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New Manual of Model Shipbuilding by Wright, P. M Publisher: D. Van Nostrand Company, Inc. Place: Princeton, New Jersey Date published: 1962

New Manual of Model Shipbuilding

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The theme of this little book is essentially Model Shipbuilding. Other types of modelling are equally satisfying as long as they involve hand work-There is also an element of complete control to modelling; only the urge within governs the working hours. It does not interfere with social activities or restrict our lawful occasions. Time has no tide except the workman's own moods.

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Page 1: New Manual of Model Shipbuilding

New Manual of Model Shipbuilding by Wright, P. M

• Publisher: D. Van Nostrand Company, Inc. • Place: Princeton, New Jersey

• Date published: 1962

Page 2: New Manual of Model Shipbuilding

Chapter 1 - Introduction The theme of this little book is essentially Hobbyism. I have used model ship building as an example because it has brought me personally a great deal of contentment and many rewards. Other types of modelling are equally satisfying as long as they involve hand work-There is also an element of complete control to modelling; only the urge within governs the working hours. It does not interfere with social activities or restrict our lawful occasions. Time has no tide except the workman's own moods.

Modelling is probably the most satisfying of all hobbies, whether we fashion ships, aeroplanes, motor cars or motor boats. All are within the orbit of hobbyism. To fashion something from the mind's vision into wood, stone or metal is mankind's oldest and most expressive art. In these hectic days of inward turmoil an interesting hobby is the best of all tranquilizers. All our welfare leaders are preaching the gospel of hobbyism for those with idle hands.

Timidity from fear of inexperience and impatience keep many people from hobbyism; both are mistaken theories; neither are inherited and both are illusive. Absorption in an interesting hobby unconsciously provides both experience and patience.

Modelers, sculptors, craftsmen and artists possess an instinct to know when they have done something wrong, and the willingness to undo the wrong and make things right provides the necessary patience and experience to do so. All the precious objets d'art and artifacts that we treasure today were fashioned with unconscious patience. The Skull of Doom found in the Mayan City of Lubaantun took 150 years in the making. The artists who made this beautiful object must have been unconscious of impatience. Prince Ambo once said "To be ignorant is tragedy; to be unwilling to learn is a disaster; to be impatient is a catastrophy."

My feeling is that we who possess experience in modelling have done little to help the beginner. We have been too apt to preach sermons on technicalities and intricacies, or to propound our own particular methods, which confuse and bewilder the novice. Beginners need guidance and encouragement to get started on something of their own choice. We could render far better service if we emphasized the excitement and pleasure that hobbyism induces. It would be unjust not to pay tribute to the model engineers, draftsmen and supply houses who have simplified the beginner's task during the past few years. As a result of providing package kits and easy to read instructions, thousands of reluctant men and boys have been recruited into the ranks of beginners. Some of them have found delight and excitement in the primary phase of assembly; others have discovered the satisfaction of becoming capable modelers; a few have graduated into craftsmen and research workers; all have found the contentment that comes from a rewarding hobby.

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Chapter 2 - The Changing Scene The present revolutionary trend in Model Shipbuilding is more than a renaissance. New sources of information have been provided by research workers: new emphasise has been placed on the value of a rewarding hobby; an entirely new concept of craftsmanship has emerged during the past fifteen years. Marine archaeology, employing new technology, has enriched the knowledge of the craftsman. Historical significance and beauty have, in many cases, replaced popularity and sentiment. Consequently, the quality and artistic status of the finished model has been greatly enhanced. Models that hitherto were merely symbols of a particular ship have moved up into a higher plane of objects d'art and collectors' pieces.

Many factors have contributed to these changed conditions. Perhaps the most astonishing is the advent of massed production of packaged kits and parts, developed to entice the novice. The craftsmen's misgivings that quantity production would create conditions of competition have not been borne out. Machine made parts of well-known ships which the model engineers and draftsmen have produced and the supply houses have offered to the novice, have enriched every phase of model ship building, because in the process of enticing thousands to take up modelling as a hobby, many fine craftsmen who, hitherto, were too timid to have anything to do with ships, have been enlisted. Few experienced craftsmen will dispute the fact that these innovations provided the much needed surgery that model shipbuilding required to make the profession healthy. We older modelers have reaped many benefits from the new conditions. Machine made parts, more uniform and accurate, have taken the place of the heart-rending tasks of whittling out our blocks, deadeyes, capstans and other small wares that plagued us in earlier days.

Contentment At Eventide

Mass production has also contributed much to public welfare. Teachers, parents, psychiatrists and sociologists concede that boyhood is fraught with many perplexing and emotional problems that a healthy, rewarding hobby could mitigate and perhaps correct. Elderly men who have been active all their business lives are like fish out of water after retirement unless they possess some sort of compensating occupation. This simplification of assembly has dispelled the fallacy that nautical experience is essential to model ship building.

I agree entirely with this latter concept, because the loveliest and most accurate model ship in England was made by a country doctor and the ugliest that I have ever seen was made by an old

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sea captain. Doctor Anderson's model is exhibited in a Maritime Museum as a national treasure, while the Sea Captain's model is discarded in the Yacht Club store room.

The Primary Course in modelling that I have outlined herein is meant to supplement the assistance that the Supply Houses have rendered to the beginner. It would be folly and confusion to offer advice on how to do it in this first step in Modelling. The assembly of package kits and parts is a straightforward job. AU the instructions are supplied with the parts. The only service that we can render to the novice is to help him to make a proper selection and advise him to confine his efforts to models of simple, worthwhile ships that will be treasured upon completion. Preaching sermons on modelling to the beginner often confuses him with too many technicalities which he doesn't require in the elementary course of assembly. A short prefatory note with illustrations of four famous fore and aft rigged schooners is provided with this course from which he can pick the one he likes best.

If our novice is only a hobbiest, he will probably be content with assembling package kits and stay within the boundaries of the Primary Course. If, however, he aspires to be a craftsman, there are two other courses provided for him. The Intermediate Course which deals with Clipper Ships, Windjammers and Historical Warships; and the Associated Course which deals with old time ships and Galleons. If he has the ambition to tackle and master the higher grades of modelling that are outlined for him, he will inherit great satisfaction and rewards. If he lacks ambition, then tuition is defeated.

There is a magic world beyond the orbit of model building which belongs to the modeler alone. Nautical Research during the past few years has provided an amazing new field of endeavour and enjoyment. All the old time models illustrated herein were brought to life by research, resurrected sometimes from a single clue, like a detective story. Three separate searches made for details of old time ships since 1945, have opened up new avenues of information whereby any historical old ship or wreck can be reconstructed by the modeler.

The search made by Griffith Baily Coale for details of the three ships that brought the first settlers to Virginia in 1607, established many contacts with sources of information that ultimately brought the ships to life again. Replicas of them were built in 1957 and were of great value during the Tercentennial. The replicas are now at Jamestown and the details of the search may be obtained from the Mariners Museum of Newport News.

Also, the major search made by Wm. (Bill) Baker for the Plymouth Plantation and the Mayflower Foundation, on the Tudor ship Mayflower, resulted in the building of the replica of her in England, which crossed the Atlantic under her own canvas. Mr. Baker's book on Mayflower contains a wealth of information and guidance to the Modeler who undertakes the building of any pre-Armada ships.

However, the most important discovery from a modeler's and the historical standpoint is the four year search and reconstruction of Sea Venture, the first and perhaps the only full rigged galleon of the Royal Stuart age ever to have sailed into the Western Ocean. No other ship of her grandeur and quality had to do with early American history. Some say that the reason why she is unknown to Americans is because Virginian records from 1607 to 1623 were lost for centuries. Be that as

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it may, her historical significance and elegance have now been established by documentary proof, and modelers for the first time in history may go all out in craftsmanship, building their own Shippe of Destiny.

Undoubtedly the reconstruction of the Sea Venture, and the discovery of the wreck of her off Bermuda in 1958, is one of the most amazing stories in maritime history. The long search for details of the ship and the construction of the model of her enabled us to estimate with an accuracy of 70% which is the limit that Nautical Research allows for old time ships for which no plans exist. However, we were dumbfounded when the physical survey of her wreck was made, to learn that both the information collected during the search and my model of her varied only ¾ of 1% with that of the wreck itself.

In this book sources of information are mentioned which will enable the modeler to conduct surveys and searches on old ships whose details are unknown. Many states and communities cherish the memory of some old time ship that is part and parcel of their history, and which would be honored and treasured if it were possible to obtain a symbol of her. Artists cannot paint her without knowledge of her. Naval architects cannot build a replica without plans; but the senior modelers who have studied the pattern of research work during the past few years, and are familiar with the structure and history of old time ships, can bring her to life by searching through the archives of the world and then building a model of her that would be priceless. This new-found phase of modelling is both fascinating and rewarding. Once the hunt for details is on, there is no turning back. It leads one into the study of local history; to the pages of old shipping records; to libraries, museums and learned institutions in many countries. It also provides contact with great scholars of the world, and the study of many books on the subject.

Along the Atlantic Seaboard are many old wrecks, some of which are of national importance. With today's new technology in deep sea diving and underwater survey, it is likely that some of them will be discovered. A single clue may prove its identity. A section of a timber can unfold its age and size. Timber fastening can pinpoint its nationality, and a part of the keel can reveal information on dimensions, tonnage and rig.

There are other changes taking shape in the pattern of modelling which are mentioned in the context where they are most applicable, viz: The importance of symbolic rigged yachts as shown in the illustration of Cotton Blossom IV; the advantages of sail outlined square riggers which are shown clearly in both views of Sea Venture; the greater beauty of waterline models, and the total eclipse of that horrendous creature, the ship out of water showing her bilge and keel with all her sails set.

All these changing patterns, added to the importance of research work and the innovations provided by the supply houses, are bringing prestige to the profession and more rewards to the craftsman.

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Chapter 3 - The Primary Course The selection of models for the Primary Course is restricted mostly to fore and aft rigged vessels, which are simple to rig, and do not confuse the beginner. The inclusion of Joe Lane to be rigged at the final part of this course is meant to provide the student with some knowledge of square rigging, without getting too involved with multiplicity of rigging too soon.

All these models are famous for their racing qualities, historical significance, or beauty, and will be treasured upon completion.

Assembly of Model Kits

The many books that I have read on Model Ship Building seem to ignore the beginner. They are mostly written by expert modelers who propound certain methods of their own, or new wrinkles that are applicable to an individual job. These innovations and theories provide little guidance to the novice. It is the research worker, and the draftsmen who develop the model kits that your supplier provides, who have simplified the beginner's task. New methods and wrinkles are helpful in the latter stages of modelling, but they could easily confuse the novice. Assembling model kits is a straightforward job comprising well made parts with detailed instructions; some of them are illustrated and show each stage of assembly clearly.

Ideal Co. Racing Schooner Bluenose

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Models Recommended For Assembly During The Primary Course.

Marine Model Cc Schooner Yacht America

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Marine Model Co. Joe Lane (Revenue Brig)

Marine Model d Gertrude L. Thebaud

Your first move is to acquire as many suppliers' catalogs as you can lay hands on. The variety of models that come in package kits seems to be unending. The latest issues range all the way from the Queen Elizabeth to an oyster boat. Simplified instructions are provided with each kit and all you have to do is to assemble the parts with glue. You can't go wrong, because the sections won't fit except in their proper positions. There is a strange fascination in fitting these parts together which grows on you. No particular tools are needed and no experience is necessary. However, selection is very important; the end result must be carefully considered at the beginning because nondescript models do not bring the pride of possession that famous, historical ships do. Artists and sculptors select thoroughbred horses for their subject instead of ordinary work horses; so must you select ships that are famous for their racing qualities, historical prestige or beauty. The famous racing schooner America that brought the "Old Mug" across the Atlantic, is no more difficult to build, and costs no more, than an unknown Great Lakes schooner without even a name on her. Aside from the excitement you derive from building her, the possession of a famous ship model is far more precious. The pride of owning an historical model is very substantial and does not diminish with time. Some years ago I built two models of the same size one was a lowly bark, unknown to anyone except a few old timers; the other was a famous ship of great historical prominence. Both cost the same in time and materials to build. The famous ship fetched two and a half times the price of the bark because she was a collector's piece. Selection is so important to the modeler that I have made it applicable to all the other phases of model building. There is not much profit in building models unless you can show them to your friends or exhibit them publicly with pride and satisfaction. In the second part of the Primary

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Course, there are many limitations as to what you should do next. It would probably end in disaster if you started to build your own models or selected square rigged ships until you have acquired a little more knowledge. The most enjoyable part of assembling kits is still ahead of you if you are wise enough to stay within your own limitations until you work yourself out of them.

Fore and Aft Rigged Models

Fore and aft rigged ships are recommended to start with. Modern yachts come into this category, but there are few private yachts that measure up to the historical prestige and fame of the racing schooners. I have already mentioned the famous America. Her history is known all over the world and there is no need to repeat it here. This grand old schooner has everything the modeler could desire. She is over a century old now and her memory will be fresh for centuries to come. Complete information and kits of her are available.

