The Night the World Exploded – The Eruption of Krakatoa

 

In the South Pacific, between the islands of Java and Sumatra, in the midst of the old Dutch East Indies, is a small island called Krakatoa. The name doesn’t mean much today, but during the last quarter of the 19th Century, Krakatoa was the site of an event which rocked the world, figuratively and literally, and which was on the front page of every newspaper within hours. It was an event heard around the world, it was THE news sensation of 1883, it was the Victorian equivalent of the Kobe Earthquake or Hurricane Katrina, or the Indian Seaquake Tsunamis of 2004.

It was the catastrophic eruption of Mount Krakatoa.

This posting looks into the history of one of the most famous volcanic eruptions in the world, and the effect it had on the surrounding populations.

What and Where is Krakatoa?

Krakatoa is a tiny volcanic island between Sumatra and Java in the Dutch East Indies, as they were called back in 1883 when our story takes place. Today, they’re called Indonesia, instead. Its existence, and its volcanic eruptions had been recorded by mankind as far back at least, as the 17th century. The fact that Krakatoa was active again was no surprise to anybody. Legends and fables from the Javanese people, and Dutch colonial records held since the 1600s proved that Krakatoa was a very active volcano. As a result, not many people were that concerned about the fact that the volcano was acting up. It was doing what it did, and that was just how it was. This was normal, and there was nothing to worry about.

How wrong they were.

In May, 1883, Krakatoa was a bubbling, belching, restless monster; but a monster that seemed to be satisfied enough to keep itself to itself. Or so the locals believed. This changed in August of that year, when, on the 27th of that month, one of the largest and most violent, the most destructive, and one of the loudest ever volcanic eruptions in recorded history blew the island to pieces and wiped Krakatoa off the map. It sent shockwaves around the world, literally and figuratively. News of this monumental catastrophe was flashed across newspapers from Shanghai to San Francisco, London to Los Angeles, as fast as electric cable-telegraphy, the quickest means of communications at the time, could send it.

The eruption was one of the deadliest in human history. 36,417 people were killed. How many died in the 79A.D. eruption of Vesuvius? Just 3,000. Just as impressive as the death-toll was the sheer power of the explosion produced by the eruption. The noise and the shockwaves from the event were so loud that they could be heard and felt up to 3,000 miles away!

Just how far is 3,000 miles?

Within that radius, you have…

– Australia.
– Siam.
– Singapore.
– Malaysia.
– Japan.
– China.
– India.
– New Zealand.
– Burma.

And most famously, the tiny island of Rodrigues. Rodrigues is part of the chain of islands that make up the Republic of Mauritius in the Indian Ocean. At a distance of 3,000 miles from the explosion, Rodrigues holds the record as being the furthest distance that the sound of the 1883 explosion of Krakatoa had reached. This, by the way, also makes the August 27th, 1883 eruption the LOUDEST SOUND IN RECORDED HISTORY!!!!!

Now that’s impressive!

What Happened in 1883?

In 1883, the volcanic island of Krakatoa, in what was then the Dutch East Indies (modern Indonesia), was busy erupting. This was nothing new. It had erupted plenty of times in the past. In 416 A.D., and again in 535 A.D. It erupted again in 1530, and yet again in May, 1680. The 1680 eruption was recorded by Dutch sailors based in the Indies. When the eruption was over, they’d even collected chunks of floating pumice to keep as souvenirs!

The eruption of August 26-27, 1883, stands out, however, as being the most destructive eruption of Krakatoa in recorded history, as well as producing the loudest sound recorded in human history.

20-21, May, 1883

The volcano had been erupting steadily for several months during 1883. Small-scale explosions happened all the time, and this was considered normal activity. Life continued as it always had in the Dutch East Indies. As far back as May, there had been earthquakes and minor eruptions, which continued, on and off for several weeks. The most significant earthquakes and eruptions, though small in size, happened in mid-May, continuing, on and off, until June. But then for a while, the island was quiet. For three months, nothing happened. Everyone thought the Krakatoan volcanic eruption season for 1883 had come to an end. People grew complacent and life returned to normal. The only people who paid Krakatoa any interest were the local geologists and pioneering volcanologists, who visited Krakatoa to examine the island. They recorded the atmosphere and the conditions on the ground, making special note of the scalded, scorched, ashy landscape, and the plumes of gas and smoke belching out of the crater. The air was thick, sulfurous, and almost impossible to breathe.

The August 26-27 Eruption of Krakatoa

On the 11th of August, 1883, a Dutchman, Capt. Ferzenaar, stopped at Krakatoa to study the destruction wrought by the May and June eruptions. He noticed great damage and signs of ongoing activity, such as smoke and steam columns issuing from the mouth of the volcano. He advised colonial authorities in Jakarta to suspend any visits to the island in the near future, as a precautionary measure. The authorities would’ve been foolish to ignore his advice.

Capt. Ferzenaar’s warning came in the nick of time. Just over two weeks after his visit, Krakatoa started acting up again. At first, the volcano let off a few, small-scale eruptions on the 25th. Little notice was taken by the locals; this stuff had been going on for years. But the next day, at 1:00pm on the 26th of August, the island exploded!

The blast was mindboggling. All three craters on the island of Krakatoa were firing out tons of built-up rock, solidified magma and ash which had been causing dangerous pressure-buildups inside the volcano for centuries. Ships in the South Pacific area were being pelted by rocks and chunks of pumice up to four inches in size, hitting their decks and bouncing off their deck-house roofs! The earthquakes that followed triggered small-scale tidal-waves that hit the surrounding islands and coastlines that evening. The Dutch East Indies were suddenly not as peaceful and relaxing as they seemed to be!

And the worst was yet to come.

The eruptions continued throughout the day, into the night, and into the next day. Another eruption was recorded at 4:25pm, and still they continued. Ash and smoke blocked out the sun and thick haze coated the entire East Indies region.

On the 27th, the most destructive eruptions took place. At 5:30am, 6:44am, 10:02 and 10:41am, four massive eruptions blew the island of Krakatoa to pieces! The explosions could be heard thousands of miles away and earthquakes rocked the entire Pacific region. Powerful pyroclastic flows, huge landslides of rock, soil, ash, gas and scalding air, devastated the region, obliterating everything in their path: Trees, houses, wildlife and people. Entire communities on the islands closest to the volcano were completely wiped out in a matter of minutes! Huge waves rocked the world as far away as South America, the east coast of Africa, the West Coast of the United States, and even as far north as the English Channel!

This 1888 lithograph print is one of the most famous images of the eruption of Krakatoa in 1883.

The massive shock-waves generated by the volcano rocked the world. Sailors on ships in the Sunda Strait were deafened by the blasts of the explosions. The barometers at the Batavia Gasworks, which supplied the town with gas-lighting, recorded a pressure-jump of 8,500pa, a deviation so extreme, that it went off the scale! The 10:02 eruption produced a sound-wave so powerful and so far-reaching that to this day, it remains the loudest sound ever recorded.

