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Building with Paper Architecture and Construction 1st
Edition Ulrich Knaack Digital Instant Download
Author(s): Ulrich Knaack, Rebecca Bach, Samuel Schabel (Editors)
ISBN(s): 9783035621662, 3035621667
Edition: 1
File Details: PDF, 32.92 MB
Year: 2023
Language: english
BUILDING
WITH
PAPER
BUILDING
WITH
PAPER
The editors would like to thank the research funding programme
LOEWE of the State of Hesse and the Technical University of
Darmstadt for their financial support of the BAMP! project and this
publication.

Graphic design, layout and typesetting Miriam Bussmann

Translation into English Usch Engelmann

Cover Paper Log House, Shigeru Ban, Sherman Contemporary Art

Foundation, Sydney, 2017; photograph: Brett Boardman

Copy editing and project management Ria Stein

Production Anja Haering

Paper Magno Natural, 120g/m²

Printing Grafisches Centrum Cuno GmbH & Co. KG

Lithography Repromayer, Reutlingen

Library of Congress Control Number: 2022944000

Bibliographic information published by the German National Library

The German National Library lists this publication in the Deutsche Nationalbibliografie;
detailed bibliographic data are available on the Internet at http://dnb.dnb.de.

This work is subject to copyright. All rights are reserved, whether the whole or part of
the material is concerned, specifically the rights of translation, reprinting, re-use of
illustrations, recitation, broadcasting, reproduction on microfilms or in other ways, and
storage in databases. For any kind of use, permission of the copyright owner must be
obtained.

ISBN 978-3-0356-2153-2
e-ISBN (PDF) 978-3-0356-2166-2

This book is also available in a German-language edition with the title Bauen mit Papier,
print-ISBN 978-3-0356-2139-6.

© 2023 Birkhäuser Verlag GmbH, Basel

P.O. Box 44, 4009 Basel, Switzerland
Part of Walter de Gruyter GmbH, Berlin/Boston

987654321
CONTENTS

1 PAPER IN ARCHITECTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Research project “BAMP! – Building with paper” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The history of paper in architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

2 MATERIAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Wood composition and pulping processes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Paper production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Material properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

3 SEMI-FINISHED PRODUCTS AND COMPONENTS . . . . . . . . . . . . . 36

Paper, cardboard and paperboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Corrugated board. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Sandwich structures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Tubes and cores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Natural fibre-reinforced sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Free-formed components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

4 BUILDING CONSTRUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Idealised structures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Joining techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Construction typologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

5 LOAD-BEARING STRUCTURE, FIRE PROTECTION,

BUILDING PHYSICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Dimensioning of load-bearing systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Fire protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Building physics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Ecological considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Typical construction details. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

6 CASE STUDIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Houses and Shelters
PAPER HOUSE · Yamanashi, Japan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

5
PAPER LOG HOUSE · Kobe, Japan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
WIKKELHOUSE · Amsterdam, Netherlands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
CARDBOARD SCHOOL · Westcliff-on-Sea, UK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
CARDBOARD HOUSE · Sydney, Australia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

CLUBHOUSE: RING PASS HOCKEY AND TENNIS CLUB · Delft, Netherlands . . . . . . . . . . 102
PH-Z2 · Essen, Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
INSTANT HOME · Darmstadt, Germany. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
STUDIO SHIGERU BAN, KUAD · Kyoto, Japan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
HOUSE OF CARDS · Wrocław, Poland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

TECH 04 · Wrocław, Poland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

HOUSE 01 · Darmstadt, Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

HOUSE 02 · Darmstadt, Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122
EMERGENCY SHELTERS MADE OF PAPER · Darmstadt, Germany ................... 126

Pavilions
CARDBOARD THEATRE APELDOORN · Apeldoorn, Netherlands .................... 130
JAPANESE PAVILION, EXPO 2000 · Hanover, Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

PAPER THEATRE IJBURG · Amsterdam and Utrecht, Netherlands .................. 134

ARCH/BOX · Wrocław, Poland .................................................... 136

Bridges
PAPER BRIDGE PONT DU GARD · Vers-Pont-du-Gard, France . . . . . . . . . . . . . . . . . . . . . . . 138
PAPERBRIDGE · Patterdale, Cumbria, UK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
A BRIDGE MADE OF PAPER · Darmstadt, Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Interiors and Furniture

AESOP DTLA · Los Angeles, USA .................................................. 144
CARDBOARD BOMBAY · Mumbai, India . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
CARDBOARD OFFICE · Pune, India . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
CARTA COLLECTION · Zurich, Switzerland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

6
7 OUTLOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Redefining design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Function and use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Material technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Recyclability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Rethinking processes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

8 FACTS AND FIGURES FOR ENGINEERS . . . . . . . . . . . . . . . . . . . . . . . . . 170

Test methods for papers and cardboards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Test methods for mechanical failure of components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Test methods for building physics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Material samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

APPENDIX
Editors and authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Illustration credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

7
 1 PAPER IN
ARCHITECTURE

Why build with paper? A material that usually fulfils completely different purposes,
first and foremost the permanent documentation of knowledge in the form of a book,
newspaper or written document, but also in hygiene and the packaging industry. This
book will provide a detailed look at the reasons for building with paper.
Paper is made from wood. Humans have been using this renewable raw material
for buildings since time immemorial. The material is currently experiencing a surge in
development in many new applications and joining technologies that do justice to its
anisotropic character. Because this is precisely where the material’s potential lies:
paper can be seen as an evolution of the basic material wood – a kind of Wood 2.0!
Wood is anisotropic, which means that it has different strengths in the x, y and z
directions due to its natural growth. It is also characterised by imperfections in the
areas of branching and by pre-existing damage due to the long growth process. Over
the centuries, the structural handling of wood in terms of connection techniques and
safety scenarios has developed in such a way that we have sufficient experience and
knowledge to use the material safely and according to plan. At the same time, its un-
even appearance shows it to be a natural, grown material. One example documenting
the technological progress is laminated veneer lumber, developed to compensate for
the irregularities of wood. Very thinly cut layers of wood (1 to 3mm) are glued on top of
each other to form an engineered timber product in which the overlapping cancels out
the imperfections of the wood. By rotating the layers in relation to each other, areas of
different strengths can be balanced to achieve equal load-bearing capacity in at least
two of the three directions. Another advantage is that the dimensions of the material,
which are limited by natural growth, can be exceeded many times over: whereas
boards cut directly from trees are limited in width and length, laminated veneer lum-
ber boards are currently offered with maximum dimensions of 3.5 × 25m, a limitation
that is due more to transport and machine design than to technical possibilities. The
result is a homogeneous and largely natural material with dimensions that do not oc-
cur in nature and with very dimensionally accurate industrial reproducibility.
And now paper? Paper is made by separating wood fibres mechanically or chem-
ically and then recombining these wood fibres in the form of thin flat layers. In addi-
tion, filler material or additives can be used to create other volumes and functionali-
ties. In a way, paper production can thus be compared with the production process of
laminated veneer lumber: disassembling and then reassembling creates a new homo-
geneous, industrially reproducible material that is available in varying dimensions.
However, in the construction industry, paper has so far only been used in a few areas,
for example, as separating or support layers and as experimental material. This is due
to two main influencing factors: humidity and fire.