Then there are the two happy warriors that slugged it out in the North Atlantic Bluenose and Gertrude Thebaud. Deep sea fishermen both, they were in a class by themselves, sleek, graceful and very fast. Their radical design and tall spars provide the most beautiful models, and kits are provided in both plastic and wood.

When rigging these models, and many others, use black twine for the standing rigging, viz: all the fixed stays; and white twine for the running rigging, viz: those lines that are movable and run through blocks. This provides a contrast that makes the whole rigging stand out with greater definition. Do not use sails, because sails on a ship out of water are ridiculous and in my opinion create an unnatural picture that spoils the looks of the finest model.

Preparation for the Next Step

In the final part of the Primary Course on Model Building it is essential that you move forward into a more advanced position and learn something about square rigging. It will provide you with confidence if your ambitions lead you to building Clipper Ships. Most beginners are terrified by the mass of ropes on Clipper Ships, but there is no confusion if you know the pattern and order of them. The ropes that control the yards on one mast are simply repeated on the next. There is simplicity, order and restraint to them if you know their names and purposes. That is why I have selected a Brigantine for this purpose.

Brigantines are ships with fore and aft rigging on their main masts, just like the schooner you have already built, and square sails on their foremasts. The pattern of the rigging and yards on the foremast is exactly the same as those on the foremast, mainmast and mizzen of full rigged ships. Moreover, you enter into the same strange world of nautical names by rigging a simple Brigantine as you would with China Clippers or Windjammers. All have chain plates, deadeyes, ratlines, doublings, mast caps, lifts, halyards, braces and clew lines. Once you have learned their purpose, confusion is eliminated.

However important this event may seem to be in model building, selection is more so. Unless the model selected is something that you will cherish and take pride in for years to come, the end hardly justifies the means. In this connection I recommend the Coast Guard brigantine Joe Lane.

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She has everything that a modeler could desire for both tuition and possession. Joe Lane was built for the Coast Guard in 1848 and has the same pattern of rigging on her foremast as the great ships of this golden age of shipbuilding. She is historically prominent. Her history can be obtained from the Coast Guard Academy. She has very tall spars and beautiful lines, and could easily be a collector's piece when finished.

Kits are available complete with wood hull and all necessary parts. I would also suggest, now that you have progressed so far, that you obtain the scaled drawings of this fine old ship, so that you can visualise the details of her hull lines, construction and rigging.

This is the end of Phase 1 or the Primary Course, and those who have successfully worked up to the finals should now be capable of moving along to Phase 2 or Intermediate Course, which follows.

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Chapter 4 - The Anatomy Of A Model Ship The most effective form of tuition that I know of is for the student and teacher to build a model ship together, from raw materials to completion and from keel to truck; improvising their patterns, plans and sketches in the process. Scaled drawings alone do not teach the why and wherefore of a ship's structure. There is no substitute for actual practice in mechanical construction because, in the process of fashioning each simple part, visualization of the next one ahead is understood, which is denied to the casual reader. Only experience can provide the knowledge to comprehend the anatomy of a ship.

Ariel the blue ribbon ship has been selected for this example because every detail of the model is available, but the main object is to teach the student a groundwork of knowledge that is applicable to ships of all types. The tuition provided, the materials used, the method of construction employed and the tools needed to build her are essential to every student.

In subsequent chapters, when he is required to work from scaled drawings, the knowledge gained in this apprenticeship course will be invaluable, because most of the items he will then have to contend with have already been fashioned with his own hands.

The Interpretation of Scaled Drawings

The student modeler can expect little progress in the art of model ship building until he can visualize the full dimensional structure of the ship. Model ship drawings obtainable from the supplier are often copies of original plans drawn up by naval architects to be interpreted by professional ship builders. These drawings must of necessity be single dimensional because draughtsmen cannot portray all the dimensions on paper in one drawing, except in perspective. The construction of any hull contains four dimensions: length, depth, breadth and bulk; all of which are shown in drawings separately.

The body plan, Fig. 1, shows depth only, but when properly interpreted shows breadth also. In its present form the lines A to M belong to one side of the ship only; actually the structure is that of a half model. However, if all the ribs or contours are doubled as in Fig. 2, and installed in their appointed places on the keel, the structure would then take on four dimensions as shown in Fig. 3.

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The framework of the hull must be built up as shown in Fig. 3 in order to get all four dimensions. Item 1 are the inwales that hold the ribs in position; 2 is the stempost; 3 is the stem knee; 4 is the keel; 5 is the sternpost and 6 is the midship timber. The structure now shows bulk, length, depth and breadth.

Rudiments of a Planked Hull

When all the ribs are fitted like item 6 in Fig. 3, the hull is ready for planking. Ribs can be bent easily by marking the contours on a board; bending is not difficult if the wood is steamed or soaked overnight. Hold them in position with pins until dry, then secure them to the keel as shown in Fig. 4.

FIG-. 4 "Ribbep Frame

Planking comes next, but planking is one of those troublesome operations whose specific details are difficult to explain. It is a process of trial and error, even to professionals; all that anyone can offer is a bit of guidance.

Begin with the garboard strake: the plank next to the keel. It must fit closely to the keel and ribs at all points. Leave the top edge straight to fit the next one below it. (We are working with the hull upside down.) Cut a strip of cardboard a little wider than the actual plank, and long enough to reach from stem to sternpost; fasten the pattern to each rib with thumb tacks, then draw a straight line at the top edge, and cut it with scissors. Once you have the pattern ready, transfer it to the plank. Always make two planks from each pattern; you will need another of the same shape and dimensions on the other side. This applies to all planks.

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The unfortunate part of teaching how to plank a hull is the feeling of futility because the method is outmoded and unlikely to be used on model ships. It has two great drawbacks, viz: In North America where houses are generally overheated in winter time, planked hulls are liable to warp and crack in time. There is also the time element. To fashion all the ribs, strakes and beams, and plank over them will consume at least 200 working hours, against 50 hours by the lift method. Once the hull is sanded and painted, not even the experts can tell which is which. Nevertheless, a knowledge of the inside structure of the hull provides the student with a groundwork of perception which helps him to evaluate many problems related to model shipbuilding; especially if he decides to build miniature racing yachts or power boats where stability and proper steerage can only be accomplished with construction of this nature.

Essential Supplies and Tools

Before beginning to fashion the model, materials, tools and supplies must be collected. It is good practice to begin with only essential items, because these things have a habit of accumulating. The most useful items in the modeler's workshop are the Suppliers' Catalogs lots of them. They reveal a wealth of information that is of untold value to the student. (See Appendix for suppliers' names.)

Various types of wood suitable for model building must be selected. Some modelers use balsa wood for the hull because it is easily carved, but balsa is not durable and is subject to injury in the process of building. Southern white pine, free from knots and refractory grains, and which is available from most lumber dealers, is quite satisfactory. Hardwoods are often used for the keel, stem and sternpost, but they are not essential. Beside wood there are many items like Weldwood and contact glues; sandpaper of many sizes; plastic patch, and an assortment of nails, pins, and screws which can all be obtained from one source. Rather than attempt to name every item which is going to be needed at some point, or on certain models, I will mention them as we find need for them while building any model.

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Tools For The Modeler

Modeler's Tools and Their Uses

The above illustration shows the tools sufficient for the student modeler, with the exception of a mechanic's vice which is useful for holding small parts to be shaped. Some modelers prefer a carpenter's vice but I have never felt the need for one. The mechanic's vice provides more even pressure when gluing parts together, and for numerous other operations. Put a piece of cloth between the jaws to prevent injury to the finish of the object to be held.

Item 1. The fret saw is used to shape wood parts. Thick wood requires a coarser tooth blade, while fine tooth blades are more suitable for thin woods.

Item 2. The hand plane is an all purpose tool. Item 3. The spokeshave is required to smooth down rough surfaces that are too rough for the plane.

Item 4. Snips are used for cutting wire and snipping the heads off pins and brads used for fastening parts to the hull.

Item 5. Two or more rules are needed; a large one for general use and a fine 1/32nd scale for deck houses and other small parts.

Item 6. Dividers, equipped with a marking pencil, have many uses. They can be set in position to gauge the waterline, or used to mark off circular or semi-circular items where required.

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Item 7. The Collet Drill. This little tool is one of most useful in the whole kit. It is only four inches long and has a chuck at both ends to take drills from 1/32nd to ⅛ th. It is operated with one hand, leaving the other free to hold the object. For reaming out holes in blocks and deadeyes; for drilling through the masts, and for pilot holes for pins and screws, it has no equal.

Item 8. This all purpose knife is known as a linoleum cutter. For model work in general it serves many purposes. It has spare blades in the handle which can be kept razor sharp with an oil stone. It is excellent for cutting thin woods by scoring on both sides and will leave a clean precision edge when broken off.

Item 9. Self locking tweezers are very useful for stropping blocks and deadeyes; for fishing rope ends in among the rigging and for tying knots in awkward places.

Item 10. Two sizes of screwdrivers are needed; a medium size for rough work like hull assembly, and a small one for such tiny screws as those that fasten the chain plates to the hull.

Item 11. A soldering iron is needed for metal bands on the yards and spars.

Item 12. A set of small files: round, half round, flat and square come in handy for fashioning smallwares.

Item 13. At least four small clamps with about two inch opening will be needed to hold small items together while the glue is drying.

Item 14. Chisels are handy tools about the hull; a one inch size and a one-quarter inch size will be sufficient.

Item 15. A pair of scissors with a fine point is needed to get in among the rigging to cut the ends off close; also for trimming ratlines.

Item 16. The Little Giant plane is a very important item. The subject of carving knives occupies many pages in the suppliers' catalog and elsewhere, but these little planes are more convenient than any of them for smoothing the contours of the hull. One of them has two separate radiuses to get into difficult places; the other is flat. Both use discarded razor blades.

Ariel The blue ribbon ship

Ariel was the loveliest and fastest of all the China Clippers. Experts concede first place to her for her sparkling performance under Captain John Keay. Her maiden voyage in 1866, from London to Foochow in 103 days against the monsoon; her race against Taping and sixteen others on her return voyage of 15,000 miles in 101 days; her record run to Hong Kong in 79 days the following year, and her general average of fast voyages puts her at the top of the list with no contenders.

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Robert Steel built Ariel in 1865 for Shaw Maxton Co., whose house flag she wore she was the first of the six beam ships, and wore more canvas than any other known ship of her size. She was beautifully proportioned, both in hull lines and rigging, and was fitted with a brass rail mounted on stanchions all round the ship. As a model, Ariel is no doubt the best example of the China Clippers.

Broadside View Of Ariel

The best way to learn the anatomy of a ship is to take as an example one for which plans are available, and equally important one which is well worth the effort we shall expend on her model as we learn the anatomy of a ship. Ariel meets all our requirements.

"OUT of the rock, the tree, the springing herb We built this wandering beauty so superb."

John Masefield

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The Hull Structure

Bermuda News Bureau Quarter View Of Ariel The lift, or bread and butter method we are going to use in fashioning the hull is not new, but new methods of finishing off the surplus wood and new assembly techniques have greatly improved it during the past five years. In contrast to the rib and plank method, the hull is finalized with a single dimension, viz: the lines of the ship; detail 3 on Drawing 55. Looking down at these lines you see the actual formation of the ship bottom-up. There are 6 lifts correctly numbered; the first four are below the L.W.L. or load waterline; 5 is the L.W.L. lift and 6 is the deck or sheer lift. Each one of these lifts must be traced on a heavy paper wide enough to double, as shown in detail 4 on Drawing 55. Then the patterns are marked out on a white pine board as in Fig. No. 7, the thickness of these boards is shown in body plan Drawing 55.

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When all these lifts are properly centered and traced on the wood boards, saw them out with a coarse tooth fret saw; or, better still, take them to a friend who has a band saw; it is only fifteen minutes work. The broken lines on Fig. 7 represent the lifts sawn out in the centre. It is not shown on the scaled drawings, but it will help in stepping the masts later on. The center of all the lifts except the bottom one, No. 1, should be sawn out; the lifts will then be shaped as in Fig. 8.

It is very important that the top edges of these lifts remain smooth and uninjured, because they are the exact size of the hull dimensions and need no carving. The centre line, both on the flat surface and the fore and aft edges, must remain clear and distinct.

When all six lifts are sawn out as in Fig. 8, assemble them in their right order; then the hull is rough shaped to its proper proportions and shows all four dimensions: length, depth, breadth and bulk. See Fig. 9.

Before you assemble the lifts, mark out the position of the keel on lift No. 1 as shown in Fig. 10.

Despite advice to the contrary, do not glue these lifts together yet. If you do, the carving with chisel and plane will be restricted and dangerous to the top edges of the lifts below, which must be kept intact. Assemble the lifts with countersunk wood screws; then the overhanging surplus wood is clearly visualized as in the cross section sketch of the hull at midships. See Fig. 11.