The eruptions that happened on the 27th of August, 1883, were so powerful that they were heard on the remote island of Rodrigues in the Indian Ocean. The sounds were so loud, locals thought they were cannon-blasts being fired by some unseen ship beyond the horizon. Local officials grew so alarmed, they even sent warships out to intercept this mysterious ‘ship’, but it was never found.

Cities and towns all around Java and Sumatra were affected. Ports were wiped out. Ships were thrown inland by the powerful waves. Entire towns were obliterated by powerful tsunamis and pyroclastic flows. There was so much ash in the sky, lights were turned on before midday, as morning turned to night when the sun was blocked out by the tons of ejected ash and soil that were fired into the atmosphere.

The Story of the S.S. Governor-General Loudon

What could be worse than being in Ketimbang, a town on the southern shores of Sumatra, or in Java across the Sunda Strait, and watching the volcano Krakatoa explode before your eyes, blasting millions of tons of rock, soil and ash into the sky? What could be more terrifying than watching gigantic tsunamis surging towards you due to the mountainous landslides and powerful shock-waves generated by the blasts? What could be more unnerving than being in the lantern-room of a lighthouse and watching a towering, 40ft wall of water surge towards you, knowing that you couldn’t possibly escape?

How about being on a tiny little steamship in the Sunda Strait, and getting a front-row seat to the destruction?

This is the remarkable story of the S.S. Governor General Loudon.

The S.S. Loudon was a small ship. Lanched in 1875, it was used for delivering passengers and cargo around the Dutch East Indies. Its captain, Johan Lindemann, was due, on Sunday, the 26th of August, 1883, to steam from Anjer in Java, to Telok Betong, on the southern coast of Sumatra in Lampong Bay. On-board were 100 passengers – Chinese coolies going to Sumatra for work, and curious colonial day-trippers hoping to get a close look at Krakatoa.

Ever since it had started becoming more active, day-trips and sightseeing voyages to, or around Krakatoa, provided by small, local steamships, had become extremely popular. Passengers onboard Capt. Lindemann’s ship paid 25 Guilders apiece, for a ticket, and a chance to see the volcano up close and personal. It was one way for struggling local sailors to scrape together a few more coins on each voyage. The passengers on the Loudon were expecting something amazing – real bang for their buck!

And they wouldn’t be disappointed – The voyage from Anjer to Telok Betong took the S.S. Loudon right across the Sunda Strait. If the passengers onboard stared off the port side of the ship, they would get the view of a lifetime of the most terrifying explosion on earth.

They just didn’t know it yet.

Having picked up its passengers, the S.S. Loudon set a course northwest. It would cut through the Strait and steam directly towards Telok Betong, hugging the coastline as it went. At 1:00pm, the first eruptions started.

Rumbling away for months before, Krakatoa was now ready to explode. And the passengers and crew of the S.S. Loudon were right in the blast-zone.

All afternoon on the 26th of August, the volcano blasted rocks and ash into the air. When the second eruption on the 26th happened, at 4:25 in the afternoon, the S.S. Loudon, its passengers and crew, were among the closest living beings to the volcano. A mere 12 miles (19km) away! Amazingly, there was one ship which was even closer to Krakatoa – The Charles Bal from Ireland – just 9 miles (16km) away. The Charles Bal went down in history as the ship which was the closest to the volcano during its most violent eruptions.

That evening, the Loudon reached Lampong Bay, outside of the port town of Telok Betong. Radio-contact between the port and the ship indicated that it was impossible to dock. The sea was far too rough and dangerous, and the ash and smoke so thick that navigation was almost impossible.

Deciding that it would be suicidal to stay where he was, Captain Lindemann ordered the ship about. At 7:30am on the 27th, after two eruptions had already rocked the ship that day, Lindemann ordered that the Loudon be turned around. It was to make all speed for Anjer. There, they would drop anchor and report their experiences and sightings to the colonial authorities. Lindemann knew that to stay in Lampong Bay was almost certain death. The shallow sea-floor would force waves upwards to incredible heights that could swamp the ship in seconds. They had to get away.

On the 27th of August, the volcano started early. From 5:30 in the morning, there were four gigantic explosions that blotted out the sun, all before midday. Ash poured down like black snow, and the air was charged with electricity. The landslides and shock-waves from Krakatoa set off massive waves that slammed into coastlines as far away as Western Australia and India. And the S.S. Loudon was right in the middle of it!

This is a map of the Sunda Strait. The S.S. Loudon was sailing from ANYER (on the west coast of Java), to TELUK BETUNG, in Sumatra. The ship’s route towards its destination hugged the southern Sumatran coastline. It’s route away from Telok Betong was southeast, hugging the coast, then west to Legundi, then south-southwest, heading for the Indian Ocean, before eventually returning to Anjer. Unfortunately, this escape-route took them perilously close to the volcano of Krakatoa

Ash and rocks pelted the ship. If the ash-buildup on the deck became too heavy and the weight shifted, the entire ship could tip over. The captain ordered all passengers into the hold to redistribute the ship’s weight, and ordered all hands not part of the ship’s essential operations, to immediately start shoveling the ash over the sides.

The continuing eruptions blacked out the sky. It was so dark, the ship could’ve been sailing at midnight. Despite the fact that it was only 10:30 in the morning, Captain Lindemann ordered the ship’s navigation-lamps to be fired up. He wouldn’t risk slamming into another ship in this ashy blackout. They had to get out of here. But trying to send your ship through a volcanic storm to safety is perilous work, and the Loudon faced constant danger from gigantic waves, vicious lighting-strikes and tons of falling ash, which all threatened to sink the ship.

Remember that scene in “The Perfect Storm“, where the fishing boat ‘Andrea Gail‘ tries to ride over a gigantic wall of water?

Imagine doing that with a steam-powered, coal-fired passenger-ship, loaded with passengers, in the middle of a volcanic eruption. Because that’s what the Loudon was doing.

Keep in mind that the Loudon is now sailing south, out of Lampong Bay, hugging the Sumatran coast. With every mile, it must tackle enormous tsunamis generated by the shallow, narrow walls and floor of the Bay. The water is forced upwards to create gigantic swells and waves. To stabilize the ship and lower its center of gravity, Captain Lindemann ordered the port and starboard anchors to be let loose. The extra weight pulling on the ship would hopefully prevent it from being knocked over as it encountered each wave as it left the Bay. Lindemann turned his ship directly towards any waves headed in their direction and ordered the engines All Ahead. Full, to hit the waves with the bow of the ship and not lose precious momentum, which would leave them at the mercy of the sea.

Even as they tried to escape, conditions grew even worse. The powerful volcanic storm blasted hatch-covers off the deck. Anything not bolted down or securely tied to the ship was thrown off in the storm. The mainmast was afflicted with the electrical discharge called St. Elmo’s Fire. The electrically-charged ash which Krakatoa blasted into the atmosphere also caused powerful lighting-bolts to form.