1 PAPER IN ARCHITECTURE 8
 Wood and the derived timber products described above can absorb and release
moisture without immediate damage to the material. With appropriate building-com-
ponent dimensions, the risk of moisture damage can be further reduced. As far as fire
protection is concerned, wood as a building and construction material can protect it-
self by charring the outer layers during the burning process and thus significantly de-
laying complete destruction by fire with loss of integrity.
This natural protective principle also applies to paper: by increasing the layer
thickness, the burning process can be slowed down – however, at the cost of a heavy
construction with more material. Moisture protection, on the other hand, is much
more difficult to achieve. Recurring switches between humidification and dehumidifi-
cation damage the paper structure in such a way that dimensional stability is no longer
a given. Everyone knows the phenomenon: if a thin sheet of paper gets damp, it be-
comes wavy and remains permanently deformed. However, manufacturing processes
have been developed that include the use of certain additives to the material to in-
crease the wet strength of paper: a particular benefit in the fields of hygiene and pack-
aging. This added property creates a potential that needs to be translated for applica-
tions in the building industry.
One unbeatable advantage of the material paper is the possibility of chemically
dissolving the fibre structure of the base material wood and reassembling it. As men-
tioned above, this process offers reproducibility and material perfection, which, in
turn, positively affects dimensioning and geometric diversity. Layering or shaping the
material creates three-dimensional geometries such as corrugated board or honey-
comb board. These structures enable lightweight yet structurally efficient sandwich
building components that can themselves be layered and designed according to spe-
cific load requirements.
The development of building components can build on experience gained in the
packaging and transport industry. The following three aspects, in particular, offer great
potential for functional transferability to the building industry:

• techniques for joining paperboard or cardboard;

• layering of load-bearing and volume-generating components; as well as
• superimposition of the individual levels to avoid anisotropy.

In parallel, it is possible to build on the significantly improved paper manufactur-

ing process itself, which has been consistently optimised over the past few decades.
The production processes, which used to be very energy- and water-intensive, have
been significantly improved through research and development. The same applies to
circular economy: paper recycling stood at the beginning of all recycling efforts; it has
long since been comprehensively established, and, technologically, it is mature.

Research project “BAMP! – Building with paper”

The fundamental research project “BAMP! – Building with paper”, a programme funded
by the State of Hesse, Germany, formed the starting point of this book. The interdis-
ciplinary composition of the participating scientists made it possible to map and inves-
tigate the entire value chain of a building made of paper » fig. 1.
Building with paper is still in its infancy stage, but several experiments already
promise design and functional opportunities. And there are ecological advantages:
the recyclability of paper conserves resources, and the use of wood as a raw material
reduces CO2 emissions. All this could help to further develop the idea of ecological,

Research project “BAMP! – Building with paper” 9

1 The research project
“BAMP! – Building with MATERIAL
MATERIAL
Morphology, topology
Morphologie | Topologie
MATERIAL
MATERIAL
paper” examines and Chemical
Chemischefunctions
Funktionen
analyses the entire value
chain of a building made
of paper.

ANALYSIS,
ANALYSE | SIMULATION
SIMULATION
Construction, joining
Strukturmechanik SEMI-FINISHED
HALBZEUGE
PRODUCTS
Optimierte Verbunde
Optimised
BUILDING
BAUWERK
composites
Design,
Gestalt function
+ Funktion

BAUTEIL
COMPONENT
ASSEMBLIES
BAUGRUPPEN Fertigung
Manufacturing
Construction,
Konstruktion + joining
Fügung

sustainable architecture – especially against the background of a material-related cir-

cular economy – which other building materials cannot offer in the same form.
Developing high-performing building systems made of wood has been a long
journey. In order to establish building with paper as an independent construction
method, it is necessary to examine to what extent the proven techniques and ap-
proaches of other construction methods can be transferred and where completely new
paths need to be taken. Many questions are still open and, due to the complexity of the
issue, they can only be solved jointly: thus, not only the industry but also designers,
users, owners and operators of buildings are called upon to recognise the potential,
develop it together and make it permanent.
To identify industrial solutions in the building industry, missing basics such as
material parameters must be worked out and verified depending on the area of appli-
cation. What requirements do buildings and components impose on the material and
its manufacture? What standards result from the material and its use, and where can it
be used for what purpose? In parallel, it will be necessary to investigate how existing
materials from the paper industry can be used in architecture, how technologies from
paper production can be transferred and to what extent they can be adapted for build-
ing objectives.
In a further step, these findings can then be translated into constructions. Build-
ing with paper can be classified as lightweight construction; it can be used for tempo-
rary structures and will develop its own design and functional patterns. It may be pos-
sible to use existing products and improve them (optimisation) intelligently or to
develop other products with new methods (innovation) that are geared to specific ap-
plications in the construction industry. However, such pioneering work requires a high
degree of interest, creativity and willingness on the part of all those involved – indus-
try, designers and users » fig. 2. Only if the topic attracts sufficient attention can grants
and funding be obtained for application-oriented basic research. And to gain accept-
ance in society, it must be clarified whether new framework conditions can be created

1 PAPER IN ARCHITECTURE 10
 EE
MM HODDESN
TTHO 2 Development method
of the research project
ZTEC
H “BAMP! – Building with
SKS
KIZE paper”.

E
CNA
PRODUCTION
HERSTELLUNG

GLCINUE
LEARTIN
DESIGN,
GESTALTUNG

OGN
FUNCTION,
FUNKTION
KONSTRUKTION
CONSTRUCTION

MATERIAL
MATERIAL

PRPRO
OO
O
F OF

F
OFFE
CAOSNIBI
CE LP
ITTY
TTEEC NOLLOOGGIYE
CHHNO

for the material. Thus, more impetuses from designers and manufacturers lead to
more projects and, in turn, to more points of contact. Standards and laws can prove
critical for certain areas of application: requirements and regulations for temporary
buildings for residential and recreational use need to be reconsidered and rethought to
allow for alternative concepts with paper to be implemented in practice.
Research and development, also the subject of this book, help define the mater-
ial’s limits, including areas it is unsuitable for. Although many aspects of building with
paper are still incalculable in terms of regulations, building standards and specific
technologies, it is by no means utopian to conceive of building houses with or even
entirely from paper in the next few years. The following chapters present aspects and
impulses for further developing building with paper.

The history of paper in architecture

The origins of building with paper lie in ancient China and Japan. The invention of
paper in 105 AD is attributed to the Chinese Minister of Agriculture Tsai-Lun. Mulberry,
flax, silk or hemp fibres, but also old rags, were used to make paper; the mixture was
pulped and mixed with mucilaginous substances in a water solution. The resulting pulp
was poured onto screens, pressed and dried in the sun.1
The first paper applications in architecture were free-standing room dividers
made of single or multiple panels. Such folding walls consisted of a paper-covered
wooden frame; the paper was often painted. Later, the free-standing room dividers
were further developed into sliding wall panels. Japanese architecture knows two vari-
ants: the translucent wall panels called Shoji consist of a wooden lattice frame covered
with Washi paper. They allow daylight to pass through the wafer-thin paper and diffuse
light illuminates the house’s interior. The Fusuma panel also consists of a wooden lat-
tice frame covered with paper, but the paper is opaque and often painted » fig. 3.
This traditional Japanese construction method with wood and paper creates
hardly any sound insulation and therefore requires quiet and self-restrained behaviour
from the residents.2
In Europe, the paper manufacturers of Córdoba, Seville and Valencia in Spain laid
the foundations for paper production in the 13th century. Europeans used paper primar-
ily as an information carrier and packaging material from the beginning. It was made