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All the surplus wood which is shaded in Fig. 11 must be planed off in order to shape the hull; this can be done easily when the lifts are loose. Turn the hull bottom-up and mark each top plank against the upper edge of the next one below it. Remove the wood screws and use your hand plane No. 2 for this operation, but exercise care that you do not erase the marks on the lifts. Begin with the deck lift No. 6 and plane off the surplus wood; follow the same process with all the other lifts but do not reassemble the lifts yet.

The Importance of the Sheer Lift

The mechanical work on any type of hull must be done in its proper time and sequence. This fact is just as important in tuition as how to do it. The sheer lines, which is a rugged operation, must be done before the hull block is reassembled. Fasten the deck lift to the L.W.L. lift with Weldwood glue; then mount it on a stout board, which is secured firmly to the bench with clamps or screws.

It would be easier to check off the limits of the sheer lines from the profile of the ship, but such a practice would not enlighten the student as to the purpose of them. Understanding is not the function of fractional measurements, but guidance is. Sheer lines, based on the L.W.L., are meant to the give freeboard to the hull where it is most useful. The bow view is the highest point, the transom, right aft, is the next highest and midships is the lowest. Sheer lines also provide the graceful trim of the ship and drainage to the midship section where the pumps and scuppers are. The deck lift is always thicker than any of the others to allow for carving. To simplify this operation, the deck or sheer lift is shown marked out in inches by rule, not by scale.

Carving the Sheerline

The deck lift No. 6 in the full size model is ¾ inch thick. This surplus wood must be removed. When it is secured firmly to the bench, saw slots across it about ¾ inch apart; do not saw right down to the sheer line". These sections can easily be lifted out with a chisel. Smooth off the rough parts with a spoke-shave then finish off with a hand plane. The deck lift does not need to

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be perfectly smooth because the deck plank will be glued over it. Fig. 14 shows the completed job.

The forecastle and poop deck lifts can now be fitted by tracing the patterns direct from the model as shown in Figs. 15 and 16.

These lifts, made from ⅜ th pine wood with the grain fore and aft, can be permanently fixed in position with dowels and glue.

Remove the hull from the building board and assemble all the lifts with Weldwood glue and screws. Watch your centre lines carefully. The hull is now rough-shaped and needs only a little carving, which can be done efficiently with those little planes, Item 15 in the tool list. However, carving stations must be marked out on the hull block. See Fig. 17, Drawing 56.

These vertical lines, at one inch intervals of the model represent carving stations for gauging the lines of the hull. The body plan shows the contours of all patterns but only those shown on Fig. 17 are needed. Patterns #6 and #19 are shown in Fig. 18.

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The waterline mark, shown with an arrow on the pattern must be placed dead on the L.W.L. on the hull block when gauging the lines and beauty of the model. The same pattern is used in the same position on both sides of the hull.

This operation is very important. You must smooth off the surplus wood to the radius of your patterns with chisel, plane and coarse sandpaper. When you are satisfied with your work, go over the hull and fill in all the faults and seams with plastic patch mixed with water. When dry, sand the whole structure with medium sandpaper and apply two thick coats of turpentine and varnish to seal the grains.

The keel and stempost come next. The pattern for the stem knee is shown on Drawing 55 in full size. The keel, made from any good wood, is l/8th x 3/16th, and is fastened to the bottom plank on dead centre, with round tooth picks and Weldwood glue, just like the stem.

Bulkheads

The forecastle and poop deck bulkheads are next on the list. Make your cardboard patterns from the model for exact dimensions. Windows and ladders are stock items with all suppliers. The railings are painted white, the bulkheads azure and the ladders black. The little forecastle companion house is detailed in full size on deck house Plate No. 4.

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Next on the list is the working cradle; mount two half inch forms on the building board, saw out patterns No. 4 and No. 16 and lay the hull into it as shown in Fig. 22.

This is the end of the hull structure and if care has been taken at all levels, and the instructions followed faithfully, the result will be appraised with pride and satisfaction.

Laying and Scribing the Deck Plank

The deck plank of 1/16th pine may be made in four seections, viz: the poop deck, monkey poop, main and forecastle decks. Cardboard should be placed over these positions and marked against the edge of the lifts; then transferred to the deck plank. Scribing should be done before these forms are cut out because, in the surplus wood, thumb tacks can be used to hold the forms in position. Take a hard pencil and scribe the lines 1/16th apart; details are shown on the monkey poop house, Plate No. 4. Begin at midship and work outward. If you prefer, the supplier has scribed decking 6" X 24". (Scribing is to indicate the deck planking.)

When the decks are all scribed, varnish them; then take all the deck planks and trim them 1/16th of an inch on each side but not at the ends. Fig. 23 shows the reason. The scribed deck plank needs to be smaller than the deck lift, to form a recess for the bulwarks later on. A great deal of time will be saved in fitting the bulwarks by this innovation. The scribed decks can now be glued to the deck lifts. Thumb tacks may be used in places that are going to be covered by hatches and deck houses. The outer edges should be weighted, to prevent curling.

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Deck Houses and Fittings

The folded drawing, Plate No. 4, shows all the deck houses and fittings in full size. The monkey poop deck and house are detailed in Figs. A. B. C. D. The doors and ports may be simulated with paper decorations from your supplier. The design is not important as long as it matches that of the other deck houses. The poop deck house may be sawn out of ¼" stock and the companion out of ½" stock. Brass stanchions ⅜" long are driven into the wood to form the handrail as shown in detail B. Paint these rails white. Pin and glue the complete house to the deck where marked on the deck layout. The wheel house, detail E, is simply an oblong block ½" X 5/16" with a roof on it painted vermillion.

The fore deck and midship houses are the same details F.G.H. They may be sawn out of the solid block, squared and sanded. Layers of thin wood are used to fashion the roofs. Paint them green before applying the paper decorations. Fix to the deck in their proper positions.

The main hatch which is 1" square and the fore hatch, which is ¾" square, is sawn out of 3/16" stock and covered with a 1/16" sheet, slightly larger. The thick portion, which are the combings, are painted green and the top scribed crosswise like the deck. Install at positions shown.

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Fife Rails

Fife rails are belaying pin holders fixed near the masts; all three are the same size. Since these are fragile make them out of sheet fibre 1/16" thick. Mark them out from the pattern and drill all the holes with a 1/32nd drill. Details are shown on deck layout, Drawing 55.

The other deck items such as capstans, bollards, pump and windlass, may be beyond the student's capacity to carve at this early stage. To buy them from the supplier would give him a better understanding than drawings can; during the next course he will have more experience and fashion them himself if he desires.

Bulwarks and Ratlings

The main deck, poop deck and forecastle bulwarks may be made of a one piece of stripwood 1/16" thick and ⅝" high, shaped like Fig. 24, which fits into the recesses shown in Fig. 22. Tiny pins can hold it in position while the Weldwood glue is drying. The crescent shaped section of the railing right aft may be bent to shape by steaming in the spout of a kettle.

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Fig- No- 2 4

The handrails run all around the ship and are made from 3/16" by 3/16" stripwood. The edges are rounded as in Fig. 24; then pinned and glued to the bulwarks.

Our model is that of the most elegant ship of the China fleet. Instead of having a topgallant rail like the others, she sported a brass rail mounted on stanchions all round the ship. Low brass stanchions 3/16" are fixed into the main rail at two inch intervals. The quarter view of Ariel on page 22 and the broadside view on page illustrate the method clearly. The brass rail is made from # 12 B and S gauge, soft annealed wire and bent to the shape shown in Fig. 26. There is a loop formed right forward called the pulpit and the join is under the stanchion right aft. Put all the stanchions on the rail in equal numbers port and starboard before final assembly.

Pin rails must be attached to the railings at certain intervals. These are made from ⅛" x 1/16" stripwood and drilled for belaying pins before attaching them to the rails. The purpose of these pin rails is to accommodate the upper yard braces and the sail control lines in their proper position and sequence, which becomes clearer in the section on rigging.

Pin Rails

Shape these pin rails and drill them with a 3/32nd drill; paint them mast color, like the spars. They are fixed to the railings with dowels and glue, directly opposite the masts. The mizzen pin in rail is fixed one inch aft of the break of the poop deck. See deck layout, Drawing 55.

Channels on the Hull

Channels are spreaders for the deadeyes to which the shrouds, stays and halyards are attached. They are made from wood strip ½" X ⅛", and are fixed to the hull as shown in Drawing 56. The main channel is 4½" long and has 15 notches, spaced 5/16" on centre. The fore and mizzen channels are 3½" long and have 11 notches. Deadeyes 14" are used on all the lower shrouds and l/g" on the topmast shrouds.

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Fig. 28 shows the rudder and sternpost in full size; the division between the two may be marked by scoring. Paper strips to simulate the hinges may be applied. Fasten securely to the hull, when properly sanded, with dowels and glue.

Painting the Hull

Moisture in the wood can play havoc with painting; leave the hull on a warm radiator overnight, or leave it out in the hot sun for a while. Go over the hull with medium sandpaper; then fill in any seams or imperfections with plastic patch. The surface of the hull must be perfectly smooth. Paint will not hide flaws, only discolor them. Use fine sandpaper for the next rub, followed by extra fine. Give the hull two coats of flat white, sanding each coat with extra fine paper. Use masking tape with its upper edge dead on the L.W.L.; the upper works, right up to the main rails, are painted gloss black. The masking tape should be removed before the paint gets too hard.

Reverse the masking tape now with its edge downward, right on the L.W.L. mark; then paint the bottom light green to imitate copper paint.

The sheer strake, painted white, can now be fitted; made from 1/16" X 1/32" stripwood. It covers the seam between the deck lift and the bulwarks and runs all round the ship. Fasten with tiny pins.

Masts and Spars

Drawing 56 shows all the masts and spars in half scale, but the mass of rigging which cover them may make it difficult to visualize them; therefore a table of measurements is provided.

Ariel's masts and spars followed the usual proportions in vogue during mid-1860s. Her mainmast was ¾ of her length on deck and her main yard ⅓ of her length. The lower mast and topmast had very little taper. In no case must the top of these masts be smaller than the heel of the mast above it.

Yard tapers need not be exact because there is no substantiated evidence that masts and spars followed the same scale as that of the hull. Actually the yard arm tip should be about 1/3 of the size at the centre. A proportionate job that looks professional is quite in order.

Some modellers use hardwood dowels for shaping the mast and spars. Selected white pine stripwood is much easier to work with. Plane the square strips into hexicon shape, then use

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sandpaper to size and taper them. Make all your masts and spars at the same time and paint them mast color (flesh color).

Mast Assembly and Fittings

Details of the fittings are shown in full scale on Plate No. 6. Mast bands, made of thin copper, should be fitted to the masts at positions shown on Drawing 56. The mast caps and the lower top, detail I and K on Plate 6, should be made of 1/16" fibre for strength; holes should be drilled before the forms are sawn out. Both these items should be painted white. The mast bands and the spreader should be painted black. All masts have the same fittings, except the mainmast which has an additional mast band for the skysail yard.

Table Of Masts And Spar Measurements

Length Thickness Taper in inches in inches

Lower main 7½ ¼ 1/32 Lower foremast 7¼ 1/42 1/32 Lower mizzen 6¾ 7/32 1/32 Main topmast 4½ 3/16 1/32 Fore topmast 3¾ 3/16 1/32 Mizzen topmast 3½ 3/16 1/32 Main topgallant 5¼ ⅛ 1/32 Fore topgallant 4½ ⅛ 1/32 Mizzen topgallant 3¼ 3/32 1/32 Lower main yard 7⅜ 3/16 ⅛ Lower fore yard 7 3/16 ⅛ Lower mizzen yard 5⅞ 5/32 ⅛ Main lower topsail yard 6¾ 3/16 3/32 Fore lower topsail yard 6⅝ 5/32 3/32 Mizzen lower topsail yard 5 5/32 3/32 Main upper topsail yard 6 ⅛ 1/16 Fore upper topsail yard 5¾ ⅛ 1/16 Mizzen upper topsail yard 4¾ ⅛ 1/16 Main topgallant yard 4¾ ⅛ 1/16 Fore topgallant yard 4½ ⅛ 1/16 Mizzen topgallant yard 3¾ 3/32 1/32 Main royal yard 3¾ 3/32 1/32 Fore royal yard 3½ 3/32 1/32 Mizzen royal yard 3¼ 3/32 1/32 Main skysail yard 3⅛ 1/16 1/32 Mizzen spanker gaff 2⅛ 5/32 1/32

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Mizzen spanker boom 5 ⅛ 1/16 Bowsprit 4½ ¼ ¼ Jibboom 5½ 3/16 1/16

Plate No. 6 also shows the fastenings of the upper and lower shrouds, and the assembly of the doublings. Cleeks, detail L, are made of wood and held in place with pins and glue.

Blocks on the Masts

Blocks for the yard braces are required on mizzen and mainmast, which ought to be fitted before the masts are stepped. Their numbered positions are shown on Drawing 56. Ream out all blocks with a 1/32nd drill before they are fitted in their positions, because it will be difficult to do this when the masts are crowded with ropes.