While St. Elmo’s Fire is relatively harmless, lightning bolts are not. In his logbook, Lindemann wrote that he witnessed the ship’s mainmast being struck at least seven times by powerful lightning strikes. Fortunately, the lightning-rod fixed to the top of the mast prevented the ship from catching fire. While the ship was safe from fire, there were still other concerns.

The ash, rocks and thick, gooey, ashy rain that was splattering down all over the ship was making it top-heavy, and the thick, low-lying ash-clouds were making it hard to navigate. Ash was falling so thickly that the crew couldn’t see where the ship was going. And it was rising so fast on the deck that within ten minutes, they were shoveling piles of ash off the ship that were six inches deep!

Twelve inches of ash, rock and mud would be enough to throw the ship off-balance. After that, all it would take was one wave to hit the side of the Loudon, and it would be capsized in an instant.

Deciding that hugging the coast was too dangerous, Lindemann instead ordered the ship out to sea. Tsunamis have less power in deeper water – when they’re near the coast, it’s the sloping shelves of land that force the waves up into the air. Sailing southwest towards the Indian Ocean and safer waters saved their lives.

At least one passenger onboard the Loudon, N.H. Van Sandick, a public-works engineer and day-tripper, recorded his experiences that day. The following are excerpts from his book “In the Realm of Vulcan” (published 1890), detailing what he saw from the deck of the Loudon in 1883.

Describing the morning of the 26th of August…

Clearly the lighthouses of Java’s Fourth Point silhouetted itself against the sky. The Dutch flag on the grounds of the Assistant Resident flapped happily; every house could be distinguished and subconsciously the thoughts wander back to the first arrival in the Indies from Europe. Anjer is then the first place which brings welcome greetings from a distance. If we, who were aboard the Loudon in the roads of Anjer, would have declared that the last day of Anjer’s existence had already begun, we definitely would have been considered deranged…

Describing the volcano, Krakatoa…

When our coolies were aboard, the Loudon set course past Dwars-in-Weg and Varkenshoek into the Bay of Lampong toward Telok Betong. To portside we saw in the distance the island of Krakatau, known for its first volcanic eruption several months ago [May 1883]. Krakatau is an old acquaintance of the Loudon. When, after the first eruption, a pleasure trip was made to see the volcano, the Loudon brought passengers to the island for 25 guilders each. Many landed that time and climbed the volcano; and all experienced a festive and pleasant day.

The volcano on Krakatau gave us a free performance. Although we were far away from the island, we saw a high column of black smoke rise above the island; the column widened toward the top to a cloud. Also there was a continual ash fall. Toward evening, at 7 o’clock, we were in the Bay of Lampong, in the roads of Telok Betong, where anchor was dropped and it soon became night.

Van Sandick goes on to describe how the ship’s crew tried to make contact with the port at Telok Betong, so that they could dock the ship and offload passengers, but no reply was received from the Harbor. The ship lowered one of its lifeboats and sent sailors ashore to examine the situation. They eventually rowed back to the ship, saying that it was impossible to fight the currents, and that the smoke and ash were too thick to see anything.

Deciding that they couldn’t stay where they were, Lindemann ordered the ship about, to return to Anjer in Java. Van Sandick writes of the moment the ship changed course and headed back into the teeth of the volcanic storm:

Suddenly, at about 7 a.m., a tremendous wave came moving in from the sea, which literally blocked the view and moved with tremendous speed. The Loudon steamed forward in such a way that she headed right into the wave. One moment… the wave had reached us. The ship made a tremendous tumbling; however, the wave was passed and the Loudon was saved. 

Another ship, the P.S. Berouw, was not so lucky. The tsunami that wiped out the harbour at Telok Betong hoisted the paddle-steamer and its 28 crew-members into the air, and threw it inland. This sketch of the ship was made after the waves receded. The ship is wedged across a river…two miles up from the coast! 

Steaming away from Telok Betong, and watching the harbour behind them being smashed to pieces, Van Sandick then described what happened when the ship sailed once more past the volcano, attempting to reach Anjer:

Meanwhile we steamed forward and soon the roads of Telok Betong were lost from view, and we hoped soon to be out of the Bay of Lampong. But we would not get away that easily. It became darker and darker, so that already at 10 a.m. there was almost Egyptian darkness. This darkness was complete. Usually even on a dark night one can still distinguish some outlines of, for instance, white objects. However, here a complete absence of light prevailed. The sun climbed higher and higher, but none of her rays reached us. Even on the horizon not the faintest light could be seen and not a star appeared in the sky.

This darkness continued for 18 hours. It is self-evident that the Loudon during this pole-night had to “winter over” in the bay. Meanwhile a dense mud rain fell, covering the deck more than half a meter thick and penetrating everywhere, which was especially bothersome to the crew, whose eyes, ears, and noses were liberally filled with a material which made breathing difficult. Off and on again, ash and pumice fell. The compass showed the strangest deviations. Fierce sea currents were observed in diverging directions. The barometer meanwhile read very high, which certainly was difficult to explain. Breathing, however, was not only made difficult by ash, mud, and pumice particles, but the atmosphere itself had also changed. A devilish smell of sulphurous acid spread. Some felt buzzing in the ears, others a feeling of pressing on the chest and sleepiness. In short, the circumstances left something to be desired, since it would have been quite natural if we all had choked to death.

Captain Lindemann’s actions on the 27th of August, 1883, saved the lives of everyone onboard. Staying away from land and powerful tidal-waves, attacking waves head-on and redistributing the ship’s weight to lower its center of gravity to prevent capsizing had all contributed to the eventual safe deliverance of everyone onboard the S.S. Governor-General Loudon.

Sailing out to sea into deeper water ensured the ship’s survival. Once the Loudon made landfall, everyone was offloaded safely. Capt. Johan Lindemann was eventually awarded by the Dutch colonial authorities, and given a medal for his bravery and courage in the face of incredible dangers. He died in 1885.

Remember the unfortunate P.S. Berouw? This is all that remains of it:

This is the Berouw’s mooring-buoy. When the Telok Betong Tsunami hit, the ship was ripped from its buoy and thrown inland. The buoy itself was carried with it. It remains where it was found, and was later used as a sculpture in a memorial to the Krakatoa dead.

…It’s now in the middle of a traffic roundabout.

Effects of the Eruption

The official death-toll, as recorded by Dutch authorities in Indonesia, was 36,417. This was due to a mixture of tsunamis, pyroclastic flows, shockwaves, and falling volcanic debris. The eruptions sent debris charging up into the sky, to a height of 20,000ft (to put this into perspective, commercial aircraft fly at around 30,000ft). Ships all around the world were rocked by powerful waves caused by the earthquakes and shockwaves generated by the eruptions. 11,000,000 cubic miles of ash, rock, soil and magma had been blown into the sky, blocking out the sun around the Dutch East Indies for three days.