The history of paper in architecture 11

3 Japanese culture knows
two panel variants: the
semi-transparent Shoji (left)
and the opaque, painted
Fusuma (back). The paper
partitions shown are in the
Nazen-ji temple in Kyoto.

from rags and fabric scraps, and manual production proved difficult and expensive.
The discovery of wood as a new raw material for paper production was preceded by the
observation of wasp and hornet nests in the 19th century; such nests consist of chewed
wood fibres. This discovery and the paper machine invented in 1799 by French inventor
Louis-Nicolas Robert, which could produce paper in continuous strips, led to faster
manufacturing processes and lower costs, paving the way for the spread of paper
across the continent.
Other inventions – such as the first machine for the production of two-ply paper-
board by John Dickson (1817), a folded paper by Edward Haley and Edward Allen (1856)
and corrugated board with two cover layers by Olivier Long (1874) – opened up new
possibilities in the application of paper and cardboard in the packaging industry. These
developments were followed by new methods of producing hard-wearing papers (e.g.
wrapping paper in 1879) and the development of new products such as cardboard
tubes (beginning of the 20th century) or honeycomb board (around 1940). With ad-
vancing technology, material properties such as water resistance, fire protection and
resistance to fungal infestation also improved.3

First houses made of paper

Inspired by the innovations in the paper and packaging industry, the first attempts to
implement paper products in architecture occurred in Europe as early as the second
half of the 19th century. French company ADT invented a prefabricated summer house,
a hospital and a house for tropical climates and presented them at the World’s Fair in
Paris in 1889 » fig. 4. The prefabricated building components of these structures con-
sisted of a double layer of 4mm thick cardboard on both sides of a 100mm thick cavity
formed with U-shaped spacers. These 3m high and 600 to 800mm wide panels were
easy to transport and assemble.4

1 PAPER IN ARCHITECTURE 12
 4 First documented
cardboard house made of
prefabricated elements
for warm climates, Paris,
1889 (reconstruction).
The housing shortage after the Second World War was another reason for re-
search into inexpensive and easy-to-assemble housing units. In 1944, the American
Institute of Paper Chemistry developed an experimental design of small, transportable
and expandable emergency shelters. The 2.4 × 4.8m units consisted of 25mm thick pre-
fabricated corrugated cardboard panels made from waste paper. To impregnate the
cardboard, the material was first soaked in sulphur and then covered with several
layers of fireproof paint. Although these emergency shelters were designed for a one-
year lifespan, individual specimens lasted 25 years.5
Due to their low weight, low production costs and structural efficiency, card-
board products were suitable materials for support structures and formwork for a wide
variety of construction methods. The best-known examples are the corrugated card-
board panels with aluminium sheet covering the dome-shaped building by Richard
Buckminster Fuller and students of McGill University in Canada (1957) and the honey-
comb board panels with aluminium covering the Bear Zone Houses in New Mexico by
Steve Bear (1971). Well-known examples of the combination of paper materials with
plastics are the dome-shaped house by Container Corporation of America (1954) and
the cardboard panels laminated with polyurethane foam by the Architectural Research
Laboratory of the University of Michigan in Ann Arbor (1962–1964). Keith Critchlow and
Michael Ben-Eli used corrugated cardboard panels as formwork for thin, sprayed-on
concrete layers with chicken wire reinforcement (1967).
In the temporary utility unit Pappeder, the 30mm thick corrugated board was not
only used as a substrate for the fibreglass coating but also provided structural stability
and served as thermal insulation for the entire system. The prefabricated units had a
square floor plan of about 11m2. They could be combined into larger units to create
different spatial constellations. Pappeder was designed by 3H Design (Hübner + Hus-
ter) in 1970 » figs. 5, 6. A total of 89 of these units were entirely prefabricated, transport-
ed to the site on low-loaders and erected with cranes on previously prepared founda-
tions on the Olympic sites in Munich and Kiel in 1972. The units served as recreation
and changing rooms, kitchenettes, first-aid rooms and toilets.6
Another interesting example of temporary constructions was the Plydome (the
name is made up of the two words plywood and dome). With its folded, anti-prismatic
plate structure, this accommodation was inspired by the Japanese origami art of fold-
ing. The construction is based on a three-hinged frame that could be folded flat for

The history of paper in architecture 13

 5 Floor plan Pappeder,
3H Design, 1970. The
prefabricated units made
of corrugated board were
used, among other
things, as changing
rooms at the Munich
Olympics.

transport. After delivery, two sections were joined together on site and extended to
create a 5.8 x 5.2m structure with the highest point reaching 3m. The shell was an-
chored to the chipboard floor panel; then the side walls were attached. The sandwich
panels with a polyurethane core and a 10mm thick solid cardboard layer on each side
were coated with polyurethane to make them waterproof. Plydome, designed by Her-
bert Yates and developed with Sanford Hirshen and Sim van der Ryn in 1966, was a
prefabricated housing kit that also included the main furniture for sleeping and storage
» figs. 7, 8. Over a thousand Plydome units were made and used as housing for seasonal
workers in California.7
In 1975, Dutch architect Paul Rohlfs designed an eco-house as part of his gradu-
ation project at Eindhoven University of Technology. The house was further developed
6 Pappeder toilet unit,
Munich, 1971. from 1975 to 1980; several prototypes of the building envelope were created. The final
prototype consisted of honeycomb sandwich panels with breathable foil applied on
the outside and a vapour barrier on the inside. The corners of the construction were
formed by special cutting and folding techniques that are used to fold sandwich
panels. Two adjacent building elements were connected with folded flaps that were
bolted together. The question was whether the construction would survive the winters
in the province of Groningen. In fact, the unit was occupied for several years, which
proved the good thermal quality of the building envelope and the resistance of the
cardboard sandwich panels to adverse weather conditions.8

The influence of paper architect Shigeru Ban

The contemporary era of building with paper can be traced back to Japanese architect
Shigeru Ban. Since previous research and projects were designed for short-term or
temporary solutions, Ban, from the beginning, focused his interest on developing new
solutions for implementation in experimental constructions. His enthusiasm for this
construction method soon earned him a reputation as the “paper architect”. Ban’s fas-
cination with paper, fed by the tradition of paper use in his homeland, first became
apparent in the designs he developed for exhibitions on the two international archi-
tects Emilio Ambasz in 1985 and Alvar Aalto in 1986 at the Axis Gallery in Tokyo. In the

1 PAPER IN ARCHITECTURE 14
7 Plydome, Herbert 8 Plydome as
Yates, 1966. Axonometry accommodation for
and section. seasonal workers.