Double blocks ⅛" are required at positions 1 and 2 on the mainmast facing forward.

Double blocks ⅛" at positions 3 and 4 on the main mast facing aft.

Double blocks 3/16" at positions 5, 6 and 7 on the mainmast facing aft.

Double blocks ⅛" at positions 8 and 9 on the mizzen facing forward.

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Double block 3/16" at position 10 on the mizzen, facing forward.

A single block ⅛" at position 11 on the mizzen facing aft.

The running rigging is always left to the last and by that time the masts will be a mass of ropes; making it very difficult to fasten these blocks in position then.

The Yards

Make all your yards at one time according to dimensions shown in Yard and Spar Measurements; paint them mast color. Yard bands, made of copper and painted black are required. Drill a 1/32nd hole and insert a pin which fastens the yard to the mast. Foot ropes as shown in Fig. 30 are required on all yards. Pins, with a loop at the ends, painted black are driven into the wood and black cord used for the footropes. All yards should be dressed like this before they are attached to the masts.

Stepping the Masts

The rake of the masts is quite important. The mainmast should be ¾" aft of perpendicular; the foremast ⅝" and the mizzen ½. Tie a small cord to the mast head of each mast with a weight, like a plumb line, attached. The straight line will indicate the correct rake. The heel of the masts should have a tiny screw, ¼" X 0 with the head cut off and the shaft sharpened to a needle point. See Fig. 31. Each mast must be on centre amidships and in line with each other. When the correct position and rake are lined up, push the sharp point into the soft wood below decks.

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Stepping and Rigging the Bowsprit

The bowsprit is the most important spar in the ship because it carries the strain of all the masts. Drawing 56 shows the details of both stepping and lower stays. The broken line shows the rake or "steve" of the bowsprit which must be 3" above the L.W.L. mark, at the extreme tip. A crotched stick standing on the bench will hold it in position until the glue dries. The lower stays and 1" dolphin striker are clearly shown.

The whisker stays, Plate No. 7, shows the pattern of rigging; they are lashed to the whisker booms with fine cord and are fastened to the hull with pins or dummy turnbuckles. The booms are lashed to the anchor davits with fine cord. The davits are made with ⅛" square stripwood which passes through the bulwarks and fastens to the deck. There is a slot in the outer end of the davit for a small sheave. The lanyard is attached to the lower side of the davit with a tiny screw eye. All cords on the bowsprit are black.

Spanker Gaff and Boom

The jaws are easily fashioned to fit the mizzen mast, if the forms are rough shaped and glued in position. Hold them firmly in a vise until dry; then form the jaws to fit the mast with sandpaper rolled around a small dowel. See Drawing 56.

Rigging the Model

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The mass of rigging shown in profile drawings of model ships is so dense that modelers cannot trace the origin or the ends of many lines. The shrouds, stays and halyards cover up essential details of the fastenings of the running rigging. There can be little improvement until conventional habits are changed. The pigtail method at the blocks, as shown in Drawing 56, is undoubtedly a step forward. This simplified method, with all lines numbered and traced to their destination, will clarify many details heretofore obscured.

The Standing Rigging

Now that the masts are stepped in their proper positions, they must be secured by stays. The fore and aft stays marked A show the pattern. All are separate and fastened to the mast from which their name is derived. The lower main and mizzen stays are fastened under a cleek, as shown in the mast stepping Fig. 31. All stays are black cord, increasing in size from masthead to deck.

Back Stays

Drawing 56 shows the pattern of all the back stays; their origin is around the masts whose name they bear; their destination is down to deadeyes 5, 6 and 7 on mizzen and foremast and to 6, 7, 8 and 9 on the mainmast. The latter mast has a skystail stay. Both sides of the ship are rigged the same, but the stays cannot be shown on the opposite side.

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Yard Halyards

The halyards are fastened to the yards as shown in Fig. 32. They pass through the mast to a pendant block on the after side, which is shown clearly in Drawing 56.

Ariel's lower main yard was 77' 6" long and 20" thick; its weight required double hoists. The whip ends of these hoists come down direct to deadeyes No. 10 and 11 on the port side. The free ends, which are shown in pigtails at the block, go down to slings fastened to deadeyes No. 10 and 11 on the starboard side, with the free ends fastened to belaying pins on the main starboard pinrail, just like Nos. 12 and 14 halyards shown on the port side. It is not possible to show details of lines on the opposite side of the ship on profile drawings. There is no confusion by showing the pigtail ends at the blocks. It means that these ends must go down to their appointed deadeyes on the opposite side. Drawing 56 shows the details.

All the other yard halyards in the ship have single blocks and are rigged alternately to port and starboard as shown on main, mizzen and foremast.

Shrouds and Ratlines

The foremast is completely rigged with shrouds and ratlines because there is no running rigging to be obscured by them. All the masts on both sides must be rigged like the foremast, as shown in Drawing 56. In addition, details of the shroud fastenings are shown separately on Plate No. 6.

The Lower Shrouds

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Now that the masts are secured in position, measure the lower shrouds from the lower top down to the railings; each strand must be slightly longer than the next one forward, to compensate for the sheer of the ship. Up at the top end beyond the ratlines, leave the ends long enough to fasten them around the mast.

Except for the number of strands, all the shrouds in the ship are alike and should all be made at the same time. The ratlines are spaced 3/16" apart in all cases. The form for making the shrouds (Fig. 34) is made of card board, but a thin wood board should be at the back of it so that the pins will hold firmly. Dead eyes should be first seized to the strands and fastened to the form with pins or brads, using the centre hole for the purpose. The space between strands should be 5/16". Use plenty of spar varnish on the strands; then apply more varnish to #10 black cotton thread and criss-cross the ratlines as shown on Fig. 34. When completed, apply another coat of varnish; then lift the whole shroud up from the form with match sticks so that it will not stick to the board.

Deadeyes on the Channels

Assemble the strops and chain plates to the lower deadeyes as shown, and screw them into the hull with tiny screws ¼" X 0. The upper end of the shrouds pass through the slot in the lower top and around the mast. See Plate 6.

The Running Rigging

Pigtails at the blocks are only symbols to eliminate the necessity of tracing lines that are partially hidden behind others; in actual practice the lines should be left long enough to reach down to the pin rails on the deck where they belong.

Yard Arm Braces

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The fore royal yard braces are seized to the yards and pass downward through block # 1 on the main mast to the nearest belaying pin on the main pin rail.

The fore topgallant yard braces pass down to block #2 on the main mast to the next belaying pin.

The main skysail yard braces pass down through block #8 on the mizzen mast to deadeye # 1 on the after pin rail.

The main royal yard braces pass down through block #9 on the mizzen to the next belaying pin on the after pin rail.

The main topgallant yard braces pass down through block #10 on the mizzen to the next deadeye on the after pin rail.

The Mizzen Yard Braces

All the yard braces on the mizzen are secured forward to the main mast. The mizzen royal yard braces pass down through block #3 on the main mast to the nearest belaying pin on the main pin rail.

The mizzen topgallant yard braces pass down through block #4 on the main mast.

The three lower yards on the mizzen have pendants with a single block attached. These pendants, which are attached to the yard arms, may be made of wire or small chain. The whip end of these braces should be attached to the main mast, just above the double blocks. It is good practice to make these braces in one piece and fasten the middle of it to the mast; then reeve them upward through the pendant block and downward through the double block on the masts to the nearest belaying pins on the main pin rail. Drawing 56 shows the pattern.

Running Rigging. Part 2

The lower yards on the fore and main have double purchases on account of their weight. These yards also have pendants, but the whip ends are fastened to the pendant block. See Fig. 35.

The upper topsail yard brace comes down to the inside block on the bumkin, back up to the pendant block, then down to the nearest belaying pin inside the railing.

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The lower topsail braces come down to the middle block on the bumkin, back up to the block on the pendant, then down to the next belaying pin inside the railing.

The lower course yard braces come down to the outside block on the bumkin, back up to the pendant block, then down to the nearest belaying pin inside the railing. All the lower yards on fore and main are rigged the same. See Drawing 56.

Blocks

It is preferable and cheaper to use unstropped blocks and strop them as needed with black cotton thread. The ends of the strops can be left long enough to be fastened where needed, and whipping is much more satisfactory with this method. Those little self-locking tweezers, item 9 in the tool list, are ideal for this purpose.

Bumkins on the Hull

Bumkins are ¼" square posts glued into the bulwarks as shown in the deck layout, Drawing 55. They should be guyed to the hull as shown with tiny chain or wire. Tiny screw eyes, inserted in the forward side, are needed to hold the brace blocks.

Spanker Gaff and Boom

The lifts that support the spanker gaff and boom are fastened permanently to the mast cap on the mizzen topmast. The vangs which support the gaff broadside are black cord but the slings from the pendant blocks, which are fastened to the main rail with cleats, are white cord. The spanker boom sheet is whipped to the upper block as in Fig. 35. The lower block is attached to the deck with a screw eye; the end goes to a cleat on the main rail.

The Figurehead

The ship's figurehead is Ariel out of Shakespeare's "Tempest." It is a stock item in white metal from the supplier, but it can be carved out of wood if one desires. Details are shown in Fig. 36.

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Lifeboats and Davits

Full size details of lifeboats are shown in Plate No. 4 for carving purposes, but it is unlikely that you can compete in quality and finish with the white metal boats obtainable from the supplier. Davits can be made with brass wire as shown in Figure 37. They can also be obtained from the supplier complete with tackles. Drill holes for them in the deck and turn them inboard, as shown in Drawing 56. The other two boats are stowed on the deck houses, bottom up.

Flags

Ariel sported the blue ribband on the mizzen; the red ensign on the spanker gaff and her house flag on her main mast head. All are detailed in Drawing 56.

Now is the time to go over all your fastenings, adjust the alignment of all yards; then touch each line with a drop of clear nail polish and trim them closely with scissors.

The Finishing Touches

There are many small items still to be fitted, all of which are shown in full scale and in position on the deck layout Drawing No. 55. A few years ago, before the suppliers provided these

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machine made items, we had to whittle each part by laborious hand work, seldom making two alike. Today, these mass produced items in plastic, white metal, wood and brass are beautifully finished and priced so low that modelers would scorn to make them.

There is an "inverted economy" to model making that works in the modeler's favor. The money we save by staying home, on transportation, movies and frivolities far exceeds the cost of all the small items on the model. Tuition, therefore, on making these items is not worth the ink on the printed page.

Check off these items on the full scale deck layout and fit them in their alloted positions. You will need anchors, belaying pins, bollards, deadeyes, chain plates, cleats, a pump, wheel, binnacle, capstan, life boats, winches, dead eye strops, blocks of many sizes, hawse pipe lids, light ports, port and starboard lights, etc. You will find them all in the suppliers' catalogs.

Exhibiting the Model

The broadside view of the model shows the method of mounting it for exhibition. The baseboard should be polished mahogany or walnut. You can get both from your suppliers, or the mounting studs only. Always show the model from the starboard side.

The Completed Model

It has been a long trek up through the Primary and Anatomy courses; during the process a lot has been learnt about modeling. Compare the finished model with the quarter and broadside views in the illustrations; if you are satisfied, you have perhaps built the first and only model of Ariel, the blue ribband ship, in North America.

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Chapter 5 - The Nautical Atmosphere Successful model shipbuilding is not all mechanics. Modelers should possess a background knowledge of essential nautical practices that serve them well in the process of modeling. Good workmanship is very important, because when flagrant errors and nautical boners occur, the finished product looks ridiculous and amateurish.

Ship identification, rigging standards, correct flags and figureheads that provide the professional touch to the complete model, are discussed in this brief lesson which will furnish confidence to the modeler in every phase of modeling: from assembly of package kits to the Advanced Course on Research.

Standardization of Model Rigging

Lacking any overall authority to regulate and specify proper rigging, modelers often become confused concerning the best pattern to follow.

Now that the horrendous creature the ship out of water with all sails set- has gone out of fashion, the time is opportune for senior modelers to set up standards that exhibit the beauty and dignity of sailing ships. No other man-made object has portrayed such a panorama of beauty down through the centuries as sailing ships, and the onus is on us to preserve this beauty for future generations. Art and craftsmanship since time began have striven to portray objects of beauty in their natural surrounding; not to create hermaphrodite monstrosities like ships with all sails set, showing their keels and bottoms at the same time. Even if hobbiests and old seamen continue to produce these perverted deformities, modelers and craftsmen should be faithful to their art. It is likely that I will be accused of repetition on this subject because I have been harping on its importance all through the text in order to wean others away from this despicable practice.

