn and provides a flat surface for when it needs to be put down.”

    What’s your source on that? I’m having trouble finding anything that talks about this feature.
    Cheers,
    Holly

    • Hi Holly,
      Its more an observation than a sourced quote, however, I’m not the only one to notice it on the more extreme examples. In Gardiner’s Before the Mast, [Mary Rose] “Flask 79A1213 (Fig 11.33) is very flat…”. The illustration makes it clear that one side is more or less smooth and flat, while the other side was obviously convex and now has a lot of leather tucked and folded so it conforms with the other side under whatever load it was exposed to in the remains of the ship. Flask 80A1852 is also shown in the same figure and has the same characteristics, but is less flattened so the differet shapes of the front and back are more apparent. The bottom part of the back is what I’ve derived my back mould shape from. Fig 11.33 is the one I’ve linked to in the main post. On the next page, the photograph of 81A2218 also shows this feature. These are on pages 453-6. I had a chance to get a really good look at one in the Mary Rose Museum in 2006 (81A2218) and the difference between the sides is really obvious.

      Baker depicted and described three leather flasks shaped like heads on pp 60, 61 and 66 with deeply modeld fronts and notes “the back is almost flat” (p60). On p64 he talks about a powder-horn shaped flask and provides my reasoning above: “the horn model has only been followed so far as it was convenient, the side that rested against the owner’s body being nearly flat”.

      Wayne

  3. Ah yes…I’m looking at them right now.

    I agree 81A221 really does look to be asymmetrical but 79A1213 is so squashed I find it hard to be as certain: the front and back drawings do look asymmetrical, especially because, as you say, there appears to be so much leather creased and folded up – but it is less apparent when you look at the side and top view. 80A1852 really isn’t any help at all, even though the line drawing makes it look that way the write up on the page 456 says only 1/2 the flask survived (so the drawing is actually the outside and then the inside rather than front and and back).

    Was hoping you’d tell me someone had actually measured one or some crazy idea like that. It would be fantastic to get an actual measurement seam to seam across the front and same across the back.

    Did they let you photograph 81A221 when you were there?

    Thanks very much, once again, for the assistance
    Holly

    • They did let me photograph it, it’s a wonder it came out at all as I’d just been given one of the original arrows to play with and my hands were still a bit shaky.

      It was on display the way it was found with the back facing up, I’ve put it on my Flikr account. I’ll get a MR gallery done at some time soon.

      MR 79A1232

      You can see all the excess leather from the front in my photo.

      On 80A1852, I think there’s a small piece (maybe up to a 1/4) of the back still attached. It obscures the stitching and on the bottom left corner, two rows of stitches appear. It may be wishful thinking on my part but I’d like to think that there is more present than the text lets on.
      Wayne

  4. I continue to enjoy your posts and refer back to them from time to time but haven’t found enough time to peruse the whole bit. Have you ever contemplated containerss such as the one used to house the “Luck of the Edenhall” vessel at the V&A?

  5. Pingback: Changing Dates – the case against « International Routier-the Blog

  6. Hi Wayne,
    Hope you’re well! I finally got back around to working on these again, tried my first of this style with a mold this weekend- worked extremely well – much better than sand!

    I noticed you left a 4mm gap between your inner and outer molds – either because I subconsciously remembered it from your post or coincidentally, I did the same. My test piece is in a 6/7 ounce leather since that’s what I had on hand, but I’m going to buy some heavier.

    I’ve been waffling between a 8/9 ounce (3.18-3.58mm) or a 9/10 ounce(3.58-3.96mm) side.

    What weight have you been using and did you get a sense of the thickness of the leather in the extant pieces you viewed?

    Your thoughts would be much appreciated!
    thanks again,
    Holly

    • Hi Holly,

      It’s a long story, but I’m outstandingly well. The leather I’ve been using is about 3.6mm so around your 9 ounce size. This is in part based on the original jacks and bombards I’ve seen, although the MoL jack in the gallery is probably just a shade thinner, and in part on the available thickness of harness butt. Some of the repros I’ve seen by Mark Beabey were this sort of thickness too.

      Cheers,

      Wayne

  7. Outstandingly well?! That is excellent, happy to hear:)
    Thanks for the confirmation – a second opinion is always welcome when heading out to spend $$$ on a side of leather!
    Best Regards,
    Holly

  8. Pingback: Interpretation of Mary Rose 81A2218 -Leather Bottle « sevenstarwheel

  9. Thanks for your answers, Reverend. I have two more questions.
    1 You have offset the dowel but when I look at the drawing of the neck cross-section it looks fairly symmetrical.
    2 You use black dye but is there evidence of a particular colour on the original?
    Sorry to pick your brains but I’m having a go at reconstructing it myself.
    Skeet

    • Hi Skeeter,
      The offset has the neck in the centreline of the finished bottle, it’s based on what I think I can see in the line drawing of find 79A1213, along with the comment in the dig report that the moulding on that one is entirely “one sided” and the back is flat. 81A2218 is shown with a very slightly flatter curve on the back (top of cross-section) than on the front. It is more apparent in the photograph on p456 of Before the Mast but that may be a case of me seeing what I wanted to see. Oliver Baker also implies the necks are often off-set slightly in his book, saying that the moulding was asymmetrical and always flatter on the back than the front. Again, I may be adding my own prejudices.

      There is no evidence of colour on any of the Mary Rose bottles, there is a hint of a suggestion that 81A2034 had painted decoration but even that isn’t readily apparent on the remains. Black is a safe choice, because it’s easy to make, the ones we have that are still showing colour are often black (but not as universally as extant blackjacks or bombards), and it hides any pitch that might leak through the stitching or leather. Marc Carlsson has some medieval leather dye recipes on his site, I tend to restrict my colour choice to the ones given by Alexis of Piemount because he’s more or less contemporary, writing in 1558.
      http://www.personal.utulsa.edu/~marc-carlson/leather/ld.html

      I hereby revoke permission for *anyone* to use chrome tanned leather as recommended at the bottom of Marc’s page. It uses an industrial process that dates from the beginning of the 20th century. It also doesn’t mould well enough to make a bottle and is probably toxic to drink from.

  10. Reblogged this on Paleotool's Weblog and commented:
    So, I hung my leather bottle over the wood stove one evening and awoke to find it very dried out and the wax, hitherto virtually invisible had run to the bottom then onto the hearth. While seeking our designs, I recalled the excellent tutorial from the Leatherworking Reverend from way down under. I hope he doesn’t mind the publicity as I am reposting his Flacket-style bottle design here. On my ever growing, rarely shrinking list of things to do!

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s