first project, Ban used square cardboard tubes and honeycomb boards to organise the
space. For the Aalto exhibition, he actually wanted to use wood, one of the architect’s
favourite materials. Due to the limited budget, however, he opted for cardboard tubes
as the main construction material for the entire exhibition » fig. 9.9
Ban once said that his work with paper was not initially based on its favourable
ecological properties but that he generally disliked throwing things away. There were
simply a lot of cardboard tubes left over in his office from using tracing paper. The in-
terest in cardboard tubes as a building material arose when working on larger con-
structions. Ban began experimenting with the material, testing it for compressive and
tensile forces and possible impregnation methods.
His first architectural construction to use cardboard tubes was Paper Arbour.
This pavilion, designed for the World Design Expo in Nagoya in 1989, referred to the
approach of Japanese gardens to create a contemplative space in quiet seclusion from
the crowds of visitors and the noise of the fair. The pavilion consisted of 48 cardboard
tubes arranged in a circle, each 4m high and stiffened with adhesive. The tubes’ diam-
eter was 330mm with a wall thickness of 15mm. They were made waterproof with par-
affin impregnation, placed on a concrete foundation and connected at the top by a
wooden tension ring. The textile roof that spans the construction was also attached to
this tension ring. During the day, daylight could penetrate the inside of the pavilion
through the gaps between the cardboard tubes; at night, they let the light inside the
pavilion make it look like a glowing lantern. Next to the pavilion, an undulating parti-
tion wall with built-in seating was erected, also made of cardboard tubes.10

The history of paper in architecture 15

 9 Alvar Aalto exhibition,
Axis Gallery, Tokyo, 1986.
The exhibition design by
Shigeru Ban was based
on cardboard tubes.

10, 11 Shigeru Ban,

Library of a Poet, 1991.
Axonometric and detail
of the connection of the
cardboard tubes.

1 PAPER IN ARCHITECTURE 16
 12 Paper Log House,
2013: Demonstrator of
the emergency shelters
by Shigeru Ban.

Ban’s breakthrough in paper architecture came in 1991 with the Library of a Poet –
an annexe to the House for a Poet extension that enlarged and improved the existing
building » figs. 10, 11. This library is the first permanent structure whose load-bearing
elements consist mainly of paper. The vaulted roof rests on six support beams made of
cardboard tubes. The walls are also made of cardboard tubes (ø 100mm, wall thickness
12.5mm) and are connected by wooden joints. Steel cables run through the interior to
re-tension the construction, and diagonal braces are installed to stiffen it. Between the
supports, four wooden bookshelves anchored to the floor increase rigidity against lat-
eral wind forces. The roof construction consists of ten arches, also made of cardboard
tubes connected with wooden joints, which are held down with the help of two card-
board trusses with internal, tensioned steel cables. The cardboard tubes are protected
from the weather by the roof covering and glazed walls.11
Another important project created by Shigeru Ban was Paper House – a weekend
house for the architect himself, who applied for a permit for it and obtained one in 1995
for a permanent structure based on cardboard tubes » chapter 6, pp. 86–87.
Also in 1995, the year of the Kobe earthquake, Ban and volunteers built low-cost
log cabins out of cardboard. The 16m2 Paper Log Houses » fig. 12 were used as emergen-
cy shelters for Vietnamese refugees severely affected by the earthquake » chapter 6,
pp. 88–89. The Takatori Paper Church was built in addition to the houses. This sacral
building also consisted of a cardboard tube construction whose oval ground plan re-
ferred to the churches of the Baroque period and thus offered people a new religious
home. In 1995, Ban founded the non-governmental organisation Voluntary Architects
Network, which provides emergency shelters and other structures for victims of natu-
ral disasters and other calamities worldwide. The design of emergency shelters has

The history of paper in architecture 17

 13 Shigeru Ban, Hualin
Primary School, Sichuan,
2008, 1:1 model, 2013.

become a trademark of the Japanese architect, who was awarded the Pritzker Prize for
it. Variants of the Paper Log Houses can be found in Turkey (2000), India (2001) and
the Philippines (2014). In China, Ban worked with VAN to build the Hualin Primary
School » fig. 13 in the eastern part of the city of Chengdu in Sichuan Province in 2008:
three buildings with a frame structure of cardboard tubes connected with wooden
joints. His works also include the Miao Miao preschool in Taiping town, built in 2013, a
post-and-beam construction based on cardboard. The Cardboard Cathedral, a re-
placement structure after the earthquake in Christchurch, New Zealand, consisted of
16m long cardboard tubes (ø 600mm) assembled to mimic the shape of a triangular
nave. To accommodate the large span of the structure and to prevent bending, wooden
logs were inserted into the cardboard tubes that formed the main supporting ele-
ments.
To date, Shigeru Ban has designed over 60 projects in which cardboard tubes
serve as the main construction material. The largest cardboard construction ever built
was his Japanese Pavilion for Expo 2000 in Hanover. Ban designed this 73.5m long, 25m
wide and 15.9m high shell construction together with Frei Otto » chapter 6, pp. 132–133.
Cardboard tube arch constructions are a concept that Ban implemented at various
scales in several of his projects, for example, in the Paper Dome (1998), the Paper Stu-
dio at Keio University (2003), the Paper Temporary Studio on the roof of the Centre
Georges Pompidou in Paris (2004) and the Shigeru Ban Studio at Kyoto University of Art
and Design (2013) » chapter 6, pp. 112–113.

Further developments in paper architecture

In the 1990s, increasing attention was paid to the environmental risks posed by building
products. More environmentally friendly products and materials were developed. One
vital impulse for this trend was the Earth Summit, the United Nations Conference on

1 PAPER IN ARCHITECTURE 18
Environment and Development in Rio de Janeiro, in 1992. In the same year, Dutch archi-
tecture professor Hans Ruijssenaars designed the Apeldoorn Cardboard Theatre, which
was almost completely recycled after six weeks of operation » chapter 6, pp. 130–131.
Since 2000, interest in paper and cardboard as renewable materials has in-
creased further and research has begun to intensify. Westborough Primary School was
designed by Cottrell & Vermeulen Architecture in collaboration with Buro Happold and
built in Westcliff-on-Sea, UK, in 2001 » chapter 6, pp. 96–99. It is the first European ex-
ample of a durable cardboard building designed for a 20-year lifespan. The aim was to
construct a building whose main structure was made of cardboard tubes and honey-
comb composite panels and which could be 90% recycled at the end of its lifespan.
Another building in Europe with a similarly experimental approach is the Ring Pass
Hockey and Tennis Club extension, designed and built by the Dutch engineering com-
pany Octatube in 2010 » chapter 6, pp. 102–103. This project’s primary focus was on the
spatial roof structure made of cardboard tubes and its associated impregnation meth-
ods. Currently, Fiction Factory, an Amsterdam-based company, produces prefabricat-
ed dwellings called Wikkelhouses. The modules of these “wrapped” houses are made
of corrugated board that is wrapped around a mould, then stiffened with eco-friendly
glue, and finally covered with wood on the inside and outside » chapter 6, pp. 90–95. The
company guarantees that the houses will last at least 15 years but expects a lifespan of
up to 50 years.
Apart from a number of successful permanent buildings, temporary structures
are an obvious application for easily recyclable materials such as paper and card-
board. Depending on the intended function and service life, other materials such as
aluminium, polyurethane coatings or polyurethane foam often complement the
load-bearing structure in paper or cardboard architecture. Most of Shigeru Ban’s pro-
jects were designed for temporary use of up to five years. However, some lasted longer
or were transferred to permanent use. The IJburg Paper Theatre, designed by Ban in
collaboration with Octatube, was set up twice: in 2003 in Amsterdam and in 2004 in
Utrecht » chapter 6, pp. 134–135. It is currently in storage and will be rebuilt in 2023 in Bi-
jlmermeer, Amsterdam Zuidoost, to serve as a youth centre.
Public Farm 1 by WORKac in New York was an architectural and urban planning
manifesto from 2008 that consisted of huge cardboard tubes functioning as large tem-
porary flower and herb containers arranged into mounds » figs. 14, 15. In another pro-
ject, students at ETH Zurich, under the direction of Tom Pawlofsky, designed and built
a circular pavilion composed of 409 cone sections made of 28-layer corrugated board.
The cones were prefabricated and sent to a temporary exhibition in Shanghai in 2010.
Students from Wrocław University of Science and Technology designed and built the
Poet Pavilion in 2018. It was composed of a wooden foundation, cardboard tubes and a
roof construction made of uncoated corrugated board, covered with polycarbonate
and plywood panels. After nine months, the pavilion was dismantled, and the entire
roof structure could be recycled.
The history of paper architecture shows that development runs in two parallel
strands. In addition to permanent buildings, there are many experimental and tempo-
rary projects. These are often supported and accompanied by scientific research pro-
jects. Examples can be found at McGill University in Montreal in the 1950s; the Poly-
technic of Central London and California Polytechnic State University in the 1970s;
Waseda University, Chiba Polytechnic College and the Technical University of Dortmund
in the 1990s; TU Delft and ETH Zurich in the first decade of the 21st century, and Wrocław
University of Science and Technology (WUST) and TU Darmstadt in recent years.12