My visualization of suitable rigs that bring out the natural beauty and retain the ship's normal surroundings is as follows:

Bermuda News Bureau Symbolic Model Of Cotton Blossom IV

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Symbolic Rigged Models

The importance of symbolic rigged model yachts is becoming more and more manifest because they can be exhibited in offices and homes where space is limited. The elimination of tall spars and rigging which are common to all yachts of a given class, provides greater emphasis on essential features of the hull and deck layout. Variations in sail and rigging plans of yawls like Cotton Blossom IV are quite unimportant. What is necessary is the unrestricted view of the hull lines, sheer and overhangs. People want to see what makes the ship go. The clean sweep of Cotton Blossom's hull lines from pulpit to aspit are shown in bolder relief because there is no distraction by non-essentials.

This model was shown for the first time at the Royal Bermuda Yacht Club during the Ocean Race of 1960, and was acclaimed by all the senior yachtsmen, because the method allows a larger scale to be used on deck fittings and hull, with half the space that the older types required.

Many owners of private yachts make alterations in deck layout and gadgets to suit their own purposes. Half models cannot exhibit these changes which are precious to the owner. The larger scale permitted on symbolic rigged models provides room for every item. There is a firm in England (mentioned in the appendix) that can supply working models of all the deck fittings winches, anchor cranes, windlasses, binnacles, etc. These items add to the appearance of the finished product, enhance the scope of the craftsman and increases the value of the model.

Cotton Blossom IV nee Halloween was built by Will Fyfe in 1932. She is 72' long and 14' beam. Nothing that has been built since reaches or surpasses the beauty of Fyfe's masterpiece.

This model was built for her owner and skipper Walter Wheeler Jr., Stamford, Conn.

Full Rigged Models

To get the best results in full rigged models, canvas may be included, providing the sails are furled on the yards, and the hull is the waterline type. In this case the yards are lowered and all the sails' control lines are in position. The waterline hull enhances the sheer lines of the model and depicts its true stance and trim of a ship at anchor. Sails furled or stowed on the yards do not hide the graceful rigging lines or require a glass case to protect them.

Art collectors and connoisseurs prize this type of model very highly, when made by a careful craftsman. Square riggers, windjammers and galleons are the most suitable for this occasion. This type of model will require at least 1,000 hours of labor and it is essential that a worthwhile ship be selected. Nondescript ships selected for sentimental or patriotic reasons would detract greatly from the value and rarity of the completed model.

Rigged Models

Sails are not included on models of this type only the standing rigging, the ties, if any, and the halyards and braces that control the spars are necessary (see illustrations of Ariel and Cedrene). Some people claim that this type of rigging produces the most graceful models because there is

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an unrestricted view of all the rigging lines. Waterline hulls are the most suitable for this purpose because they simulate a ship afloat and make the finished model look more natural.

Ariel and Cedrene happened to be special types of ships whose details had to be resurrected by research. In both instances the complete hulls were required. When building ships or barkes of the nineteenth century whose hull lines are more or less standard, water-line models are both applicable and graceful. These models when rigged do not require glass cases for protection unless they are to be exhibited in public places.

Sail Outlined Models

On sail outlined models a line is fastened to the top yard arm, then down to the yard arms below, and end up on the lower yard arm. This method portrays the size and shape of all the square sails above the courses. It is particularly applicable to old time ships and galleons because, up to the mid-1600s, the top yards and sail heads were about one-half the length of the next one below. It is shown clearly on both views of Sea Venture. It is a recent innovation devised to simulate the sail pattern of rigged models since canvas went out of fashion. It does not hide any of the rigging, as canvas did, and never becomes misshapen.

When models are built from research, and no scale drawings are available, the lengths of upper yards and the shape of the sails are very important. The date on which the ship was built governs the length of the upper yards. A good rule to follow is to allow 40% of the next yard below prior to 1600, increasing to 50% by the mid-1600s. Bonnets went out of fashion about 1670, and reefs were introduced; then the proportions increased to 70%. Nothing spoils the symmetry of an old time ship more than oversize upper yards.

Although this sail outline method applies to all square rigged ships, I doubt if it would be suitable on nineteenth century ships unless the upper yards are shown on the drawings much shorter than they usually are. It is likely that the perfectionist will scorn improvements like this, on the grounds that the ship did not carry sail outline ropes; but there is such a thing as model maker's prerogative something like poetic license, that gives him the right to beautify his model in any way that does not interfere with the period, scale, lines and rigging of the ship. Paint colors may be changed, metal finishes altered and woods substituted. All are within the orbit of good craftsmanship.

Ship Identification

Almost every sailing vessel that comes into port sets off an argument concerning her proper rig. Even Port Authorities and reporters put an inaccurate label on her. The modeler must know the correct rigging plan from memory. To visualize and simplify the patterns of rigging, the written word is much more potent to the memory than visual pictures, because you can carry the mind's picture with you. Despite the multiplicity of stays and yards on full rigged ships, barkes and brigs, there is actually only one mast to consider and memorize; the others are repetitions of the first one. The main mast on a full rigged ship is an exact copy of all the others, which can be forgotten during this memory lesson.

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The main mast is divided into five sections:

I. The main mast itself ends at the first doubling. The yard on this lower mast is the main yard and the sail is the mainsail or main course sail.

II. The next section upward is the main topmast. The yard is the main topsail yard and the sail is the main topsail.

III. Next above the topmast is the main topgallant mast; the yard is the main topgallant yard and the sail is the main topgallant sail. IV. Beyond the topgallant mast is the main royal mast; the yard is the main royal yard and the sail is the main royal sail.

V. Above the royal mast, some full riggers carried a skysail pole. The sail on this section is the mail skysail, and the yard is the main skysail yard.

Once the pattern of masts, yards and sails on the mainmast is memorized, the complete sail plan of all masts on all types of square riggers is visualized. Sails, yards and stays are always named after the masts that support them.

Full rigged ships are easily identified because they have yards and square sails on all their masts. The three masted ships are called Clippers, and the four masted ones are Windjammers. Barkes are three and four masted vessels with yards and square sails on all masts except the after one, which is fore and aft rigged. Barken-tines are three and four masted vessels with yards and square sails on the fore mast only. All the other masts are fore and aft rigged.

Brigs are two masted vessels with yards and square sails on both masts, also a gaff rigged, fore and aft sail on the main mast.

Brigantines are two masted vessels with yards and square sails on the foremast, with the mainmast fore and aft rigged. However, it is legitimate for a brigantine to carry topsail yards and sails above the fore and aft rigged mainsail.

Galleons were generally large Spanish and Portuguese vessels and were sometimes barkes rigged with a spritsail under the bowsprit, as a balancing sail, and a lateen sail for steering purposes. The name galleon when applied to English shippes is more poetical than nautical, and was no doubt confined to the Royal Stuart age of splendor between 1606 and 1637. They were larger than the barkes, having gallant sails on fore and main, and a topsail on the mizzen. Any departure from these standard rigs is known as Hermaphrodite, or in seamen's language Jackass Rigged.

Fore and Aft schooners are two or three masted vessels, either with a gaff rigged sail and a gaff topsail on each mast, or the more modern Bermuda rigged sails in the same order. Staysail schooners are two, three or four masted vessels with a staysail and trysail between each mast.

Topsail schooners are two or three masted vessels rigged as above, with one or more topsail yards and sails on the foremast only. These topsail schooners are sometimes confused with the

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brigantines and barkentines, but there is no actual resemblance between them. Topsail schooners carry square rigged topsails above the fore and aft rigged foresail; the others have square sails only on their foremast.

Ketches are racing yachts, having two masts: a very tall main mast and a shorter mizzen. They carry two or more headsails and are generally Bermuda rigged today. Ketches are the oldest of all rigs in use today and can easily be identified by the position of the mizzen mast which is stepped forward of the steering wheel.

Yawls are similar to ketches in sail plan, but the mizzen mast is shorter than the ketches' and is stepped aft of the steering wheel.

The only visible difference between the cutter and the sloop is in the head sails. Sloops are single masted with only one jib, while the cutter has a single mast also, but generally carries two or more jibs. The cutter's mast is often placed further aft than the sloop's. All these yachts originally had short bowsprits, but the adoption of the Bermuda rig has changed the head sail layout to some extent.

The Professional Touch

Draftsmen who make the drawings of old time ships and galleons quite often err in their portrayal of essential items which mislead the craftsmen and give the finished model an unprofessional look. It is not good enough to assume that any of these flagrant errors will stand up to the inspection of experts on fine ornament, art dealers, curators of museums, etc. The craftsman, in addition to his own skillful work, must use the patterns of the period in which the ship belonged. I have only sufficient space to discuss the three most flagrant abuses of professionalism, viz.: length and proportions of the yards on square riggers; proper flags of the period, and figureheads.

Yard Proportions

I have already commented on proportions of 16th and 17th century yards in the standardization of rigging. The St. George, built in 1701, and the Constitution, built nearly a century later, show little change in yard proportions of 70% of the next yard below, which were standard lengths on the Prince of 1670. There seems to be no substantiated record of measurement for the mid-nineteenth century American clipper, but Lubbock in his China Clippers shows a much more graceful proportion of sail plans than the present drawings exhibit. It is extremely doubtful if yard proportions were more than 75% of the next yard below prior to 1865. The craftsman, who is endowed with the model maker's prerogative to make slight alterations that add to the beauty of his model, would be well within his rights to use these proportions.

Figureheads

We don't know when the practice of using figureheads symbolic of the ship's name started. The old Pelican, built in pre-Armada days, probably 1560, carried the bird pelican as her figurehead. When Drake outfitted her for his circumnavigation of the globe circa 1580, she was re-named

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Golden Hinde; then she wore the golden hind figurehead whether the name of the ship was symbolic of her crest or figurehead, or vice versa, I don't know. It is certain, however, that this practice lasted for nearly a century, because Revenge of 1590 wore the lion rampant with drawn sword as an emblem of revenge. Sea Venture, 1608, wore the sea dog the emblem of venture at sea, and Pett's mighty Sovereign of the Seas wore King Edgar riding over the Seven Kings as an emblem of sovereignty. When the practise ended is obscured by the tumultuous upheavals of the Commonwealth and Restoration. Not even Samuel Pepys, who compiled DEANNE'S DOCTRINE OF NAVAL ARCHITECTURE, 1687, mentions the subject. However, the practise was a good one for the modeler and research worker. If the ship's name is known, her figurehead can usually be obtained from the College of Heralds. The finding of a figurehead among the fragments of an old wreck establishes the name of the ship. Figureheads are symbolic of a particular ship and provide greater authenticity to the model.

Flags

There is a lithograph showing a Clipper Ship circa 1850 flying the Stars and Stripes with 48 stars in it that was first authorised on July 4th, 1912. There is a model of Mayflower, not very far away from Bunker Hill, flying the Union Jack that did not come into being until Ireland joined the Union in 1801. In both cases the workmanship is excellent, but such "boners" destroy the value of the object. Not only is the period inaccurate but the proportions of the flags are impossible. The proper design and proportions of the American flags from 1777 until 1912 are shown in the following table. The standard lengths are 1.9 and widths 1 which is almost twice as long as it is wide.

1777 13 stripes 13 stars. 1795 15 stripes 15 stars. 1818 13 stripes 20 stars. 1819 13 stripes 21 stars. 1820 13 stripes 23 stars. 1822 13 stripes 24 stars. 1836 13 stripes 25 stars. 1837 13 stripes 26 stars. 1845 13 stripes 27 stars. 1846 13 stripes 28 stars. 1847 13 stripes 29 stars. 1848 13 stripes 30 stars. 1851 13 stripes 31 stars. 1858 13 stripes 32 stars. 1859 13 stripes 33 stars. 1861 13 stripes 34 stars. 1862 13 stripes 35 stars. 1865 13 stripes 36 stars. 1867 13 stripes 37 stars. 1877 13 stripes 38 stars. 1890 13 stripes 43 stars. 1891 13 stripes 44 stars.

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1896 13 stripes 45 stars. 1908 13 stripes 46 stars. 1912 13 stripes 48 stars.

British Flags

Supplementary flags and ensigns have changed so greatly over the centuries that space is lacking to record them. All that can be outlined are the ships' colors or standards. Late Tudor ships, from 1560 to 1606, wore St. George's Cross, about 2 to 1 in proportion, on their mains, and the green and white Tudor ensign at the stern. Some war vessels and Royal ships wore the green and white ensign on the fore also. These Tudor ensigns appear to be about 10 to 7 in proportion.

In 1606 the Union flag, consisting of St. George's Cross and St. Andrew's Cross, with proportions about 10 to 9, came into use. This flag was worn on the main, with St. George's Cross on the fore, if the ship was English. If she was Scottish, St. Andrew's Cross was worn on the fore instead. Most.of the models of this period that I have seen show another St. George's cross on the after staff.

Except for a short period during the hectic days of the Commonwealth, St. George's Cross and the Union flag continued to be used on English ships without major changes. St. George's ensign in red, white and blue was adopted in 1707; then the "red duster" appeared for the first time. Its proportions were about 10 to 8 and remained unchanged until 1801 when Ireland joined the Union; then St. Patrick's cross was added in the jack. For modelling purposes this red ensign with proportions 9 to 4 still remains unchanged.