165 villages, towns and settlements were destroyed, including Telok Betong, a town in southern Sumatra called Ketimbang, and the Fourth Point Lighthouse, on the west coast of Java (mentioned in Van Sandick’s book). Here, despite the fact that the lighthouse was ripped off its foundations by a colossal chunk of coral weighing several tons, the lighthouse-keeper somehow survived. Today, the only thing that remains of the original Fourth Point Lighthouse is its foundations, but another lighthouse, built just a few yards away, was opened just a couple of years later.

Photographed in 1883, this massive chunk of coral was scraped off the seabed and dumped on the western coastline of Java during the eruptions of Krakatoa. It’s believed a chunk similar in size to this, smashed into the Fourth Point Lighthouse, ripping it off its foundations.

The shock-waves from the eruptions circled the globe, bouncing off coastline and mountains and reverberating and reflecting and intensifying and returning. The tsunamis and sound-waves rippled around the globe seven times, before they died down.

For weeks and months after the eruptions, bodies and skeletons washed up on beaches throughout the Pacific area. Some even floated across the Indian Ocean, ending up in Africa!

Rogier Diederik Marius Verbeek

Rogier Verbeek (1845-1926) was a Dutch geologist, scientist, and a pioneer in the field of volcanology – the study of volcanoes and their effects. In the 1880s, Rogier was living in the Dutch East Indies. As one of the most volcanically active places on earth, where better to study volcanoes?

As an active volcano, Krakatoa was naturally of great interest to Verbeek. He set himself up in the Javanese town of Buitenzorg (today, Bogor, Indonesia), a good 100 miles from the volcano. He considered this to be a safe-enough distance from danger, but still close enough to watch the volcano.

His accounts of the volcano, and of its legendary 1883 eruptions became bestselling books in the scientific community of the late-19th century. His journal on the subject made him a celebrity, and brought volcanology into mainstream scientific studies for the first time. His records of the disaster gave scientists all over the world rare, valuable, first-hand insights into the power and the various stages of volcanic eruptions.

The Strange Story of Edward Samson

One of the most famous stories about Krakatoa is not about how many people died, or how loud it was, or how big the eruption happened to be. It’s about a man. A man named Edward Samson.

Whether or not this story is even true is uncertain. It’s been repeated ad nausea throughout the internet, in history-books, and even on TV shows about unexplained events, for at least thirty years. I’ve searched throughout the internet and through documentary films and books…is it real? Maybe. At any rate, it makes a hell of a story. And it goes like this…

Edward Samson was a journalist. He was the news editor of the Boston Globe, an American newspaper based in Boston, Massachusetts, in the United States. One night, Samson, bored, a bit drunk, sleepy, and without a story, passed out in his office. In the midst of his slumbers, he had a fantastic dream: He imagined a tropical island paradise; an equatorial dreamland named ‘Pralapae’. He dreamed of a powerful volcanic eruption, that in the space of a few hours, had decimated the entire island. Suddenly, Paradise had been transformed into a hell of raining fire and ash, choking smoke, powerful earthquakes and rocks and lava all around. He imagined thousands of people dead, all of them variously scalded, drowned, buried alive, or blown to pieces in the disaster.

When Samson awoke, he wrote the whole thing down. His dream…for what else could it possibly be?…was so vivid that he felt that he had to record the whole thing. He didn’t know what else to do! Perhaps he could sell it to a magazine as a short story? Or put it in the newspaper and publish it as a piece of fantasy? He punched out the whole account of his vivid volcano vision on his typewriter, rang the thing off, ripped it out, stacked it up on his desk, and then staggered home to sleep.

When he awoke, fresh and sober the next morning, he picked up a copy of the Boston Globe. He was horrified to find that his work of fiction had been taken as fact! The Editor of the Globe had plastered it right across the front page!

Panicking, Samson ran to his office to explain that the story on his desk was merely meant as a piece of fiction, but the ball was already rolling. The story was going to be retracted, and an apology printed to readers of the Globe, when telegrams flooded in from around the world – Singapore, Shanghai, Melbourne, San Francisco…a catastrophic series of eruptions in the Sunda Strait in the Dutch East Indies had devastated the region, wreaking havoc and obliterating an island volcano called Krakatoa.

That night when Samson had passed out and had his dream, was the 25th of August, 1883. Had he really had a premonition of the most famous volcanic eruption in history?

Whether or not this story is true is up for debate. The eruption is certainly true. And the Boston Globe is a real American newspaper – it was first published in 1872, and certainly existed at the time of the 1883 eruption. But was there ever a famous, premonition-fueled front-page volcanic sensation?

Unless anyone ever manages to go through the Globe’s archives and checks the headlines for the 25th-31st of August, 1883, for mentions of a volcanic eruption on Krakatoa, or Pralapae, we may never know.

More Information?

Mr. Van Sandick’s book, “In the Realm of Vulcan” (pub. 1890). Chapter detailing the voyage of the Loudon

Van Sandick’s book was originally published in Dutch, and has been transcribed onto the internet in that language. Use Google Translate to translate it into English if necessary.

Eyewitness Accounts of Krakatoa. Capt. J. Lindemann, and Mr. Van Standick’s report and book-chapters are accounts No. 2 & 3.

Documentary: Krakatoa – The Last Days (AKA Krakatoa – Volcano of Destruction). 

Documentary: Krakatoa

The Volcanic Nightmare

The Day the World Exploded – This link provides some interesting information about the ships in the Sunda Strait at the time of the 26-27th August eruptions.

New Bobbins! Yay!

 

About a year or so ago, I got my hands on a very nice interwar Singer V.S. 128 sewing machine…

The machine had a number of issues. To begin with, it did not have both slide-plates. Fortunately, I managed to pick up a slide-plate at my local flea-market, along with a box of loads of other things and bits and pieces.

The machine also lacked the classic bentwood base-lid…and the key that went with it. I managed to pick those up at an antiques wholesaler outside of town.

But the biggest problem with these antique vibrating-shuttle sewing-machines is finding bobbins. These machines are not like Singer 15s, 99s or 66s. They do not use conventional flat, spool-shaped bobbins, which you can still buy today. They use what are called “long bobbins” or “Shuttle bobbins”, which look like free-weights for mice.

This machine did come with its original shuttle, and two bobbins, but that was it. I also had to source an attachments box…and attachments to fill it!

The machine could now be used, carried, locked and stored without any issues, but it still had only two bobbins. And with machines this old, extra bobbins are hard to find.

That’s why I got so excited when I found more bobbins yesterday afternoon, at a local thrift-shop. Granted, there were only two, but two is better than nothing!

The two bobbins on the bottom are the originals which came with the machine. The two lying across the top are the new ones I managed to find. It’s a small triumph, but it’s a triumph nonetheless. And even better – they were free!

And it beats having to pay for them on eBay. You can buy reproduction long-bobbins on eBay, for your V.S. machines, but it’s better, and safer, to try and find the originals – those, you know for certain, will fit into the shuttle properly, and will work correctly when you run them through the machine.

The Ultimate Book of Mysteries: The Voynich Manuscript

 

This posting marks the 4th Anniversary of my blog, which I started on the 29th of October, 2009.