The history of paper in architecture 19

 14, 15 Public Farm 1 by
WORKac, New York,
2008. Paper tubes were
used to build temporary
large-scale flower and
herb containers.

1 PAPER IN ARCHITECTURE 20
Other documents randomly have
different content
 The Project Gutenberg eBook of
Men We Meet in the Field; or, The Bullshire
Hounds
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Title: Men We Meet in the Field; or, The Bullshire Hounds

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*** START OF THE PROJECT GUTENBERG EBOOK MEN WE MEET IN

THE FIELD; OR, THE BULLSHIRE HOUNDS ***
 Transcriber's Note:

The Erratum note has been applied to

the text.

Obvious typographic errors have been

corrected.

MEN WE MEET IN THE FIELD.

 MEN WE MEET IN
THE FIELD.

By A. G. BAGOT ("Bagatelle").

1881.
TINSLEY BROTHERS, 8, CATHERINE STREET, STRAND,
LONDON.

MEN WE MEET IN THE FIELD

OR

THE BULLSHIRE HOUNDS.

 By A. G. BAGOT ("Bagatelle"),
AUTHOR OF "SPORTING SKETCHES IN THREE
CONTINENTS."

London:
TINSLEY BROTHERS, 8, CATHERINE STREET, STRAND.
1881.
[All rights reserved.]

CHARLES DICKENS AND EVANS,

CRYSTAL PALACE PRESS.
 PREFACE.

The present series of Sketches in the Hunting Field have, from time
to time, appeared in the columns of The Country Gentleman and
Sporting Gazette, to the Editor of which journal I am indebted for
leave to reprint them. All, or nearly all, the characters I have
endeavoured to portray have come under my personal observation,
and are from life; but I have done my utmost to avoid depicting
peculiarities that might serve to identify my models, or using
personalities that might offend them.
In placing Men we Meet in the Field before the public, beyond
acknowledging that I have perhaps not done full justice to the
subject, I offer no apology; for anything said or done, painted or
written, that serves in any way to call attention to our glorious old
national sport, or to recall perchance the scenes of our youth, is not
done amiss. In that it is one more stone, however humble, in the
wall of defence which, alas! it is now becoming necessary to build
against the attacks of those whose aim seems to be the demolition
of all sport, dazzled as they are by the glamour of notoriety, won by
sensational legislation, at the expense of all that has made England
what she is, and her sons and daughters what they are.
I do not for a moment wish to enter into political argument. In the
Field, Liberal and Conservative, Radical and Home-Ruler, meet as
one, save only in the struggle for the lead. But what I do hold is
that, by measures such as the Ground Game Bill and the Abolition of
all Freedom of Contract, our national sports are fast being blotted
out, and that it behoves all true sportsmen to array themselves
against such things.
Of the matter contained in the volume I am now sending on its way,
others must judge. I confess that I have enjoyed the writing of it. If
I am fortunate enough to find some at least who enjoy the reading I
shall be content, and shall feel I have not laboured in vain.
To those who so kindly received my maiden venture, "Sporting
Sketches" (Messrs. Swan, Sonnenschein, and Allen), I offer my best
thanks. Like a young hound who has not felt too much whipcord,
encouragement has given confidence. I can only hope I may not
have flashed over the line.
THE AUTHOR.
 CONTENTS.

PAGE
INTRODUCTORY 1
THE MASTER 8
THE HUNTSMAN 16
THE WHIPS 26
THE SECRETARY 35
THE FARMER 46
THE PARSON 58
THE DOCTOR 72
THE DEALERS 84
THE GRUMBLER 98
THE LADY WHO HUNTS AND RIDES 113
THE LADY WHO HUNTS AND DOES NOT RIDE 126
THE SCHOOLBOYS 139
THE BOASTER 154
HODGE 169
THE KEEPER 182
THE AUTHORITY 197
THE BLACKSMITH 212
THE RUNNER 225
THE MAN AT THE TOLL-BAR 237
WHO-WHOOP! 247
THE FIRST OF THE SEASON 257
UNCLE JOHN'S NEW HORSE 262
THE HOG-BACKED STILE 287
 ERRATUM.
For "Hollo!" read throughout "Holloa!"

MEN WE MEET IN THE FIELD.