Spanish Flags

The only Spanish flags of interest to the modeler are those worn by Columbus' ships in 1492, and by the treasure ships of the sixteenth and seventeenth centuries. The drawings of Santa Maria, procurable from your supplier, provide full information on flags and banners worn by the first expedition.

Spain seems to have had several different maritime flags in use during this age of discovery. The Armada was decked out with flags and banners of religious motifs; the Netherlands fleet wore a tri-color of red, white and yellow with horizontal stripes, and the West Indian ships wore the red ragged cross of Burgundy from the mid-16th century onwards. This ensign is detailed because there are still many old wrecks of this treasure fleet lying about the reefs of Caribbean and other islands that may be salvaged by modern equipment.

The Spanish ensign, or Cross of Burgundy, consists of a white field, about 10 to 7 in proportion, with a ragged horizontal cross in red, stretching from corner to corner. It is the same shape as St. Andrew's and St. Patrick's crosses in the British ensign and is easily made by hand.

Other Foreign Flags

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The ships of France, Portugal, Norway, Sweden, Denmark and Holland had little to do with American history except the Dutch ship Half Moon (for which plans and details are available). Their maritime flags are too numerous and varied to be described in this short summary, but full information may be obtained from the Admiralty book FLAGS OF ALL NATIONS.

The Position of Flags

On models of British and American ships the correct position of flags is essential. Flags are regulated by the position of the ship that the model represents.

Waterline, scenic models with sails set, depict a ship at sea; then the ensign is on the tip of the after gaff. No other flags are worn.

On symbolic rigged model yachts, which represent a ship out of water, no flags are worn.

On rigged models that show the ship without canvas, whether water-line or complete hull are shown, the ensign should be on the after staff and the house flag on the main.

On sail outline rigged galleons, St. George's Cross on the fore and on the after staff. The Union flag without St. Patrick's Cross on the main. The mizzen is to be left bare unless the ship carried an Admiral; in that event the forked white pennant is worn there.

While knowledge of the above mentioned details is essential to the craftsman, it does not mean he should become a slave to perfectionism. Goose stepping to exact details and scales of drawings of old time ships often borders on fanaticism and reduces the craftsman to a mere copyist. Details portrayed on the drawings we work from are more or less guesswork. No one actually knows the exact size or shape of artifacts used two or three centuries ago. There isn't a scrap of evidence to prove that armaments, deck fittings and other gear followed the same scale as that of the ship. They were articles designed to perform their task and stand the strain that the circumstances required. Beauty and craftsmanship need not be sacrificed for mechanical exactness, unless such details are verified by substantial proof.

Just so long as we portray the hull pattern and dimensions, the correct armament and rigging, the quaintness and colorings of the period to which the ship belonged, artistry and craftsmanship can fashion the model into a masterpiece of fine ornament and of great beauty and value. It is not the ship experts, or the nautical men who will be the judges, but the connoiseurs and art experts who will assess your handiwork.

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Chapter 6 -The Intermediate Course These well known nineteenth century American clippers have been selected as examples of study during the 2nd Phase of Model Building, because they represent an age of splendor, performance and historical significance. Aside from the construction of them, there is a patriotic pride of possession attached to each one of them.

In addition, the research work has been done and made available to the public by the supply houses. All the parts necessary to build these fine ships can be readily obtained, together with detailed plans and information.

Modeling from Scaled Drawings

There are two types of scaled drawings: those that are scaled to fractional dimensions of the original ship and need to be translated into measurements by rule to suit the size of model under construction; this type presents many difficult problems to the modeler and should be avoided when possible. The other type is based on the dimensions of the model itself, and all parts shown thereon are full sized without any bother with measurements. This type presents simple, straightforward work without confusion because the patterns can be traced direct from the drawings. Fortunately, this latter type of drawing is available for all the clipper ships mentioned for this course. Flying Fish Model Shipways

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Young America Model Shipways

Marine Model Co.

Sea Witch

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Marine Model Co. Swordfish

Boucher-Lewis Flying Cloud

Models Recommended To Be Built Outright During The Intermediate Course

There are scores of beautiful clipper ships, windjammers and historical warships from which to

make your selection. All are worthwhile; but in this first attempt, it is undoubtedly wise to select unarmed merchant ships because they have no armaments or gunports to jockey with. Among the

three-masted clippers of the nineteenth century are many fine ships to recreate. Ariel, the blue ribband ship, is probably the loveliest and most exclusive. Cutty Sark is a favourite model, but there are so many of them in existence that you might aspire to some other ship. Thermopolae was a grand old ship and would make a beautiful model, but she has little significance to the American modeler. Among the American clippers are many suitable examples of beauty and

performance Young America, Swordfish, Sea Witch, Red Jacket, Flying Fish and Flying Cloud.

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My choice of the whole lot would be Flying Cloud, because she had everything worthwhile beauty, grace, performance and historical prominence. Detailed plans of her are available from your supplier, together with scaled parts of her, from rudder pintles to martingale, and from ensign to figurehead.

Flying Cloud

Donald McKay built Flying Cloud at East Boston in 1851. Like most American clippers of that age, she crossed skysails on all masts her total area of canvas must have exceeded one acre. Under Captain Josiah Perkins she made a record voyage to San Francisco in 89 days. For distance travelled North and South around the Horn 17,597 statute miles, she averaged almost 10 miles an hour. Her best day's run on corrected time was 427.5 miles. It is likely that this record remains unbroken by any other American ship. For fourteen years she sparkled in the China Seas and around the Horn to San Francisco in the Gold Rush days. It must be taken into account that Flying Cloud began and ended her days under the Stars and Stripes, before the great racing clippers were built after the Suez Canal was opened. She was one of the world's great ships that went about her lawful occasions unconcerned with the encroachments of steam.

At the outbreak of the Civil War she was sold to the English Black Ball Line and plied the Australian run for several years, then descended to the Canadian lumber trade and was gutted by fire in 1873. You may search through all the suppliers' catalogs and the records of American history but you won't find a more satisfying or rewarding model to build than Flying Cloud. In her heyday she appeared in the passing parade of beautiful ships and shone like Halley's Comet. No other ship in the glamorous history of American clippers possesses such prestige. Millions know her history. Scores would pay a fat price to own a hand made model of her. Her memory lies deep in New England hearts. Her advent brought pride and admiration to a great nation and her lustre enriched the pages of maritime history with high adventure.

Fortunately every detail of the ship is known and is available to the modeler.

Making the Hull

The formula for constructing the hull of Flying Cloud is exactly the same as that of Ariel in the chapter on Anatomy. The same procedure and timing are applicable to all types of model ships. If the modeler has served the apprentice course his task will be simple and straightforward. Those who attempt to build this model without prior tuition should turn the pages back for guidance. Nothing is changed except dimensions and shape. However, the importance of making patterns for sections of the model must be emphasized at all levels. There is always the risk of human error with hand work, which drawings do not take into account. It would not be smart to fashion wood parts direct from the drawing without first fitting the patterns.

Flying Cloud's deck houses, railings, mast and spar hardware are different in design, but they are so clearly shown on the drawings that little comment is necessary. Unlike Ariel, this model should have topgallant railings, waterway planks and timber heads on the main deck. These should be all fashioned into one structure, fitted into their positions and fastened to the deck.

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There is no need to recess the deck plank in models of this kind because the waterways plank provides ample support to the entire railings.

Painting

Now that your hull is built put her out in the hot sun for a day or two, or heat her in an oven until every trace of moisture is out of her. In the meantime there are some bugs and anomalies about model ship building to discuss which ought to have been cleared up long ago.

Model ship building books have set forth rigid formulas for painting the hull which work very well under certain circumstances and very badly under other conditions. If you live by the sea, or in damp places where humidity is high, you are in for trouble when you begin painting the hull. I put 36 coats on the model of Cotton Blossom, and 32 of them had to be scraped off down to the bare hull! Moisture had got into the wood and when I tried to sand each coat down, small bubbles would form from friction caused by the sanding. Using wet sandpaper did not improve the situation. I finally had to scrape each coat with a razor blade, then rub them down with pumice on a wet cloth. lit is not necessary to use a high gloss enamel the old ships were finished with ordinary paint.

Shrouds and Ratlines

Hand made shrouds and ratlines present some difficulties in the beginning, but it depends to a great degree how you go about it. Some modelers believe it is a formidable task, but there are no problems that cannot be solved by willingness. All the difficulties I ever encountered with making shrouds and ratlines occurred because I did something wrong. Once you know what to do in the right order of doing it, there is no problem. It is just spade work.

The first thing you do is to install the channels on the hull, and fasten the lower dead eyes. These should be spaced y%" on centre for the lower shrouds. The next operation is setting the masts at their proper rake, and on dead centre with the tip of the bowsprit. Rig all your fore and back stays to hold the mast in position fore and aft.

In addition, guy the mast athwartship temporarily, so that it cannot move either way begin always with the foremast.

Seize deadeyes on the five strands of the fore lower shrouds and allow each strand at the top l½" longer than needed in order to have rope enough to fasten it at the doublings. Each one of these strands will be a little longer than the next one forward, to compensate for the sheer of the ship. The distance between the deadeyes on the shrouds and those on the channels should be ⅝". Then take careful measurements.

Now that you know the proper length of the shroud, pin the strands on to a board, using the top hole in the deadeye for this purpose. The pins should be ⅜" apart and tapered downward to suit the sheer of the ship. Up at the other end of the board drive in a staple at the exact spot where the end of the shroud should be. At this point all the strands should come together and pass through the staple. Secure the loose ends of the strands and your shroud is perfectly formed. See Fig. 34.

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Ratlines can be fastened to the shrouds easily. Drive in a row of pins or brads on each side of the shroud 3/16" apart. Cut the heads off them. Then take a spool of No. 8 sewing cotton (don't cut it); fasten the end of this cord to the first pin at the top. Varnish all the strands of the shrouds also the cord for the ratlines. Crisscross the shrouds with the cord until you reach the lower end. At the finish give the whole another coat of spar varnish and allow it to dry. Raise the shroud off the board with matchsticks so that it won't stick to the board. When the varnish is properly dry, cut away the cord from the pins, lift out your completed shroud and apply a coat of varnish on the under side.

This process may sound long winded, but the gauge you have made for the first one will do for all the eighteen shrouds on the ship. All the ratlines on all the shrouds should be 3/16" apart. In actual practice the process of making your form and the first shroud takes less time than it took me to describe the process to you.

Flags

Some pictures that I have seen of this beautiful Clipper show her wearing the Stars and Stripes that did not come into being until long after the ship was destroyed by fire and out of commission. This is not only unprofessional but unpardonable. During her sparkling career under the American ensign, the flag changed several times, but she is certainly entitled to the ensign she wore during her maiden voyage in 1851 when she broke all records; the American ensign with 13 stripes and 31 stars, on her spanker gaff.

Rigging

Sail outline rigged ships, which I have described elsewhere, do not require any other blocks or rigging except those that control the yard. Sail control lines or blocks have no place on models of this type. Quite often we see models that are just plain rigged, fitted with too many ropes and blocks. Leech lines, sheets, bowlines, clew lines, bunt-lines and sail halyards belong to full rigged models with canvas on them. They are not needed and are quite out of place on rigged models. Except for the halyard block that points upwards, and the braces block which points aft at the yardarm, no other block is needed. The yards are to be left bare except for the footropes.

When To Do It

In fitting out a clipper ship like Flying Cloud there are many situations where timing is vital. For instance, don't install the railings, timberheads and bulwarks until you have scribed, stained and varnished the decks; otherwise you will have to lean over them to work. Make and install your hatches, deck houses, fife rails, winches, pumps, etc. before you fence the deck in with railings. Leave your davits, bumkins and catheads until the ship is nearly finished. They are always in your way.

Rigging The Model

Whatever you do or leave undone, please don't put sails on this treasured model. Of all the ludicrous displays that have been foisted on humanity, a ship out of water with all her sails set is

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probably the worst. Our museums and institutions are full of these monstrosities, made by expert modelers who have spent months setting the beautiful rigging lines in juxtaposition, only to bury them with canvas, that goes flabby and limp within a short time. Such practices mercifully have fallen into disuse during the last ten years, but they should have gone out of fashion many years ago, along with the whalebone stays and the spittoon.

As I have said, sails on clipper ships are permitted on waterline models, providing they are set into scenic surroundings that depict them at sea where they ought to be.

Masts and yards should be fitted and assembled before they are stepped into the hull. Each mast must be perfectly centered with the tip of the bowsprit, the rudder head and with each other; then stayed and guyed firmly on four sides before the shrouds are set. Each yard must be aligned, but not on the same level with the corresponding one on the other mast. Start your rigging from the topmost yard and work downward.

Fasten your halyards, stays and braces in their proper places, but do not cut the ends too short until the whole ship is rigged. When final adjustment of all the rigging and alignment is complete, put a spot of clear nail polish on the fastenings and trim closely.

