Bob Welbaum
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Our overall impression of the barn was it was like a typical garage, with rolls of insulation in the back, and odds & ends and various plans laying around.

Then Ward asked if we would like to see his model trains. Would we! We proceeded to the next building and entered a room that was about the same as a standard living room. There was a table in the middle of the room, and shelves -- at least 15 high -- all the way around from floor to ceiling. It was all very compact, with large nails sticking up to keep the trains from rolling off the ends and dowels around the edges (earthquake protection?) to keep everything from sliding off. This room displayed American trains, from the beginning of collecting (as early as Ward could find -- 1860s?) up to the start of World War II. Individual pieces were displayed all around the room. Layouts were on the table. Ward demonstrated them for us in a kind of progression by age. He even turned out the room lights so we could admire the lights in the miniature buildings.

We were overwhelmed by the numbers. Some were cast-iron floor-rollers: no track required. We saw miniature buildings with candles to provide light -- take the roof off, light the candle, replace the roof, and smoke would escape through a little chimney. (Ward showed us an example where somebody had lit the candle, then replaced the roof backwards, leaving a large black smudge on the underside. Part of the age progression Ward demonstrated was in lighting: no lights, individual lights, complete train lighting, etc.

I noticed a third rail on some of the layouts. That was for power, right? Ward explained how Lionel started with two rails, then got tired of insulating wheels and went to that third power rail.

Also in this room was a large computer, surrounded by software. Ward related how his son wanted him to record everything for posterity because his children had no idea what anything was.

This was where we signed his guest book. As we both added our names, Ward casually mentioned Michael Jackson had visited him twice, calling this “Kimball-land�?!

We also couldn’t help but notice a wonderful little wood carving some friends had made. A model Ward was standing holding a train next to his wife wielding a frying pan. It was wired to a little wooden fan in such a way that when the fan blew, the wife’s hand came down and the frying pan would hit Ward in the head. A caption read “Ward buys one too many trains.�?

We had just about taken all this in when Ward surprised us by walking toward a doorway and announcing “Now in this room, I have all the European trains.�? We entered a similar-size room with a comparable layout.

Here we noticed a sophisticated surveillance system sporting a camera with two lenses. (There were alarms everywhere we went; it was just more noticeable here.) I also spied an air conditioner and a dehumidifier. Ward mentioned he had to watch the humidity. With good reason -- some of the early items had a paper veneer, and there was an occasional mold smell.

About this point, Ward mentioned he was very interested in mechanical devices and how things work in general; he had a collection of books on mechanical devices. In this room he had a kinetic toy he had made. It was based on a small green passenger train coach which he had enlarged many times its actual size. The car had eight or nine windows, and in each he had placed an eye from a baby doll. When he turned it on, each of these eyes would blink at various speeds. There was a system of mechanical dowels behind the eyes which produced the motion. Then Ward pulled out a little block of wood on which he had three dolls’ eyes mounted to demonstrate the action.

This confirmed to our satisfaction that Ward’s reputation for creativity was very well deserved.

Next: we continue the tour.

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-- Bob Welbaum with Fr. Rob Aubry

-- September 23, 2004