 INTRODUCTORY.
For those fond of studying character under various circumstances
and in various positions, there is, perhaps, no medium affording so
good an opportunity, or so vast a scope, as the hunting-field.
There more than in any other place do men's characters appear in
their true lights. At the covert-side the irritable man, however well
he may on ordinary occasions be able to conceal his irritability, will
fret and fume if things do not go exactly as he wishes. The boaster,
who in the safety of his armchair astonishes his friends with
anecdotes of his own daring exploits, is, after a fast forty minutes,
more often than not weighed in the balance and found wanting. The
garrulous individual, who invariably knows where the fox has gone
and what the huntsman ought to do, is in the field estimated at his
proper value. There also the grumblers never fail to find a grievance,
nor the elder generations of sportsmen to lament the "good old days
gone by." In fact, the "bell-mouthed pack and tuneful horn" seem to
act in some occult way in bringing out the idiosyncrasies of all their
followers. This being so, a few sketches may not be uninteresting,
and I shall endeavour to draw with my pen some portraits of those
with whom we yearly ride, and who are so well known to most of us.
To do this the more concisely, I propose to describe the field,
subscribers, visitors, and others, who are to be found at the meets
from the 1st of November to the end of April, and who go to make
up the members of that justly celebrated pack—the Bullshire
Hounds. Before individualising, however, it will be necessary to give
a short history of the hunt, with a brief outline of the country, and its
gradual growth.
The Bullshire country is one of the oldest in England, and was
originally hunted on what is known as the "Trencher system," that is
everybody, in lieu of paying a subscription, kept (according to his
means) one or more hounds, which he was bound to bring with him
to the spot selected by the Master (who was yearly elected as
huntsman) for the meet. No sinecure was the office of M.F.H.,
carrying the horn, for as every hound recognised the rule of a
different Master, and every Master considered himself entitled to an
opinion in the case of his own hound, there was a good deal of
jealousy among the latter and no small amount of "tail" among the
former. The "tailing," however, was augmented by the different
system of preparation and feeding the Bullshire Hounds received, for
while Bellman before hunting was treated to no supper, Truelove had
to deal with a sumptuous repast placed before her by the
compassionate but ignorant goodwife, "who couldn't abear the idea
of the old dog doing all that work on an empty stomach."
After a little the system proved unsatisfactory, and a step in the
proper direction was taken. Old Gregory the Whip was sent round
early in the morning the day before the meet to collect the pack,
and it thus became his business to see that all fared alike—wisely,
and not too well. From this it was an easy stage to kennels, and
somehow, before the inhabitants knew how it happened, they found
themselves paying their subscriptions with and without a murmur,
and were able to point with pride to the Bullshire kennels. Once this
an accomplished fact, everything went on smoothly; and from old
Gregory and a Master whose office was the subject of an annual
election, they now turn out a huntsman, two whips, and a second
horseman, and, for a provincial pack, stand first on the list.
Their present Master is one of the right sort, who takes an interest in
his hounds and his servants, perhaps at times a little free with his
tongue, but only when absolutely necessary, and it is because of
their large and varied field that I have selected the Bullshire for
description. The country, though not a flying one, has a fair share of
grass, and is acknowledged by all to hold a good scent. As there is
every conceivable sort of obstacle, of every conceivable size, shape,
and form, wet and dry, it requires a clever horse to get over it.
Indeed, when some of the swells from the Shires condescend to
patronise the Bullshire (no uncommon occurrence, by-the-way),
there are generally two or three to be found, like water, at the
bottom of a ditch.
I remember hearing a description of his day by a Meltonian, when
he returned to his quarters with a battered head-piece and covered
in mud. In reply to a question of "Where had he been?" he said:
"Lord knows where I have not been. To the bottom of about ten
ditches, three brooks, nearly into a gravel-pit, hung up in a bullfinch
for five minutes, and almost broke my neck at the biggest post and
rails I ever saw." "Well," continued his interlocutor, "did you have a
good run?" "Run!" said he; "I believe you! Ran three miles after my
horse and then nicked in, and was up at the finish. Blessed if ever I
saw such a country. They think nothing of an hour and ten minutes,
and they do stick to it, I can tell you; fox hasn't a chance with the
Bullshire. It's for all the world like a stoat and a hare. Rare place to
send creditor to; give him a mount on a green nag, he's bound to kill
himself."
Added to these advantages, so ably set forth by the Leicestershire
sportsman, foxes are plentiful, and, with one notable exception, of
whom more anon, everybody looks after them, and does his best to
demonstrate the fact that the fox and the pheasant can both be
preserved, despite what Velveteens and his myrmidons may say. The
man who rules the destinies of this sporting pack will form the
subject of my first sketch.
 THE MASTER.

"Morning, gentlemen," accompanied by a bow to the ladies, apprises

us of the fact that Sir John Lappington has arrived, and as we turn
round in our saddles we see a cheery face beaming with health and
goodnature, and note what a thorough business look both man and
horse present. The horse is one of those rare specimens of weight-
carriers, known as "a good thing in a small parcel." Standing about
fifteen hands two inches, with quarters fit to jump over a house, and
shoulders of equal value when landing the other side, clean flat legs
with plenty of bone, and excellent feet, well ribbed up, with a broad
deep chest, it stands a living picture of the old-fashioned hunter that
could and would go anywhere. And surely the man is not far behind
in appearance. Riding about thirteen stone, or a little lighter, with
somewhat a careless seat, one's first impression is that he is by no
means smartly turned out, though the eye acknowledges at once the
workman.
A second and more careful study shows us that, while there is an
entire absence of gilt and gingerbread, of varnish and veneer, still,
from the crown of his-well-brushed hat to the sole of his well-
cleaned boot, everything is neatness itself. It may be that we take
exception to the brown cords which Sir John always wears; but
when one has tried to follow the clever cobby horse and his master
through some of the roughest places in the day's work, and our
leathers show plainly where we have been, we are fain to confess
the wisdom of the said brown cords. Notwithstanding the cheery
goodnature that beams from the Master's face, there is something in
his eye and chin that warns instinctively against riding over the
hounds or heading a fox, and shows a latent power of anathema
and rebuke which, when once heard, is not in a hurry forgotten.
Sir John Lappington has been Master of the Bullshire for four
seasons. He took the hounds at the request of the county on the
death of Mr. Billington, who had hunted them for six-and-twenty
years without hardly missing a day. Some few people urged that the
new Master would not be found old enough to control so large a
field, being but thirty years of age when he commenced his reign;
but the first day dispelled their doubts, for on some of the
"galloping-and-jumping" contingent trying to have things their own
way, and paying no heed to repeated remonstrances to "give hounds
a chance," the young Master astonished everyone by saying to the
huntsman: "Stop 'em, Tom;" and when that was effected, turning to
the offenders: "Now, gentlemen, when you have done your d——d
steeplechasing we will go on hunting. If you want to break your
necks you may put down my name for five pounds to bury the first
who does so, provided you run it off at once, so that other people
who prefer hunting to rough-riding may not be kept waiting."
This effectually stopped them, and from that day very little trouble
has been shown, and when any have offended, it has generally
required but one talking-to to bring them to a sense of what was
required of them. Such is the man who now rides up punctual to the
minute, and is greeted by all with a hearty welcome. The hunt
servants, with old Tom the huntsman at their head, are as proud of
being under him as they can be, and the hounds simply adore him.
See how they fly, heedless of Harry's "Ware 'oss, ger away baik,"
clustering all round the cobby hunter, and leaving the marks of their
affection on boot and saddle. "Eu leu, Minstrel, old boy; ay,
Harbinger, good old man," says Sir John, a word for each by name;
and back they go to the rule of Tom, who cannot for the life of him
help feeling a twinge of jealousy, that "the hounds should be so
'nation fond of t' young Master, most as much as they are o' me, I'll
be blessed if they ain't."
Five minutes of friendly chaff with the carriages, two more with old
Farmer Simms, who, on being shown his wife's poultry bill, says:
"Give it here, Sir John, give it here. The ould woman would take the
money out of a man's breeches if he did not keep his hands in his
pockets," and with a laugh Tom gets the signal to move off, Sir John
stopping before he canters on to the hounds to say: "Never mind,
Simms, I daresay we shall make it all right. The missus and I are old
friends," and replying to Simms's loudly-expressed opinion that "The
ould wench 'ull fleece you, I fear," with a deprecatory wave of the
hand as he ranges up alongside the old huntsman.
The first draw is a gorse lying on the side of a hill, where there is
always a little difficulty in restraining the impatience of the field,
who, anxious for a start, are rather apt to override the hounds.
There is a hunting-gate, beyond which no one is allowed to go until
the hounds are well away, and here the Master posts himself, saying
in a loud voice that can be heard by all: "If there is any stranger in
the field to-day, he must understand that while hounds are drawing
no one is allowed farther than this." At this moment his quick eye
catches sight of a youngster who has jumped the rails lower down,
and hopes he has escaped detection. "Come back, you sir," rings
out; "come back; and as you are so fond of timber you can take the
rails up hill. Dash your impudence, when I have just said no one is
allowed to go for'ard! Come, at them—no funking;" and as, amid
roars of laughter, the culprit, looking exceedingly foolish, rides at the
rails, and gets a rattling fall, Sir John chuckles to himself: "Don't
think he'll try that game on again." The hounds are by this time hard
at work, and from the way they throw themselves out of the gorse
there are evident signs of a speedy find. With keen enjoyment the
Master watches the young entry, and as first one and then another
of his favourites momentarily expose themselves to view, he thinks
he would not exchange his empire for untold wealth.
In this enviable frame of mind he is interrupted by the appearance
of a tall cadaverous-looking individual on foot, who, addressing
himself to him, says: "Sir John Lappington, I believe?" "That's me;
what can I do for you?" is the reply. "Ah! they told me I should find
you here, ah! I—my name is Simpkins, Mr. Simpkins, Secretary of
the Young Men's Improvement Society. I have been requested to ask
for your patronage and subscription for a new school our society
have decided on opening for young men in Lappington; and as they
told me you were following the chase, ah! and my time is limited, I
thought I should not be intruding if I could persuade you to" (pulling
out a long subscription-list) "look over this."
Here, luckily, "Away, g-o-rne a-wa-a-y!" cut short the conversation,
and the Master, swinging down the hill and slipping over the bank
and ditch at the bottom, almost before the astonished Simpkins has
made out what has happened, might have been heard muttering to
himself: "Well, I am blowed! Did anyone hear of a man being asked
to subscribe to a school when hounds had just found? Following the
chase too! If they don't teach the young men better than that, the
future Lappingtonians won't be much in the sporting line. Hark
for'ard; for'ard away!" and sending his horse somewhat viciously at a
bigger pace than usual he is shut out from sight, where for the time
I will leave him.
 THE HUNTSMAN.