Exhibiting the Model

Once the model is completed, take it out of the cradle and mount it on a base board to suit, using two brass pedestals to secure it. Do not put it in a glass case unless you wish to exhibit it to the public. The rigging lines are either waxed linen or nylon cord, and are not affected by dust or moisture. You can easily keep it clean with a bellows of bicycle pump. Even if you are a wealthy person, this treasured model may be the most valuable piece in the house and be entitled to a place of honor.

A Profitable Interlude

Now that Phase II or Intermediate Course is finished, it is a good time to have a look around the Maritime Museum at Mystic, Conn., is a treasure house of old memories and well worth a visit if you are in the vicinity. So is the model room at the New York Yacht Club. There are also replicas of old time ships at Plymouth, Mass. The Half Moon is at New York and the Susan Constant is at Jamestown, Va. A visit to these old timers induces a nostalgia for the quaintness of days gone by and is very instructive.

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Chapter 7 - Selecting A Masterpiece I have selected the five ships illustrated for the final phase of model building, because they represent different periods of construction and are all famous.

None of them present any major building problems to an experienced modeler because complete details are available.

Final selection should be made by the modeler himself, not because of the ship's historical significance or her performance, but because of the value you will place upon her upon completion.

Each one of them presents a challenge to your skill and craftsmanship. All are quaint and beautiful and could be collectors' pieces for generations to come.

Bermuda News Bureau Sea Venture

Selecting A Masterpiece

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This lesson on model shipbuilding has little to do with the mechanics of actual construction. If the student has mastered the intricacies of clipper ships with their elaborate rigging, the rest is pure craftsmanship. Building an old galleon has ramifications beyond the scope of an ordinary hobby. An entirely new horizon is visualized. Models of these old time vessels, when hand made by experienced craftsmen, possess a value far beyond their historical significance or sentiment.

Ideal Co. Marine Model Co.

Golden Hind

Santa Maria

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Model Shipways Mayflower Old Time Ships Recommended To Be Built Outright During The Final Course. Their rarity and quaintness elevates them to objects d'art and collectors' pieces. They are accepted by art dealers and collectors as antiques, not because of their age but for their rarity and craftsmanship.

However, there are many pitfalls attached to this enterprise which may injure the final outcome and cheapen the value of the object made. Most of them occur through poor selection. It would not be smart if the artist or craftsman spent a whole year fashioning a masterpiece, only to find that there are cheap imitations of it all over town. In such cases the craftsman's pride is diminished and the rarity and value of the object is lowered in the opinion of the experts.

When embarking on this most important undertaking, values should be relegated to their proper juxtaposition before the final selection is made. Values vary considerably. Sometimes the craftsman is content with the knowledge that he has wrought an object of beauty; or that he has produced a family heirloom that will be handed down to future generations. Others build for honors and renown; something to be exhibited at art shows or handicraft exhibitions or perhaps as a gift to the Town Museum or Library. There is a lot of pleasure to be derived from being able and willing to contribute something of value to a Town or State, that will be for many years a symbol of craftsmanship and public spirit of a respected citizen. In this connection I speak from knowledge. Both my family and I are gratified that a model of mine is in a place of honor in Jamestown, Va. and another in the Bermuda Historical Museum. There are few memories that bring so much pleasure and renown to a man in the eventide of life.

There is also a monetary valuation, because dollars provide the only reliable yardstick to measure the value of fine ornaments, whether we fashion them for sale or for the more rewarding satisfaction that comes from pride of possession or renown.

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Mass production of model ships is not a detriment to the artist. Quantity caters to its own clientele ,and is seldom desirable to wealthy people who are antique collectors. Experts can readily distinguish the fine work of a craftsman from the mass-produced imitation. Prices of model ships vary in different countries, but the proportion remains the same everywhere.

The model of a nondescript ship built by hand would be difficult to sell at $100.00.

Hand made models of the old galleons recommended for this phase, if made by a careful craftsman, would range in value from $1100 to $3200, depending on their rarity and craftsmanship.

Such is the pattern of values of model ships, mentioned solely to measure the pros and cons of a good selection. It is not suggested that your choice should be the ships that will command the highest price, because there is something far more precious in building model ships than monetary recompense, viz.: the contentment and satisfaction of a job well done.

I have recommended four old time vessels for this phase, which could easily be your masterpiece of craftsmanship. All are distinctive and historic, and under certain circumstances could be objects d'art or collectors' items. I do not know which one you should select. All I can do is to appraise them in relation to their intrinsic values and leave the choice to you.

These old vessels are quite secure in modern art. They are not affected by changing patterns in our contemporary life; their pattern and design become more precious and desirable as the years go by.

Santa Maria

Santa Maria the flagship of Columbus is the oldest and best known of the Spanish ships. Her history is known to every student in the Americas. It is doubtful, however, if this little vessel possesses the physical attraction for a craftsman's masterpiece. She was not a galleon but just another little lowly barke of the Spanish Merchant Fleet. All her importance is contained in her unwitting discovery of the Continent of America. Craftsmen who select this ship must risk the competition of hundreds of other models of her produced by mass production, or otherwise, which cannot fail to lessen the value of your own model.

Susan Constant

Susan Constant that brought the first settlers to Virginia in 1607, is quite important historically. This little 100 ton barke takes precedent over all the other old time vessels that had to do with early Colonial days. To the Virginians, she is their Ship of Destiny, and a replica of her can be seen at Jamestown. As a model, however, Susan provides little splendor to satisfy the craftsman. She was a small, old, nondescript Tudor barke, chartered by parsimonious venturers for colonization purposes. It would be difficult for a craftsman to squeeze any pride or profit out of a model of her.

Mayflower

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I have never been satisfied with the models and pictures I have seen of Mayflower. My information is that she was about 40 years old when she sailed from Plymouth in 1620; therefore she must have been a pre-Armada vessel. The replica of her designed by Wm. A. Baker bears this out. Her pronounced tumble home is typical of Tudor days. However, there is a scaled drawing of her by the late Clyde Millward, who is credited with being the most accurate of all our contemporary draftsmen, and a disciple of DEANNES DOCTRINE OF NAVAL ARCHITECTURE, which dates her 1610. This drawing follows the hull lines of the early Stuart days, and her markings are those in vogue from 1603-1630. This latter drawing would be much more suitable to the craftsmen if we could prove its authenticity. My own opinion is that Mr. Baker's replica of Mayflower is correct. However, it is doubtful if this beloved old vessel will satisfy the craftsmen because she is not a galleon and not very glamorous. She is just another ordinary merchant barke that brought settlers to America. Even if you did select her as your final model, your efforts would be repetition of scores of other existing models of her.

Artistic achievement need not be bound up with sentimental values. Art and craftsmanship should be universal in scope and outlook. The true craftsman never outruns the necessity and desire for beauty and knowledge. It is hardly likely that he will find inspiration in lowly barkes of colonial history which were the simple, unsung workhorses of the sea, ranking with the rusty tramp steamers of today. The age of splendor on the sea is confined to a short period of forty years between the height of Elizabethan grandeur in the late 1590s and the decline of Stuart elegance in 1640.

Golden Hind

Sir Francis Drake's flagship, nee Pelican, in which he circumnavigated the globe in Tudor days, is outstanding and desirable as a model; although she is not nearly as graceful and colorful as Revenge or Sea Venture. Just why Golden Hind was merely barke rigged, as shown in some available drawings, is not clear. She had the tonnage of a galleon, and it is quite likely that she was a Royal ship. However, most of the prestige surrounding her belongs to the colorful figure of Drake himself. No one knows why the old barke Pelican was selected for this spectacular and luxurious occasion.

There are few models of her on this side of the Atlantic and the modeler would not be confronted with competition of mass production. Plans and specifications are available and many suitable fittings in white metal are stocked by suppliers. Her figurehead was the gilded deer, representing the golden hind; her flags are somewhat confused from lack of specific information, but the Tudor royal standard, quartered alternately with the lilies of France and the lions of England on her main, is in order. St. George's cross on foremast and the Elizabethan ensign on the mizzen are fairly accurate. All these flags appear to be about 5 to 4 in proportion.

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Broadside View Of Sea Venture Bermuda News Bureau

Sea Venture

I have left to the last the famous ship Sea Venture, perhaps the most illustrious galleon in maritime history that had to do with America.

Historical scholars, who delve into old history books, have known of her importance for many years, but it is only within the last two years that her fame and beauty have been unfolded. Her history has been partially told in newspapers and magazines from Germany to Argentine since she was re-discovered in 1959. There is no comparison between this great, lordly galleon of the early Stuart reign and the little Tudor barkes that were employed in Colonial days. Judging by her coat of arms on her upper transom, her elaborate stern walk and coloring, she might indeed have been a Royal ship; but there is no confirming evidence to prove it. Whatever time and effort were expended to resurrect this precious old ship, the end justified the means.

It is one of the anomalies of history that this beautiful ship, with all the glamour of a bygone age of elegance, should have been ignored by historians when substantial records of her splendor and achievements have been available for centuries. We have paid misguided tribute to ill-found, rat-infested old barkes and pinnaces that brought nere-do-wells, undesirables and screwballs to these shores; but our school history is silent on the subject of Sea Venture, the most elegant and colorful galleon that ever sailed into the Western Ocean. Modelers have every right to be annoyed that details of this beautiful old ship have been denied them for so long. Compared with the other old historical ships, America's "Shippe of Destiny" was fabulous. I shall have more to say about her history later in the book.

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Bow View Of Sea Venture Bermuda News Bureau

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Chapter 8 - Modeling Sea Venture Explanatory Note

The Drawing 59, and the specifications in the text, details information in two scales. Viz: the 12" model which is fully detailed on the drawings, scaled at 10' to the inch, and the 24" model which is scaled at 5' to the inch. References to measurements in the text designated "your scales" mean the scale you are using. Hence, one foot on your scale would be one 1/10th of an inch on the rule if you build the 12" model, and 1/5th of an inch if you build the 24" model.

Measurements designated "by rule" means full size and no scale is required. Many modelers dread having to shape each part of the ship by fractional measurements in order to visualize the pattern of them.

Often errors occur unless the modeler is familiar with the name and purpose of the section he is working on. There has always been a need for commentary and guidance to scaled drawings, which unfortunately have hitherto been lacking.

Symbolic figure drawings interspersed throughout the text in this course, together with the written description of their position and purpose, will make the craftsman's task more simple and speed up his work. Moreover, in the process the modeler becomes familiar with nautical names and their meaning.

The specifications drawings, photographs and building methods may be accepted with confidence, because their authenticity has been verified by experience and documentary proof. The drawing supplied with this book has been checked with historical documents; with the only model in existence, and with the wreck of the ship found in 1959. It is likely, therefore, that the details of Sea Venture, supplied now for the first time, provide the modeler with a greater degree of accuracy than that of any other old time ship.

Amateur and professional modelers can be confident for the next few years that Sea Venture will be their exclusive model and not be subject to competitive mass production. It has never been practical to provide in book form a detailed drawing whose scale was large enough to build a good sized model for institutional purposes or to be exhibited in public places.

The craftsman generally has had to enlarge all the body plan, deck layout and spars to meet this need. Drawing 59 provides scale dimensions for the 12" home model. In addition the lifts for the hull of the 24" model are shown full sized. Tables of dimensions of spars, armaments, etc., are also supplied for the larger model in the general specifications. Every effort has been made to furnish the modeler with detailed information which he has so often found lacking elsewhere.

Building a model of Sea Venture is a job for a craftsman who alone must decide which type of hull he will build. Some men are traditional perfectionists who take pride in faithfully reproducing, in minute detail, the complete lines of the ship as shown on the drawing, and will mount the complete hull on pedestals or in a cradle.

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Others argue that a ship out of water showing her bilge and keel destroys her natural trim; the graceful sheer lines; rakes and levels necessary to depict a ship afloat can only be reproduced with waterline models. It is a controversy that will never be settled to the satisfaction of all. Each craftsman must fashion his masterpiece according to his individual temperament and vision of beauty. Drawing 59 shows details of both methods and both are legitimate.

The Hull Structure

Except for dimensions and shape, the hull of Sea Venture should be fashioned as shown in the detailed chapter on Anatomy. The methods employed in the construction of Ariel apply to all types of ships; there is no point in repetition. Once the hull structure is formed and carved, Sea Venture's superstructure, railings, deck fittings are different but details of them are shown in figures in the text; bulkhead and transom plates, on the master Drawing 59.

Place a carbon paper under the lifts you have selected and trace each one separately on stiff paper. Cut out these paper patterns carefully and number them; the paper should be wide enough to double. Secure the pattern to a white pine board and saw it to shape. Centering is important and so is numbering. The result will be just like Fig. 38.

Hooch Sawn Deck Lift Saw out the centre as shown, all except the bottom lift. This will lighten the hull, help you with the mast stepping, and make it easier when you slope the deck towards midships to form the sheer line. Follow the same practice with all the other lifts and assemble them in their right order.

