Ballycopeland Windmill - Features

Features

It is a typical Irish stone tower mill, with a moveable cap turned by means of an automatic fantail, ensuring that the sails always faced into the wind. When the wind blows directly onto the sails the blades or vanes of the fantail are not moved. However, if the wind veers, it catches the blades and the whole cap turns on an iron ring or ‘curb’, bringing the sails back into the wind. As well as the ground floor the mill has three storeys – a ‘drive’ floor, ‘stone’ floor and ‘hopper’ floor, from the first to third level respectively. The rotating cap sits above the hopper floor. Three pairs of millstones sit at the ‘stone’ floor – one set for making wheatmeal, one for shelling the grains of corn (a process which separated the useless ‘hulls’ from the valuable ‘seeds’ or grain) and a set for grinding grains into oatmeal. The power of the wind is transmitted back from the sails or ‘sweeps’ by means of the central ‘windshaft’ passing back into the cap. On the inner end of the rotating windshaft is the ‘brake wheel’ which drives a bevel gearwheel or ‘wallower’ perched on top of the main (vertical) driveshaft. This power turns the three sets of grinding stones below. The sails would have been covered with canvas sailcloth. The amount of sailcloth used determined the amount of power and this would have been adjusted from within the cap, even while the sails were turning, to suit the particular grinding requirements at any given time. Ballycopeland produced oatmeal and wheatmeal for human consumption, as well as animal feed such as shelled and bruised oats, yellow meal (from maize), kibbled (crushed) grain for poultry and ground peas and beans.

The visitor centre at the miller’s house features an electrically operated model of the mill and hands-on experience of milling. There is also a restored corn-drying kiln.

Read more about this topic:  Ballycopeland Windmill

Famous quotes containing the word features:

    It is a tribute to the peculiar horror of contemporary life that it makes the worst features of earlier times—the stupefaction of the masses, the obsessed and driven lives of the bourgeoisie—seem attractive by comparison.
    Christopher Lasch (b. 1932)

    Each reader discovers for himself that, with respect to the simpler features of nature, succeeding poets have done little else than copy his similes.
    Henry David Thoreau (1817–1862)

    Art is the child of Nature; yes,
    Her darling child, in whom we trace
    The features of the mother’s face,
    Her aspect and her attitude.
    Henry Wadsworth Longfellow (1807–1882)