This is a blog about my biggest passion – History. And in this posting, I’ll be writing about one of history’s greatest, most amazing and most puzzling, and still-unsolved mysteries: The Voynich Manuscript.

What could be written and said about the Voynich Manuscript is extensive, despite the fact that nobody has read it in 600 years. This posting won’t cover the manuscript in exhaustive detail, but will cover all the main facts, deductions and inferences made about it and its contents. If you want to know more, read the links and videos at the end of this posting. Maybe one day, someone will figure out how to read this amazing book. But until then, we can only guess as to its true contents…

The Mysterious Manuscript

Imagine if you will, that one day you found a book.

It’s an old book. Very old. Centuries old. It’s filled with colour illustrations, and strange, nonsensical text, written in a language, and using an alphabet known to no culture or nation on earth. It’s enormous, it’s mysterious, it’s methodically and carefully written and illustrated.

But it’s impossible to read.

It’s impossible to read because it’s not written in any known recorded language in the history of mankind which had a written system. It’s not German, Italian, Chinese, Latin, French, Old English, Russian or Greek.

The text may possibly be encoded, but all attempts to break the code have been in vain. It’s impossible to find out who wrote the book, and for what purpose. What would you do with such a book?

Such is the puzzle that surrounded American antiques and rare books dealer Wilfred Michael Voynich, when he stumbled across a mysterious volume in an Italian villa in 1912, during an antiquing trip to Europe.

This is the story and mystery of one of the most famous and mysterious historical artefacts ever found: The Voynich Manuscript.

The Discovery of the Manuscript

So, what is the Voynich Manuscript?

The year is 1912. American-Polish antiques dealer and book-collector Wilfred Michael Voynich (1865-1930) is in Italy, seeking out rare books and manuscripts to add to his collection, or to flip on the American antiques market back home. He visits the Villa Mondragone, where local monks in financial difficulties agree to sell off some of the villa’s priceless antique volumes to the American book-dealer.

The Villa Mondragone, Italy

They allow him to inspect the contents of an ancient trunk. It’s loaded with books taken from the library of the late Athanasius Kircher (1602-1680), a famous German scholar and scientist.

Voynich eventually purchases thirty books from the Villa’s monks. One of them is an approximately 240-page codex, handwritten in an unknown language or code, and filled with dozens of colour illustrations. Voynich soon realises that this document is not written in ANY known language, and neither does it fit any known code, broken or unbroken, then in existence. Voynich struggles to solve the mystery of his amazing discovery, but he dies in 1930 having almost no clue about what it is that he has found. Today, this mysterious tome is given a title that bears the name of the man who saved it for the world: The Voynich Manuscript. 

The Voynich Manuscript is about 240 pages of parchment, bound together in a codex. It’s not a ‘book’ as such, it’s a manuscript, something that is entirely handwritten, using iron-gall ink and a quill pen. Using the manuscript’s illustrations as a guide, experts believe that it contains chapters or sections related to botany, medicine and astrology, as well as a number of pages on recipes related to plants and flowers, and how to prepare them for medicinal use.

Investigating the Manuscript

Nearly a century later, and the top scientific and historic minds of the 21st century are not much closer.

Through inscriptions in the book, and carbon-dating, it’s clear that the book has had at least four previous owners:

Anathasius Kircher (1602-1680)

Who was given the book by…

Johannes Marcus Marci (1595-1667)

Who said, in a letter dated 1666, found in the manuscript, that it was written by…

Roger Bacon (1214-1294)  Struck off, for reasons explained below.

Before this, the book was owned by…

Rudolf II, the Holy Roman Emperor (1552-1612)

After the emperor dies, one of his creditors is given the book as payment of his debts. It now passed into the hands of Jacobus of Tepenec (1575-1622).

Some believe (although this is contested) that the book was also once owned by famous English astrologer, John Dee, royal adviser to Queen Elizabeth I of England. And that it was Dee who sold the book to Emperor Rudolf, who was a patron of arts and sciences. Dee lived from 1527-ca.1608, so he certainly lived at the same time as Rudolf. But whether or not Rudolf received the book from Dee is not known.

Therefore, as far as its ownership can be determined, the Manuscript can only be dated back reliably to the late 16th century, between about 1590-1610.

However, carbon dating shows that the book is almost 200 years older, going back to about 1405-1440. Who owned the book in that gap of almost two centuries? Where did it go, what became of it, what was it used for, and how did it end up in the hands of its first confirmed owner?

No-one knows.

Right off the bat, one owner is automatically removed from the list. Roger Bacon lived and died a full century before the book was thought to have been made. And none of its confirmed owners could possibly be the author. What clues do we know about it?

Manuscript Facts

We do know, thanks to carbon-dating carried out in 2009, that the manuscript dates from the first half of the 15th century, somewhere in the fifty-year window between 1400-1450.

We know that the book’s pages are made of parchment. But parchment, especially of the quality used to make the manuscript, is expensive 

Judging by the illustrations and pictures found within its pages, many have surmised that the Voynich Manuscript, rightly or wrongly, is a book about botany, medicine, herb and plant-use, astronomy and/or astrology, and possibly, natural history. But not being able to decipher the curly, unreadable script which makes up the entirety of the book’s text means that these suppositions are mere conjecture.

Although not a ‘fact’ as such, some have theorised that the manuscript was written in Italy. Not just because it was found there, but because of one of the book’s illustrations. On one page of the Manuscript, there is a clear drawing of a castle, or walled city. The castle walls are topped with what are called “Swallow-tail” battlements, or to use the correct term: crenelations.

The castle illustration in the Manuscript.
Note the split crenelations on the walls

Actual ‘swallow-tail’ crenelations

Swallow-tail crenelations were found in various places in Europe, but in the early 15th century when the Manuscript was produced, they’re only found in one country: Italy. The author’s knowledge of this style of crenelations points strongly to the manuscript, or at least its author, coming from Italy.

The Voynich Hoax?

Unsurprisingly, some people have suggested that the Voynich Manuscript is a hoax. Whether or not this is true is impossible to determine, but it is an idea entertained by some, nonetheless.

A Modern Hoax

Some have suggested that the Manuscript is a modern hoax, concocted in the 19th or early 20th centuries. Possibly even by Voynich himself, as a way to make some quick and dirty money. Create a phony document, and then claim it’s a centuries-old mystery-book that nobody can read! Ooooh…

Unfortunately, this falls down flat. The problem is that the parchment of which the book is composed does not support this claim. The parchment is from the 15th century. To get that amount of parchment together, and for no better reason than a hoax-document, would’ve been prohibitively expensive. And to create something so long ago that would be able to stand up to carbon-dating, decades before it was invented in the late 1940s, must show incredible foresight…

Yeah it doesn’t work out.

A Medieval Hoax

People have been faking things for years. Decades. Centuries. Like how there were only 10 Commandments…

Could the Voynich Manuscript be a really, really, really old hoax?

