One of the great pleasures of owning British guns is recognizing the effort that has gone into their production. This can be remarking on the cleverness of a design or the flowing lines of a game gun; appreciating the quality of materials, be they fine steels or select walnut; feeling wonder at the skill in fitting and finishing the various parts; or admiring the aesthetic appeal of hand-cut engraving and chequering. One thing that is often lost in the large-scale production of sporting guns, and in this I include Birmingham factories of yesteryear as well as modern Turkish production lines, is flair. Individuality. Artistic expression. Instead, we get production output that is generic, aimed at bottom-line profits and not exhibiting craftsmanship. The way a modern gun company increases market share today is by manipulating prices, not putting out a better product. As consumers we are also at fault, looking for deals instead of criticizing cut corners and demanding better products.
I’ve always maintained that the way to appreciate a British gun is to look at it very carefully, as well as make good use of it in the field. Nothing wrong about having a good sit-down with a gun, polishing its metal and giving the wood a good rub, disassembling fore-end and barrels and marvelling at each. Seeing curves and shapes and flourishes you hadn’t noticed before. Maybe with a wee dram, or a flavourful coffee, whatever your choice. I do NOT have the same relationship with other sporting or hobby equipment, or my toaster or drill. I refuse to consider a well-made gun to be the same as any other sort of kit or tool, and I choose a gun as carefully as I choose a friendship.
I’m a bit busy leading up to this long weekend, so no time for a lengthy dissertation, and apologies if you’ve seen my thoughts on hammers before. Hopefully, there are enough new readers who won’t notice I’ve written on the subject before, and enough old readers who just like hammers...
Hammer guns still have a certain charm, even if they are “from another age.” Although successful for over 200 years, flintlocks were complicated, finicky contraptions. The later percussion locks had hammers throwing a tighter arc, meant to focus the strike on the cap and keep it in place, while deflecting any flying bits of copper away from the shooter. These hammers followed a specific form and are attractive, to be sure. With the appearance of the pin-fire system, the least well-known of the hammer guns, the role of the hammer was to drive down a vertical pin to strike the internal cap in the cartridge, a somewhat different arc. The pin had to be driven in, but not too much, to allow the extraction of the case by the still-extruding pin. Thumb-pieces tended to be high and upright in the “hare's ears” configuration, and because of the different arc, hammer noses were generally longer and flatter than those on percussion locks. Later central-fire guns could have more vertically compressed profiles as the noses struck angled or horizontal strikers and did not push down vertical pins. As the central-fire system displaced the pin-fire and gradually went through its own evolution, low-profile central-fire hammers could disappear from the sight plane when cocked, whereas the tall pin-fire hammers were always in sight.
While hammers in a set were mirror images of each other, often no two sets were wholly identical, even from the same maker. Hammers were made from forgings or castings and shaped by hand with files before being individually fitted to the gun. However, just because all pin-fire hammers do the same job doesn't mean they have to be the same form and shape. Combined with differences in engraving styles and decorative flourishes, there is considerable variation in hammers when you stop to look. Here are forty-eight pin-fire hammers from more than thirty different makers, offering a clearer picture of this variation. Forty-five are from British makers, one is French, and two are of Belgian origin; almost all are from the 1860s.
All have high thumbpieces and an under-stop under the nose that prevents the hammer from hitting the pin flat on the surface of the barrel. Some retain a design holdover from percussion days, a raised ‘shield’ or extended lip meant to deflect pieces of copper caps, now reduced to a stylized flourish. Most are rounded, others have flat sides, and some with both. Some are decorated with ‘dolphin-fish’ features, a common Victorian motif. Others are plain, plain, plain. And while examining the hammers, take a moment to appreciate the wide variation in the width and shape of the fences, another area where the filers and chisellers could express themselves and give character to their creations.
I’ve always maintained that the way to appreciate a British gun is to look at it very carefully, as well as make good use of it in the field. Nothing wrong about having a good sit-down with a gun, polishing its metal and giving the wood a good rub, disassembling fore-end and barrels and marvelling at each. Seeing curves and shapes and flourishes you hadn’t noticed before. Maybe with a wee dram, or a flavourful coffee, whatever your choice. I do NOT have the same relationship with other sporting or hobby equipment, or my toaster or drill. I refuse to consider a well-made gun to be the same as any other sort of kit or tool, and I choose a gun as carefully as I choose a friendship.
I’m a bit busy leading up to this long weekend, so no time for a lengthy dissertation, and apologies if you’ve seen my thoughts on hammers before. Hopefully, there are enough new readers who won’t notice I’ve written on the subject before, and enough old readers who just like hammers...
Hammer guns still have a certain charm, even if they are “from another age.” Although successful for over 200 years, flintlocks were complicated, finicky contraptions. The later percussion locks had hammers throwing a tighter arc, meant to focus the strike on the cap and keep it in place, while deflecting any flying bits of copper away from the shooter. These hammers followed a specific form and are attractive, to be sure. With the appearance of the pin-fire system, the least well-known of the hammer guns, the role of the hammer was to drive down a vertical pin to strike the internal cap in the cartridge, a somewhat different arc. The pin had to be driven in, but not too much, to allow the extraction of the case by the still-extruding pin. Thumb-pieces tended to be high and upright in the “hare's ears” configuration, and because of the different arc, hammer noses were generally longer and flatter than those on percussion locks. Later central-fire guns could have more vertically compressed profiles as the noses struck angled or horizontal strikers and did not push down vertical pins. As the central-fire system displaced the pin-fire and gradually went through its own evolution, low-profile central-fire hammers could disappear from the sight plane when cocked, whereas the tall pin-fire hammers were always in sight.
While hammers in a set were mirror images of each other, often no two sets were wholly identical, even from the same maker. Hammers were made from forgings or castings and shaped by hand with files before being individually fitted to the gun. However, just because all pin-fire hammers do the same job doesn't mean they have to be the same form and shape. Combined with differences in engraving styles and decorative flourishes, there is considerable variation in hammers when you stop to look. Here are forty-eight pin-fire hammers from more than thirty different makers, offering a clearer picture of this variation. Forty-five are from British makers, one is French, and two are of Belgian origin; almost all are from the 1860s.
All have high thumbpieces and an under-stop under the nose that prevents the hammer from hitting the pin flat on the surface of the barrel. Some retain a design holdover from percussion days, a raised ‘shield’ or extended lip meant to deflect pieces of copper caps, now reduced to a stylized flourish. Most are rounded, others have flat sides, and some with both. Some are decorated with ‘dolphin-fish’ features, a common Victorian motif. Others are plain, plain, plain. And while examining the hammers, take a moment to appreciate the wide variation in the width and shape of the fences, another area where the filers and chisellers could express themselves and give character to their creations.





