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ther than those who choose full-bore freelancing, most lay- out builders define a time and place for their railroads. Along with prototype-specific modeling or working within a relatively tight, prototype de- rived theme, these are useful organiz- ing tools. They help set the equipment, scenery and operating pattern, an- swering the question “What are you modeling?” As neat as everything is, you just cannot model everything, even on your favorite roads (a fact that also saves you money on trips to the hobby shop—most of the time). “Place” is usually the easier of the two to nail down simply because we are building something and it does have to
represent somewhere. Unlike the days when all we had was lichen, dyed saw- dust and plaster colored with thinned oil paints or dry pigments (most layouts looked like Nevada even if they were supposed to be in Massachusetts), today we can do a pretty good job with scenery that looks like where we say it is. Ground foam was the beginning, and now look what we have. Still, the as- signed location has to be measured against the “where of the where” since even small railroads are big compared to our layout spaces. Again, you can’t model everything. You pick and choose according to your wants, how much room you have, and your vision for your layout. The edited-down
choices affect
the scenery, industries, trackage and what the railroad does at the modeled points. Compromises aside and accept- ed, what we end up with is easy to see and understand. It is “carved” in bench- work, plaster, foam and the structures. Time, on the other hand, tends to be treated in a more flexible manner and is usually given for layouts in broader terms than it should be. Part of this in- volves how much one cares about his- torical consistency and how much one will stretch “plausible non-reality” (or Phi Monat’s theater-based “suspension of disbelief”). Mostly, it is just because that is what has been done. Some anachronisms come about
from practical matters: something, a certain locomotive for example, just is not available so a stand-in is used. Others are by choice—like what to do about that country store that used to be by a crossroads but is now gone.
The “Old Days” keep moving back in time, but this scene illustrates at least two points re- lated to time and modeling. First, rural locations, whether around the turn of the twentieth century—or even earlier or later depending upon where you look—are real space savers on a layout; and second, they offer great modeling possiblities. Where the depot is not at the center of the town there is often a lot of open space. Local industries were often smaller in size, too, even the major factories. “Position on the line” is likewise important. South Yarmouth, Massachusetts, was already a seaside resort/vacation center a century or more ago. The carriages waiting for the approaching train are more than a time stamp; they indicate one of the functions of the town and of the New Haven here (on Cape Cod).
BOB’S PHOTO: NYNH&H, SOUTH YARMOUTH, MASSACHUSETTS
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