Now let’s consider a few things here…

The Manuscript is entirely handwritten. Entirely hand-drawn and painted. This would take months, possibly even years to complete. Whoever wrote it obviously had a lot of time on his hands, and a lot of education, or creativity. Who had the time and money to waste on something like this?

The Manuscript is made of parchment. Admittedly, rather large sheets of parchment, in some cases. The expense of the parchment and ink, to say nothing of expense of time, must’ve been considerable.

To what purpose was the Manuscript written, if it was so incredibly expensive and laborious to produce? Who would buy an obvious fake? Or who would fund the production of a fake?

The book was written during the time of the Italian Renaissance, a period from the late 1300s until the 17th century. The Renaissance literally means the Rebirth. The rebirth of culture, science, art and learning, after the apocalyptic disaster of the Black Death of the 1340s.

The Renaissance was all about new ideas, and old ideas. Studies of ancient texts and languages, alongside amazing new inventions, like the Gutenberg Press. New texts and books were being eagerly snapped up by the aristocracy, the literate trading and merchant classes, by kings, queens and emperors.

Anyone who could produce a book written in one of these “ancient languages”, and which seemed to contain important information about botany, medicine and nature, could possibly make himself a fortune!

Is this what happened?

It is a possibility. An extremely expensive and risky possibility, but a possibility nontheless. It may be what happened, it may not be. And we may never know.

The Contents of the Manuscript

Assuming that the Voynich Manuscript is not a hoax, then what on earth is contained within this amazing document? Unable to decipher the text, our biggest clues to the book’s contents are the dozens of colour illustrations found throughout its pages. So, what’s inside the Voynich Manuscript?

Using the illustrations as a guide, the book is thought to be divided into…

Botanicals. Concerning plants and flowers, their properties and uses, although even here, there are illustrations of flowers and plants which researchers are not convinced, are found in nature.

Astronomy and Astrology. Concerning the stars. We see stars, maps of the Heavens and so-forth, in intricate sketches and diagrams. We see drawings of the sun, the moon, and various Zodiac starsigns.

Biology. Mostly showing the female form. There’s numerous drawings of pregnant women in the Manuscript.

Pharmacy. There’s plenty of drawings of herbs, flowers and plants.

Recipes. There is a section in the Manuscript which many believe to be a series of recipes, relating to the flowers and plants mentioned in earlier sections, and how to prepare and use these for medical purposes.

Deciphering the Manuscript

The greatest puzzle of the Voynich Manuscript is not who wrote it, or who owned it, or when, where or how it was written, what it was made of or what the paints in the pictures are made of.

It’s what it says.

The Manuscript is written in a language, or code, or cipher, using an alphabet which nobody can read. Everyone from WWII, enigma-cracking cryptographers to the brightest codebreaking minds of the past fifty years have seen the manuscript, and nobody can figure out what it means!

The script of the Voynich Manuscript is so unique, it’s even got its own name: Voynichese 

The script of the Manuscript does not conform to any known patterns of language, or to any known patterns of any writing-system known to man, either existing or extinct. So what is it?

There are three different theories…

1. The manuscript is just jibberish made up by someone 600 years ago, which may support the ‘ancient hoax’ theory.

2. The manuscript is code. Although if it is a code, it does not conform to any known method of encoding, or decoding known to mankind. In 600 years, it has never been broken.

3. The manuscript is written in a dead language, with the writing-system of that language, which has been lost to history.

Given the implausibility of theory #2, theories #1 and #3 are most probable. But if the Manuscript is a legitimate document, and not a hoax, then the answer is most likely #3: That it’s written in a dead language which nobody has read, written or spoken in nearly 1,000 years.

Recent research in the 21st century has suggested that theory #3, that the entire document is written in a dead or unknown language, may be the most likely one. Scientists and scholars who published their findings and theories as recently as June, 2013, believe that the script in the Manuscript follow specific patterns. Although these patterns do not seem to conform to any known language, it would suggest that the script is in fact a language, and not just plain jibberish!

Where is the Manuscript?

The Manuscript is held at the Beinecke Rare Book & Manuscript Library at Yale University, in Connecticut, U.S.A.

Interested in trying to solve the mystery of the manuscript yourself?

There’s a freely accessible scanned copy of the manuscript available at the library’s website. Here’s the link.

There, you can examine every single page of the Manuscript in enormous, high-definition scans.

More Information?

If you want more information…not that there is much…you can look here…

The Voynich Manuscript

This is the most exhaustive website I could find on the Manuscript.

“The Book That Can’t Be Read” (History Channel documentary).

“Key Words and Co-Occurrence Patterns in the Voynich Manuscript”

BBC News Article on the Voynich Manuscript

Tinkering with a Typewriter – The Underwood No. 5 Standard – POST NO. 3.

 

The Underwood undertakings continue…

The next step in this saga is to resurface the platen. The platen is the fat, round cylinder which the paper wraps around when you feed it into the typewriter. It’s also the impact-point of all those hammer-blows when you type. So its restoration is essential to the smooth running of the machine.

The exterior diameter of the platen and rubber is 45mm. 

The interior diameter of the platen, sans rubber, is 42mm. 

Therefore, the thickness of rubber required on the platen is 3mm. 

This is harder to achieve than you might imagine.

The first step is to remove the platen from the typewriter, explained in my previous posting on this topic.

Having removed the platen, it was then necessary to break off the old rubber. I did this quite effectively using a flathead screwdriver. I broke off the old glue which had crusted up around the edges of the platen, forced in the screwdriver-blade, and started jemmying away, levering the dried rubber up, and breaking it off as it came away from the cylinder underneath.

If you should intend to do this to your own machine, BE WARNED:

Early typewriters have platen cylinders cored with WOOD, not steel. Do NOT use anything overly sharp, that will gouge out or dig into the wood and cause it to crack or splinter. Otherwise you’re stuck doing even MORE work. That’s why I picked a blunt-point instrument like the screwdriver.

Resurfacing the Platen

To resurface the platen, you need fresh rubber tubing. If you’re lucky, you can find this at a hardware shop, a rubber-supply shop or other similar establishment.

However, specialty rubber like this is not as common in some places as once it was. Here, you must be creative.

There are two options available to most people:

1. Heat-Shrink Tubing. Easily purchased at electronic-supply shops and hardware stores, this stuff comes in a variety of widths, from a few milimeters, to several inches wide. If you have wide-diameter heat-shrink tubing on hand, buy some of that, along with the smaller sizes, to do both the platen, and the feed-rollers.

2. Bicycle Inner-Tubes. I wasn’t lucky enough to find extra-large heat-shrink tubing locally, and ordering it online was prohibitively expensive. However, there is another alternative. Not many people use and restore typewriters anymore, but fortunately for us, lots of people still go…cycling!

Every bicycle must have inner tubes which expand and hold air inside the tires. Nip down to your local bicycle-shop and ask about the largest-diameter tubing that they have available. This is a bit of a hit-and-miss affair, and it’s not nearly as neat and easy as using heat-shrink tubing, but it does work, and other restorers have gone down this path with success.

