philb

12 Jun 2021
01:48:38pm

I built my worldwide collection by purchasing used Scott International albums when the prices used to be quite reasonable. Some of them came with "dust cases" which i thought at the time was a bonus. Lately i am thinking about not using them...it can be a pain removing the album from the case and they tend to take up more room on the shelf. I have albums both with and without them and i am hard pressed to see an advantage to using them.

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Bobstamp

12 Jun 2021
10:25:40pm

re: Dust cases for Scott International albums

Dust

Agatha Morley
All her life
Grumbled at dust
Like a good wife.

Dust on a table,
Dust on a chair,
Dust on a mantel
She couldn’t bear.

She forgave faults
In man and child
But a dusty shelf
Would set her wild.

She bore with sin
Without protest,
But dust thoughts preyed
Upon her rest.

Agatha Morley
Is sleeping sound
Six feet under
The mouldy ground.

Six feet under
The earth she lies
With dust at her feet
And dust in her eyes.

-Sydney King Russell

 
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Bobstamp

12 Jun 2021
11:36:31pm

re: Dust cases for Scott International albums

Stick around, philb! It seems like the Middle East is being cremated as I write. Several cities and countries broke heat records this week.

Bob

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cdj1122

re: Dust cases for Scott International albums

Nothing to do with dust, just years of wear.

And I have just finished converting all my Minkus Supreme and Master Global Albums to standard 2" white three ring binders. At first I just bought several 3" moderately inexpensive binders. But I soon noticed that the somewhat more expensive binders rings meet and align better than the less expensive. I also went back to the 2" size as the larger binders are just too heavy to handle from a sitting position.
Last night I created a few new pages that had to go into their place and it was such a pleasure being able to open the layflat pages, snap open the rings, and finally close it all up with the new pages just where I wanted them to be.
I should have made the changeover forty or fifty years ago, but the neat growing number of somewhat matched Minkus pages looked so attractive filling one and then two shelfs of a bookcase.. Besides the problem of adding a single page where it belongs, the lower edges of the binders were getting worn through,from being pulled from a shelf and the cloth binder seams of the oldest had become the worst for wear.
I have saved large colored pictures from a Viking River Cruise ship catalogs to slide into the outside sleeves of the binders;e.g. a view of the pyramids graces the binder that starts with Egypt, etc.
I mention this mostly for newer collectors who may be starting out. The decisions you make now will last a life time and stamp binders no matter how well built will sooner or later fall apart.

The Deacon's Masterpiece


Have you heard of the wonderful one-hoss shay,
That was built in such a logical way
It ran a hundred years to a day,
And then, of a sudden, it -- ah, but stay,
I'll tell you what happened without delay,
Scaring the parson into fits,
Frightening people out of their wits, --
Have you ever heard of that, I say?

Seventeen hundred and fifty-five.
Georgius Secundus was then alive, --
Snuffy old drone from the German hive.
That was the year when Lisbon-town
Saw the earth open and gulp her down,
And Braddock's army was done so brown,
Left without a scalp to its crown.

It was on the terrible Earthquake-day
That the Deacon finished the one-hoss shay.
Now in building of chaises, I tell you what,
There is always somewhere a weakest spot, --
In hub, tire, felloe, in spring or thill,
In panel, or crossbar, or floor, or sill,
In screw, bolt, thoroughbrace, -- lurking still,
Find it somewhere you must and will, --
Above or below, or within or without, --
And that's the reason, beyond a doubt,
A chaise breaks down, but does n't wear out.

But the Deacon swore (as Deacons do,
With an "I dew vum," or an "I tell yeou")
He would build one shay to beat the taown
'N' the keounty 'n' all the kentry raoun';
It should be so built that it could n' break daown:
"Fur," said the Deacon, "'t 's mighty plain
Thut the weakes' place mus' stan' the strain;
'N' the way t' fix it, uz I maintain, Is only a jest
T' make that place uz strong uz the rest."

So the Deacon inquired of the village folk
Where he could find the strongest oak,
That could n't be split nor bent nor broke, --
That was for spokes and floor and sills;
He sent for lancewood to make the thills;
The crossbars were ash, from the straightest trees,
The panels of white-wood, that cuts like cheese,
But lasts like iron for things like these;
The hubs of logs from the "Settler's ellum," --
Last of its timber, -- they could n't sell 'em,
Never an axe had seen their chips,
And the wedges flew from between their lips,
Their blunt ends frizzled like celery-tips;
Step and prop-iron, bolt and screw,
Spring, tire, axle, and linchpin too,
Steel of the finest, bright and blue;
Thoroughbrace bison-skin, thick and wide;
Boot, top, dasher, from tough old hide
Found in the pit when the tanner died.

That was the way he "put her through."
"There!" said the Deacon, "naow she'll dew!"
Do! I tell you, I rather guess
She was a wonder, and nothing less!
Colts grew horses, beards turned gray,
Deacon and deaconess passed away,
Children and grandchildren -- where were they?
But there stood the stout old one-hoss shay
As fresh as on Lisbon-earthquake-day!

EIGHTEEN HUNDRED; -- it came and found
The Deacon's masterpiece strong and sound.
Eighteen hundred increased by ten; --
"Hahnsum kerridge" they called it then.
Eighteen hundred and twenty came; --
Running as usual; much the same.
Thirty and forty at last arrive,
And then come fifty, and FIFTY-FIVE.

Little of all we value here
Wakes on the morn of its hundreth year
Without both feeling and looking queer.
In fact, there's nothing that keeps its youth,
So far as I know, but a tree and truth.
(This is a moral that runs at large;
Take it. -- You're welcome. -- No extra charge.)

FIRST OF NOVEMBER, -- the Earthquake-day, --
There are traces of age in the one-hoss shay,
A general flavor of mild decay,
But nothing local, as one may say.
There could n't be, -- for the Deacon's art
Had made it so like in every part
That there was n't a chance for one to start.

For the wheels were just as strong as the thills,
And the floor was just as strong as the sills,
And the panels just as strong as the floor,
And the whipple-tree neither less nor more,
And the back crossbar as strong as the fore,
And spring and axle and hub encore.
And yet, as a whole, it is past a doubt
In another hour it will be worn out!

First of November, 'Fifty-five!
This morning the parson takes a drive.
Now, small boys, get out of the way!
Here comes the wonderful one-horse shay,
Drawn by a rat-tailed, ewe-necked bay.

"Huddup!" said the parson. -- Off went they.
The parson was working his Sunday's text, --
Had got to fifthly, and stopped perplexed
At what the -- Moses -- was coming next.
All at once the horse stood still,
Close by the meet'n'-house on the hill.
First a shiver, and then a thrill,
Then something decidedly like a spill, --
And the parson was sitting upon a rock,
At half past nine by the meet'n-house clock, --
Just the hour of the Earthquake shock!
What do you think the parson found,
When he got up and stared around?

The poor old chaise in a heap or mound,
As if it had been to the mill and ground!
You see, of course, if you're not a dunce,
How it went to pieces all at once, --
All at once, and nothing first, --
Just as bubbles do when they burst.
End of the wonderful one-hoss shay.
Logic is logic. That's all I say.

Oliver Wendell Holmes, of course

 
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