"Hounds, please, gentlemen; hounds, please," says old Tom Wilding,

as he threads his way through the field, who have, in their
eagerness, ridden over the line. "Now, where the deuce should t' fox
a gotten to, I wonder?" thinks he to himself; "Harbinger made it
good across the lane, I swear, for I saw 'im, and there's naught to
turn 'im that I can see." But there is; for an old woman, innocent of
mischief, suddenly raises her much-be-bonneted head out of the
turnips right in front, and with a "Dang her ugly mug," Tom makes a
swinging cast for'ard. Minstrel, hitting off the scent under the gate
out of the field, is promptly corroborated in his statement by Gaylad,
and in a second things are going as jolly as a peal of bells.
The old Huntsman stops just a moment before pulling his horse
together at the timber, to give "t' ould wench" a bit of his mind.
"Look here," says he, "you've frightened fox away with that danged
ould top-knot o' your'n. I be a good mind to——" But the old lady
drops a most humble curtsy, and looks so penitent, that his anger
vanishes, a smile steals over his face, and with a "Coom up," he
pops over the rails and gets to his hounds. A bit of a martinet is
Tom, and right well does he know how to keep his whips in order.
Ay, and for the matter of that, some of the fire-eaters of the field
besides.
Woe betide the unfortunate Harry who, keen as mustard, slips away,
leaving two couple and a half behind. "All here?" says Tom. "A
couple coming up, sir," replies Harry (he thinks it better to
economise the truth as to numbers); "they are close behind." "Then
what the devil business have you in front of them? Get back and
bring 'em along at once. D'ye suppose my second whip's come out
as a horniment?" (Tom, when excited, is a little shaky with his h's.)
"If you don't know your business I can jolly soon get someone who
does. There's lots of chaps to do the riding without you a-figuring
about here. Get back at once, and let me catch you a-leaving
hounds behind again." Yet in his heart he thinks none the worse of
the lad for being keen to get along in front, and remembers How
often he himself has been rated in bygone days for the same
offence.
Of course Tom has his aversions, and there is one particular
individual who, he says, he "just can't abear"—a Captain Stockley,
one of the galloping-and-jumping division, who, although he can ride
anything and over anything, knows little of hunting as hunting per
se, and is always getting on top of the pack. One day, when he had
managed to head the fox twice, the first whip, Charles, allowed his
feelings to get the better of him, and holloed: "Hold hard, sir; d——n
it, give 'em a chance;" whereupon Stockley rode up to Tom, and
with a bland smile said: "I am sorry to be obliged to make a
complaint, but one of the whips has been very impudent—in fact, he
cursed me." The reply was not quite what the Captain expected, for
Tom, seeing the cause of the two mischances in front of him,
growled out: "He cursed yer, did he? Well, if it 'ad a-been me, I'd a
gi'en yer a jolly good hiding;" and then catching his horse by the
head he drove him at the wood fence, and was cheering on the pack
before the Captain had recovered from his surprise.
However, we left him just out of the turnips, with the hounds settling
down to the line. Everything goes well for some ten minutes, there is
a burning scent, lots of fencing for those who like it, and a
convenient lane for those who don't. All of a sudden the hounds
throw their heads up and spread like a fan. Not a sign does the
Huntsman make beyond holding up his hand to stop the rush of the
field. But with one eye on the pack, and the other looking forward to
where the sheep are scampering across the meadow on the hillside
and huddling together in a close column, he sits like a statue. Deaf is
he to the remonstrances of the eager ones, who say: "It's for'ard,
Tom; get along," merely remarking: "Let 'em puzzle it out; they want
to hunt now. Yer can always lift 'em, but yer can't always get their
heads down again;" and in a few moments he is rewarded by seeing
the hounds work it out of their own accord, and dash forward, proud
of their own cleverness.
Some of the strangers to the Bullshire country say Tom is slow, but
they do not know the old man. See him in another half hour, when
the fox is beginning to run short. They are beginning to look for their
second horses, and someone remarks that Charles is away. Suddenly
a cap is seen in the air some four fields to the right, and "Hoick,
holloa, hoick, holloa!" rings out clear. "Who is that?" ask some of the
field. "Why, it's Charles! how the deuce did he get there?" say
others. The Huntsman, however, knows well how it all came about,
for did not he send Charles off to the high ground overlooking
Bromley Wood on the off chance of a view? and now he does not
wait an instant to discuss the question, but with a "chink-wink" of
the horn and with cap in hand he gallops off, lifting the pack almost
on to the fox's back.
Two fields farther on his "Who-whoop" tells everybody that all is
over, and as they ride up one after another they see the old man,
with his gray hairs streaming in the breeze, standing in the middle of
his hounds, holding aloft the fox at arm's length, preparatory to
giving his body over to the tender mercies of Traveller, Gaylad, and
Co. "Eugh, tear 'im and eat 'im," and the "worry, worry" begins. Tom
looks up at his young master with a smile, and says: "We've got the
ould divil this time, sir; he's beat us often enough before;" and then
raising his voice so as to be heard by all, he continues: "None so
slow either. If we had'na let t' hounds work it out theirselves, fox
would a-been a-going now. Where to, sir?" as he swings into his
saddle. "Bromley Wood? right, sir. Coom away, hounds; coop, coop,
coom away;" and Tom trots off with the pack best pace, for, as he
remarks: "It's lunch-time now, and if so be I bestirs mysen I can
leave about half t' field behind; and that's just what I like. I can get
away comfortable without a lot a-trampling and messing over t'
hounds, and them as likes eating better nor hunting, why they've no
cause to grumble if they're chucked out."
As he approaches the wood, a wave of the hand sends the whole
pack tumbling in, the two whips taking their stations like clockwork.
With a "'War'oss!" the old Huntsman jumps into cover, and though
lost to sight his voice is heard out of the woods cheering on his
hounds. "Eugh, at 'im, my beauties. Eugh, doit, eugh, boys," he
shouts; and the pack, who have learnt to love, ay, and what is more,
respect their tutor, fly to his holloa, each doing what our American
cousins call their "level best" to please him.
Tom, when he gets home, will not fail over his glass and pipe to
recount exactly what each of his favourites did at each particular
spot, for nothing escapes his quick eye, and he fully returns with
interest the love of the Bullshire Hounds, of which he has been
Huntsman for some eighteen years, and in which position he hopes
to remain until he is, as he puts it, "run to ground."
Before leaving him, one anecdote will suffice to show the kindliness
of the old man's heart towards dumb animals. They had had a long
wearing day over a heavy country, with but little or no scent, and
Tom found himself on leaving off some eighteen miles from the
kennels. On arrival, after seeing that his darlings were all right (a
duty he never neglected), he thought it about time to look after
himself, and had just sat down to his well-earned supper, when a
small boy arrived at his house, crying fit to break his heart. "What's
up, my lad?" said Tom. "P-p-please, sir," replied the urchin between
his sobs, "old Bob's b-b-een runned over, and they is broke 'is leg,
bo-hoo! and mother s-says as how he mun be shot—for her canna
mend it; and if yer p-please, Bob allas slept along wi' me sin' 'e wur
a puppy, a-and I c-can't abear it, bo-hoo!" "Well, boy, don't 'e cry; I'll
come down mysen and see tew 'im," said the old Huntsman; and,
tired and supperless as he was, he there and then put on his coat
and tramped off the best part of a mile to see to the crippled terrier,
and after setting the leg and making the poor dog as comfortable as
he could, he sat up best part of the night nursing it as a mother
would her baby. It was three o'clock in the morning before Tom got
into his bed; and he will tell you how tired he was, but he will also
say: "Poor old doggie, 'e was just for all the world like a Christian.
There was none on 'em as knowed aught about it, and when I'd
done 'is leg he wagged 'is stump of a tail, saying plain enough:
'Don't 'e go now; I'm main thankful to yer, but don't 'e go,' that I
couldna a-bear to leave 'im till 'e wur a bit more comfortable like.
You see, we can holloa out, but them dum' animals canna." Bob, the
old dog, is still alive, and the boy is now an under-keeper, but
neither of them forget old Tom's kindness, and both would almost
lay down their lives for the Huntsman of the Bullshire Hounds.
 THE WHIPS.