The tubes that you get need not be brand-new. If the shop is the kind that does in-house repairs for customers, chances are, they’ll have a whole bin or crate of used, punctured tubes lying around. Fish around in there until you find what you’re after.

Having found the right size/s (you may need more than one) of tubes, new or used, take them home and cut them open at the nozzle so that you have the longest length of tube available. Measure and cut the tube to the length of the platen. Also: Curl the tube inside-out. This will expose the SMOOTH inner-inner tube to the surface, which is better for the typewriter. Bicycle inner-tubes are filled with TALCUM POWDER to stop them sticking. You may have to dust or wash this off once the tube has been pulled over the platen.

Next comes the process of resurfacing the platen.

Having removed all the old rubber with care, ensure that the platen CORE or CYLINDER is free of imperfections and damage. Now, start layering heat-shrink or rubber tubing onto the platen.

If you have heat-shrink tubing, this should be much easier. If you have to do it with rubber tubing, it may be more fiddly and time-consuming, but it is possible. You may want to heat the rubber to expand it and make it more flexible while stretching it over the platen-core.

TIP: When removing the old rubber from your platen, keep the ends of the old rubber sheathing intact. This will serve as a guide about how thick to make the new platen-covering. 

An Interesting Observation

During my resheathing adventures involving the feed-rollers and the platen, I noticed that the shift and shift-lock mechanisms on the typewriter seemed to be malfunctioning.

I almost had a panic-attack! I didn’t come THIS far to screw up now! What happened!? What’d I do!?

The carriage kept jumping up and sticking in shift-lock mode, and I couldn’t figure out what was wrong. I decided to sleep on it and mull it over in the morning.

Taking a Holmesian approach, I examined all the evidence and analysed my movements, thinking about what I had done, changed or removed on the typewriter. I also examined the shift-mechanism itself to see how it operated.

As Holmes said: “Whatever remains, however improbable, must be the truth“.

The only truth I could think of was that I had removed the platen, and that, judging from the construction and operation of the shift-mechanism, the entire thing was weight-tensioned.

On a hunch, I dropped the platen-core back into the typewriter. Bingo!

As I suspected, the shift-mechanism works ONLY when the platen is in position. The added weight of the platen is what keeps the springs that operate the shift-mechanism in correct tension. Boy was that a relief!

Once the platen is fully resurfaced (it’s taking a while), another post will follow.

Tinkering with a Typewriter – The Underwood No. 5 Standard – POST NO. 2.

 

“There’s so little to see and so much time!…Wait! STOP! Strike that! Reverse it! Thank you! Follow me…” 

– Willy Wonka. 

This machine is a marvel and a headache at the same time.

Since my last posting, I’ve glued the spacebar back together, and it’s holding fine:

Before…

…and after!

I replaced the paper-bales, somewhat inelegantly, with strips of rubber-band, cut and stuck to size. The way these things are constructed, I can’t actually use rubber tubing like I wanted to. The rollers are riveted on, not screwed. I can take them off the machine, but I can’t take the rollers out of their housings.

The next step was to remove the platen. What a damn nightmare.

To remove the platen, you take off both side top-plates (the decorative things at the top). Then you remove the right platen-knob. Then you remove the detent mechanism and carriage-release lever on the LEFT side of the platen. Then you unscrew the platen-shaft screws.

Add a bit of oil.

THEN you pull the whole rod out, from the left. Then, you push the paper-bales back, and fish the platen out.

Now you can remove the old rubber from the platen and the rollers.

Resurfacing the Feed Rollers

The Underwood No. 5 is possessed of TWO SETS of feed rollers. Front rollers and back rollers, held in place by the steel PAPER DEFLECTOR.

The paper-deflector clips into place on the typewriter. Just tug it up and slide it out. Once it’s removed, you can turn your attention to the feed-rollers.

The front rollers sit on a pair of forks inside the machine. Just lift them out and they’ll come out in one long rod.

Removing the rear feed rollers, or the back feed rollers, from an Underwood Standard No. 5 typewriter is a real lesson in patience, research, observation and lateral thinking.

Heed me now: There are NO INSTRUCTIONS AT ALL on how to do this ANYWHERE on the internet, and NO INSTRUCTIONS on how to do this in ANY of the antique typewriter manuals that I have read – not even Underwood’s official repair-manual from 1920, produced specifically for this machine.

THIS is how it is done…

To Remove the Rear Feed-Rollers on an Underwood No. 5 Standard Typewriter

1. RAISE the paper-release lever (on the RIGHT SIDE of the carriage).

2. The rear feed-rollers are CLAMPED between two sets of forks. One pair goes over the TOP of the roller-rod, one pair goes UNDERNEATH the roller-rod. How to remove them, you ask?

In this photograph, you can clearly see the two “claws” that lock onto the roller-bar, between the two feed-rollers (the two clumps that look like antique liquorice).

There are two of those sets. One on the left side, one on the right.

The claws that hold the rollers from the UNDERSIDE are tensioned on SPRINGS.

3. Once you have raised the paper-release lever, the upper claws will move. NOW, push DOWN on the lower, supporting claws (which are on springs and therefore, movable). This will allow you to wriggle the feed-rollers out, to replace the rubber.

To replace them, simply wriggle them back in again on both sides, and then drop the paper-release lever, to lock them back in place.

Resurfacing the Feed-Rollers

Having extracted the feed-rollers, it was then necessary to resurface them. As you see in that picture up there, they are in an atrocious state. A typewriter without functioning feed-rollers is like a car on blocks. It just don’t do what it’s supposed to.

Using a very sharp knife, I hacked off all the dead rubber on both sets of rollers. This was a very long, fiddly process. The rubber is probably as old as the typewriter.

Having removed the rubber, it was then necessary to resheath the rollers in fresh rubber.

To do this, I used HEAT-SHRINK TUBING.

Easily purchased at any hardware shop or electronics supplies shop.

Heat-shrink tubing is normally used for sheathing electrical cables and wires. But it’s excellent for this purpose. You cut off the length that you need, and then slide it over the rollers. Get a cigarette-lighter (or use a low setting on your gas stove), and watch the magic!

The heat causes the rubber/plastic tubing to shrink, and form TIGHTLY around the rollers. It’s a simple matter of doing this to each roller, until you have uniform thickness around each one.

I recommend using two different widths of tubing – a thinner one for the front rollers, and a wider one for the back rollers (which are significantly larger).

Behold:

Up the top, the crumbling, hardened, swollen rear feed-rollers. Below, the cleaned, and resurfaced front feed-rollers. Spot the incredible difference.

Once the rollers have been resheathed…

It’s time to put them back inside the typewriter…

The next step is to resheath, and replace the platen. To do this, I shall be using bicycle inner-tubing. For future reference, the diameter of the Underwood 5 platen with rubber sheathing is: 44.5mm. You can round that up or down as necessary.

Tinkering with a Typewriter – The Underwood No. 5 Standard – POST NO. 1

 

Yesterday I went to a huge antiques center and moseyed around. While there, I found an Underwood Standard No. 5 typewriter…Which I did not buy.

I did not buy it because I wasn’t convinced it was worth it. Given its condition and the price wanted for it, I couldn’t justify coughing up the cash and lugging the thing home.

Fast forward twenty-four hours, and while at my local flea-market, I spied for sale, one…Underwood Standard No. 5 typewriter!

What’s the chances of seeing two in two days?

This typewriter was in better condition, mechanically and cosmetically (which is saying a lot, when you see it). It had a few issues with it, which I was sure I could repair. So I got it for a decent price, and wheeled the thing home.

It’s currently on a table in my room, being restored.

You’ll notice at once that there’s a few issues with it. All the rubber needs replacing, the spacebar has to be glued back together, the right platen-knob is missing (I wonder if I can fix that somehow…) and it needs a damn good cleaning!

I spent most of the day working on this thing. And what a thing it is!

It weighs exactly 28.5lbs. It certainly ain’t light! The entire frame is cast iron, painted black. The mechanism inside the machine is in, so far as I can tell, perfect working order, barring the necessity for a serious cleaning. Once it’s cleaned and repaired, I’m confident that it’ll work significantly better.

The typewriter needs a lot of work. Here’s what has to be done:

– New rubber EVERYWHERE.

I had hoped that the platen was salvageable, but it doesn’t look like it. Heat-shrink tubing and rubber tubing or piping works best for applications such as this. I’ll have to remove the rubber from the paper-bales, the platen, and the feed-rollers underneath. None of the rubber on this machine is the least bit usable. Not even the feet underneath – they’ll have to be replaced as well.

– The space-bar needs to be glued back together.

I had considered replacing it, but I’ll only do that if the gluing doesn’t work first. It’s a relatively simple operation.

– Everything needs cleaning.

This is a very long, dirty and fiddly process. Recommended equipment: Needle-nosed tweezers, watchmaker’s bulb-puffer, flashlight, cotton-buds, tissues.

– Typing Mechanism requires Cleaning.

Methylated spirits in a bowl, and a brush to wash it through the machine. This is easily the most time-consuming part of restoring this machine. It can take days to do it properly.

– Everything needs lubrication.

Break out the sewing-machine oil. This thing needs hardcore lubrication. I oiled the tab-stops, the margin-stops, and anything else on this thing that moves. Normally oil isn’t recommended, due to its dust-catching properties, but when you’ve got a machine in front of you that hasn’t been used in 30-40 years, oil is the only thing that will free-up all the mechanisms that have frozen or jammed.

I even oiled the screws before I started pulling anything apart.

The Underwood Standard No. 5 Typewriter – A Profile in Print

I’ve been after a desktop typewriter (in their day, also called standard, or office typewriters) for a while. And the Underwood 5 was one of the main machines on my hit-list.

The Underwood 5 came out in 1900. Preceding it were the Underwood 1, 2, 3, and 4. All the machines were more-or-less the same, but with small changes and improvements made along the way. For example, the Underwood 3 is unique among Underwoods as coming with extra-long carriages as standard. Anywhere from 14 to 16 inches, all the way up to a foot or more!


This Underwood Standard No. 3, from 1923, has a carriage that’s over three feet long! 38 inches! It’s designed for typing out material for accounting ledgers. Photograph from Machines of Loving Grace

The No. 5 is famous for a number of reasons. First, the sheer quantity produced. Nearly four million of them in over 30 years of production.

Second, the quality of construction. This machine is 86 years old. It’s been unused for at least 40 years. It’s caked in crap and everything on it that can perish, has perished…but it’s still in essentially working order.

Name me something made today that’ll still work in 86 years’ time. Apart from cutlery, I can’t think of anything.

Third, the ease of use. Early typewriters were something of a hit-and-miss thing. You had downstrikes, sidestrikes, thrust-action, upstrikes, blind-writers, pocket typewriters…the Underwood Standard series was one of the first typewriters that took the best and most sensible innovations and put them all into one machine. The Underwood Standard was sturdy, strong, and pretty easy to operate.

You could type on an Underwood Standard at high speed without fear of anything jamming up or breaking. You could SEE what you were typing (not true of all machines of the era), and even when it wasn’t doing anything – it sat on your desk looking cute. Again, not something that could be said of other machines of the era.

The Underwood Standard had a famous, open-frame design. Originally a cost-cutting measure, it’s kinda like a skeleton watch – you can see everything working inside the typewriter. Cool, huh? It also makes cleaning it and checking out how things work, much, much easier!

In the 1910s, Underwood famously built a giant-sized Underwood No. 5 as a marketing gimmick. Yes, it’s a real typewriter, yes, it really did type! It was used to type out the daily attendance-figures of those who came to gawk at it, during the World’s Fair! 

The Underwood No. 5 was produced from 1900, all the way to ca. 1933. In that time, Underwood became a household name for typewriters, much like Royal, Remington, L.C. Smith, Corona, Woodstock, Olympia, Continental, and other famous manufacturers.

Back to My Typewriter…

The Underwood 5 came with a number of nifty little features, such as the fold-away paper-stay…

…the steel bar that sticks out, between the two ribbon-spools.

Manual ribbon-adjustment wheels, seen below, on the bottom left of the frame:

Margin-stops with ruler, at the front (on most typewriters, these things are at the back):

If you’ve never used one of these things before, then the margin-stops on the Underwood Standard will trip you up a bit – The LEFT stop controls the RIGHT margin (and therefore, when the bell rings). The RIGHT stop controls the LEFT margin (and how far back you push the carriage for each line). The settings of the stops correspond to the cursor and arrow which you see in the middle of the scale, sticking out of the carriage. On most typewriters, it’s left-stop, left margin, right stop, right margin – Not here!

Behind the typewriter, where the margin-stops usually are on other machines, we have the tabulation-stops, instead! Five in total:

These can be adjusted along the tabulation-rack to set predetermined indentations for sub-headings, lists, etc. Tabulations are operated from the front of the typewriter using the Tabulation Key (today called the ‘Tab’ key). It’ll run much more smoothly once I’ve replaced the crumbling rubber feed-rollers. Right now, the deteriorating rubber is jamming the mechanism.

At the bottom of the frame, you can see the long list of patent-dates:

Also on the Underwood, you have the handy seesaw ribbon-selector:

In that photograph, it’s currently set to “RED”. Pressing it down the other way, would set the machine to BLACK. A lot easier to use (and see!) than on some machines where the ribbon-selector is just some tiny little nub sticking inconspicuously out of the corner of the machine.

On the very left of the machine, you’ll see the margin-release button. It’s on the same level as the ribbon-selector. It’s in the same position on the much smaller Underwood Standard PORTABLE.

This machine was built in late 1927. It is Underwood Model 5, serial no. 2,284,724!

2,284,724…that’s a lot of Underwoods!

I wonder where the other 2,284,723 machines are?

As my restoration journey on this typewriter continues, I’ll update this story with future postings.