"'Say, Harry, the old man killed his fox well to-day," says Charles, the
First Whip, to his junior, as they jog home to the kennels in the
evening.
"Umph!" replies Harry; "but he need not have dropped it so hot on
to me just because them two couple of loiterers stopped back.
Blessed if I ever saw such hounds as them for messing about in
cover. It's always the same. Caterer and Bellman, Pillager and
Marksman, never up in time; and then if I gets on a bit, it's 'Where's
them two couple? Go back and fetch 'em at once.' Dashed if I
oughtn't to take a return ticket to every field in the county."
Charles, who thinks it by no means improbable that some day he
may find himself with the horn of office, and Harry promoted to First
Whip's place, merely says: "Well, you shouldn't be in such a
thundering hurry to get off. You know your place is back, and back
you should be."
At this juncture they ride up to The Bell and Horns, a famous
halfway house, where they brew the best of ale, and can, if so
disposed, give you a glass of the best whisky out of Ireland. The
landlord, a sporting old veteran, bustles out and takes Tom's order
for "Three pints of dog's nose" (a compound of ale and gin), "and
some gruel for the nags."
"Well, what sort of a day have you had?" says he. "Nay, nay, don't
mind the hound, let him be," as Harry is proceeding to correct
Minstrel's attack of curiosity concerning the construction of
Boniface's waistcoat. "The old boy and I are friends," and he pats
the hound's sensible head.
Old Tom, having taken his face out of the pint pot, and smacking his
lips, replies: "A first-rate day. Found in the gorse, run through
Bouffler's meadows up to the Mere, turned in the lane, where the
fox was headed, then over the Ring Hills, and killed by Bromley
Wood. Charles here," pointing to his aide-de-camp, "was the means
of our killing; and I must say Harry did uncommon well, though he
does always want to be in front."
At this meed of praise from their chief both the Whips feel some
inches taller, and Harry quite forgets his rating in the morning.
The horses gruelled and the score paid by the Huntsman, they are
again on the road, having been joined by a couple of farmers going
their way as far as the cross-roads, and with whom old Tom is soon
in close confabulation. Harry rides for some distance without
vouchsafing a word, save an occasional "Whip, get for'ard," to some
straggler of the pack. At last he says:
"Charles, the old man is a good 'un, and no mistake. I'd sooner have
a kick from him than sixpence from anyone else. He's quite right—
business is business; but when it's over how many of 'em would
stand a glass, 'specially after a bit of a word?"
"You're right, my lad," replies Charles. "You'll go mony a day afore
you pitch on a man like old Tom, or, for the matter o' that, on a pack
like our'n. Look you, it ain't every Huntsman as 'ull let his Whips into
the secret of breeding; but I'll be bound there ain't a hound as you
and I don't know as much about as he does hisself."
"What are you two a-chattering about?" interrupts Tom.
"Only a-saying as how we knowed the pedigrees, sir," said Harry.
"So you ought. I'm sure I lets Charles and you know all I can. My
system is 'fair do's.' Every man's got a summut to do with the run,
and they're our hounds; and though I say it as perhaps shouldn't,
we've the best Master and the best pack in England; and when I
comes on the society, if Charles there ain't ready to take my place,
why it will break my heart. Ay, my lad, and then you can get for'ard
as much as you like."
"I knows one thing," says Harry, whose heart is getting too big for
his waistcoat, "the Bullshire have got the best Huntsman in England,
or, for the matter o' that, in the world; and I'm main sorry as I vexed
you to-day leaving them hounds in cover."
"Not a bit, lad, not a bit; it's over now. I like to see yer keen; but
duty first, yer know," replies Tom. "Charles," he continues, "it looks
all like a frost to-night. What do yer think?"
"Freezes now, and there are two or three of these hounds going
lame a bit, and they find the ground a bit hardish," says Charles.
By this time they have arrived at the cross-roads, and the two
farmers turn off, leaving the Huntsman and his two Whips with a
three-mile trot before them.
It may be gathered from the above the sort of terms that the
Bullshire Hunt servants were on with each other, and what good
feeling existed between them. Charles, the First Whip, had served
his apprenticeship with the pack—first as a lad in the kennel, then as
Second Whip, and lastly where we find him. His whole soul lay in his
work, and the most miserable time he owns to in his life was when
he broke his leg riding over a gate, and was laid up for six weeks
away from his darlings. "I shouldn't a minded if it had been in the
summer," said he; "but having to lay up abed in the middle of this
beautiful scenting weather, it's d——d hard luck, and I know the
beauties will be wondering where the deuce I've got to." As soon as
he could move, his first outing was to the kennels, where the
reception, or rather ovation, he obtained corroborated his opinion
anent the hounds missing him.
Equally fond of hunting was Harry, though, it must be confessed, he
liked the riding part the best. Originally a farmer's boy, he first made
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