Do not glue the lifts together as usually recommended. Use countersunk wood screws because all that part of the wood which is shaded in Fig. 20 must be planed off which cannot be done after assembly. Turn the hull bottom-up and mark the top lifts against the next one below. Take the screws out and plane off the surplus wood. Before you reassemble the hull block, cut a slot one inch by rule in the deck lift right aft as shown in Fig. 18. This space is required for the helmport and will be described more fully in the section on Rudder and Transom. Now you can reassemble the hull according to Fig. 20 and use Weldwood glue.

The hull block is now perfectly formed and only a little trimming forward and right aft is needed. Broken glass is better than carving tools to scrape the contour down to the dimensions shown on the body plan.

Rough sand the hull and apply two thick coats of turpentine and varnish to seal the grain of the wood against fluff during the final sanding.

If you have followed directions as shown in Fig. 18, the hull will be formed and shaped in one day instead of a week by carving and a month by planking.

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Sheer Lines

Little importance was given to sheer lines during the seventeenth century. Decks were sloped fore and aft for drainage purposes only. The drainage scuppers or waterways were located at the looff near the pumps. This was the low point of drainage. Mark a spot on the deck lift one foot down on your scale, midway between the main mast and the quarter deck bulkhead.

Draw a line from this mark forward to the stem and aft to the transom until they end in nothing. Then use a spokeshave to bring the deck level down to the mark at midships. A polished surface is not needed because a plywood decking will be glued on top of it.

Timing and Sequence

There is a proper time to do things in making a model. If the sequence is lost by doing last things first, a lot of valuable time is lost and many items will look make-shift. Now is the time for you to finish your sanding and apply the priming coats before the keel and stem are fitted. These operations are much easier performed without obstructions. Sanding will be easier, now that the sealing coats are dry and hard.

There is an excellent filler called Plastic Patch. Mix it with water into a paste and fill all cracks; then when dry, coarse sand the hull. Another application of plastic patch will be needed during the sanding operation to take care of its shrinkage. When you are satisfied with your sanding apply two coats of white primer. Don't bother with colors until the proper time arrives.

The Stem Knee

Make a cardboard pattern like Fig. 39, according to the scale you are using. The stem head comes up through the beak head deck and the knee supports the deck right out to the end.

This pattern can then be sawn out of plywood and fastened to the bow with dowels and glue. If your model is a complete hull the stem follows the contours of the bottom and is scarfed into the keel where shown on the drawing. The keel should be of hardwood; the forward end is scarfed into the stem and the rudder rests on the after end. Allow the keel to project beyond the stern one foot on your scale to accommodate the rudder spindle. This extension is known as the skeg. Sand all these parts ready for painting and attach them to the ship with dowels and glue. Round toothpicks are excellent for the purpose.

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Painting the Hull

Turn the hull bottom-up and paint white below the waterline and light grey above. Masking tape should be used at the dividing line.

Do not paint the transom right aft until later. When both coats are dry, mount the hull on to a building board, six inches longer and three inches wider than the hull dimensions.

From this point onward you will be needing many types and sizes of wood strip, dowels, veneer and plywood, etc. Your local supplier has them all perfectly machined and sanded.

The Main Deck Plank

The deck plank for the 1/10th model should be 1/16" thick, and l/3" thick for the 1/5th model. Use a cardboard pattern for the main deck plank and mark it all round the deck lift right out to the end of the beak head. The bow view photograph of the ship offers a clear picture of the beak and fore deck. Trim the pattern along the edges 1/16" for the 1/10 scale model, and ⅛" for the 1/5 scale model.

This will provide a recess between the outer edge of the deck lift and the deck plank to accommodate the bulwarks. Cut a hole in the deck plank so that it will fit over the stem head. Mark off from your drawing the position of the masts and hatches on the deck plank. Then you can use nails at these points to hold the plank down while the glue is set. Weights must be used at the outer edges to keep the deck plank flat. Weldwood glue is satisfactory.

Scribing the Deck Plank

Scribing is a tedious operation and should be confined to the main deck and the fore deck, including the beak head. That part of the deck which will be covered by the forecastle and quarter deck need not be scribed. These limits are shown on the deck layout drawing in broken lines.

Deck planking in early seventeenth century merchant ships were one foot wide. Use a hard pencil and scribe at one foot on your scale. Begin always in the centre and work outward. Finally give the whole plank a coat of light oak stain and varnish.

Quarter Deck, Poop Deck and Forecastle

Now that we have the hull formed up to the main deck, fractional measurements are no longer needed. The quarter deck lift measures one-third of the model's length on deck. That would be four inches on the 12" model and eight inches on the 24" model by rule. The height of the lift is half inch and one inch respectively. The cardboard pattern you made for the main decking can be used for both the quarter deck lift and the scribed decking above. Saw out this lift and secure it with screws. It must be the same size as the deck plank below it at all points. Disregard any unfinished part right aft; the superstructure and transom provide the finished product.

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The scribed decking, which is the same shape and size as the lift below it, should extend beyond the after end of the lift one-half inch on the 12" model, and one inch on the 24" model. This part is required for the floor of the poop deck above. Scribe the forward part of the quarter decking beyond the poop deck limit and stain it light oak.

Make a pattern in cardboard of the after end of this main deck plank for the poop deck, which is 2⅜" long fore and aft on the 12" model, and 4¾" long on the 24" model. The smaller model requires ½" wood and the larger model 1" wood. The decking above this lift is exactly the same size and should be scribed all over, then oak stained.

The Forecastle Superstructure

The superstructure on each side must be sawn out of plywood, as shown on the drawing, and rest on the deck lift in the recess beyond the decking. (See Fig. 23). This pattern when fitted forms the port and starboard walls of the forecastle, and butts into the bulwarks of the main deck. Deck beams across the ship are attached to these forms on which the forecastle deck is laid. The forecastle position and limits are shown in the broken lines on the deck layout Drawing 59. Glue and pins will hold the housing in position until the bulkheads are installed. Do not make fast to forecastle deck until the bulkheads are in place.

The After Superstructure

The port and starboard pattern for this enclosure follows the shape shown in Fig. 40A.

It is a one piece plywood that shapes the whole after part of the ship and includes the bulwarks for the poop and quarter decks, which were three feet on your scales above the deck level. It fits into the recess between the main decking and the main deck lift and can be pinned or glued to the side of the ship. Use a cardboard pattern to get a proper fit. Saw out the plywood form and paint it light grey on both sides before you fasten it to the ship.

Bulkheads

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Working to fractional dimensions of scaled drawings is never satisfactory in confined spaces like bulkheads. Human error, even with the best of us, comes naturally. The cardboard pattern cut to the proper dimensions is more accurate and time saving.

Plate 8 shows the design and proportions of all the ship's bulkheads, but their dimensions should be checked on individual patterns, then transferred to plywood.

The poop deck bulkhead shows a leaded glass window. This is the whipstaff lantern shining through the bulkhead. Saw out a proportionate hole in the wood and insert a piece of wire mesh cut on the bias; back of it a plastic section to represent glass, and back of that a piece of white paper. This will imitate a leaded glass lighted window. On the outside a frame cut from red paper will complete the illusion. The doors may be formed out of veneer and the knobs made from y8" beads. Doors should be varnished. Fine stripwood painted white is used for division lines. Bulkheads are painted light grey.

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Quarterdeck Bulkhead

The bow view photograph of the ship gives a clear view of the quarterdeck bulkhead. It should be made from a cardboard pattern and painted light grey on both sides. Two large eyelets painted black, with small cannon projecting out of them, illustrate arquebusses for scouring the deck with small shot. They were simply old fashioned blunderbusses that scattered shot on enemy boarders and were deadly at close range.

Two vent ports are shown in this bulkhead which is detailed in Fig. 41 A. Their function was to provide light and ventilation, but they could be used as musket ports in action. A strip of plastic behind the slots will indicate the glass panes. A small paper union flag, which you can buy from your supplier, will serve as the ship's escutcheon. Door and division strips are the same as those used on other bulkhead, but the lower finishing strip next to the deck must be painted blood red.

The Forecastle After Bulkhead

The only difference between this bulkhead and that of the quarter deck is the double door at midships. One of these doors led to the crew's quarters; the other to the passenger accommodation below decks. The port vents, arquebusses, painting and trim are the same, and the lower trim must be red like the quarter deck bulkhead.

Fore Deck Bulkhead

This is shown clearly in the bow view of the ship. Only a single vent port at midships and a door on the port side. All division strips are painted white.

There is a bend in the bow of the ship at this point and careful measurement with a pattern is necessary in order to keep the bulkhead within the limits of the main deck planking and leave the recess free for the bulwarks later on.

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Transoms

The ship has three transoms: lower, middle and upper, as shown in Plate 9. Level the lower transom by sanding; this is the rough end of the wood and must be veneered to make a satisfactory job. The slot which you cut into the after end of the deck lift can now be painted dead black to simulate darkness. This is the helmport through which the tiller passes on the level with the rudder head. Visualization of this operation is clear in both broadside and quarter view photographs of the ship. Carve a half oval hole in the pattern and place it over the helmport; then mark your pattern.

Cut out the lower transom pattern on thin veneer and glue it to the hull. When the helmport is properly fitted, paint the same colors as the hull.

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The rudder and helm can be carved and fitted now. The tiller fits over the rudder head and is glued in position. Its length need only be that of the helmport and will not be seen. Dowel and glue the rudder to the transom firmly. The two small gunport lids, one on each side of the rudder, should be painted black.

The Middle Transom

Plate 9 shows the detail and the shape of the middle transom, but the cardboard pattern is the best means of fitting it. This section begins at the top of the lower transom and ends at the quarter deck plank which forms a roof above it. A little bevelling of the edges is necessary, which is impossible to describe.

An arched top window painted red, and made in the same manner as that on the poop deck bulkhead, is in the centre. This window worked on the same principal as a french window which opened inwards to allow passage to the stern walk. However, a dummy is sufficient. On each side of this window is a paper St. George's cross obtainable from your supplier, or you can make them.

The Upper Transom

This section was often called Taffrail, a word that is derived from the Dutch Tefferel meaning a picture frame. Dutch ships of the sixteenth century often showed the King's head in this frame. Plate 9 shows detail of this transom but not its actual dimensions. Only a cardboard pattern can verify its exact measurements. The Sea Dog design with Sea Venture below it is the ship's emblem.

It can be painted on the centre of the transom, which is painted black and framed with white moulding. This pattern covers the ends of the poop and quarter decks, also the superstructure ends, and reaches upward above the poop deck, level with the bulwarks.

Bulwarks

The main deck bulwarks consist of a strip of plywood fitted into the recess between the deck lift and the main decking, and are butted into the after and forecastle superstructures. There are three gunports in this bulwark, with open lids to show the guns. The drawing shows the scale of height. It would, however, be advantageous to wait until you receive the dummy guns from your supplier before carving the gun-ports. The correct size of dummy guns is one inch long for the 1/5th model and three quarters inch long for the 1/10th model, but you may have to accept guns slightly larger or smaller.

Then carve the gunports to suit and fit the open lids as shown on the broadside view.

Do not secure the bulwarks in place until all the deck fittings are in place. It will be less awkward to work inside on hatches, pumps, etc., if the bulwarks are not in the way.

The Foredeck Bulwark

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This section is shown on Fig. 42: it butts against the forecastle bulkhead and runs along the recess between the fore decking and the lift, right out to the end of the beak head.

The bends may be too pronounced to use plywood. White pine soaked in hot water, or steamed, is more satisfactory. Pin it in position while wet and secure it permanently with glue and pins when dry.

This is the end of the hull construction, except the hand rails which can be fitted later.

Decorating The Hull

Sea Venture belonged to the Royal Stuart age of splendor and her colorings are much more elaborate than any of the old time barkes that had to do with early American History.

The geometric patterns may be painted on, but it is more satisfactory to cut them out of colored paper and stick them on. Amyl acetate or lacquer, which can be bought in drug stores as clear nail polish, is a good substance if brushed on lightly. It can also be used on the outside to protect the design from moisture and dust. The poop deck bulwarks above the deck level are light blue. The quarter deck design is red and runs all the way from the transom to the main deck bulwarks. This design and color is also on the upper edge of the forecastle superstructure. The foredeck bulwarks are painted black, and the white geometric design goes right out to the end of the beak head. These colors are shown clearly in the color plate frontispiece.

Inboard all the bulkheads have this same design in light green. The division lines should be narrow stripwood or painted on.

Fittings On The Hull

The stern walk. This pattern follows the line of the main deck just over the helmport. (Fig. 43)

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Cut out the cardboard pattern that fits the contour of the ship. This will give the lower platform dimensions. The bulwarks, hand rails and colored design goes all around the stern walk. The platform is painted light grey on both sides; the bulwarks are grey inside and black outside. The trim is black, the geometric white. It is supported by knees fastened to the hull two on each side. Fig. 44 shows the main deck, quarter deck and poop deck hatches which were covered with grating to provide light and ventilation below deck.

The accommodation hatches on the fore and quarter deck and the magazine hatches on the gun deck were not ventilated.

The hatch combings were all painted blood red except the poop deck, which was painted grey. Gratings were varnished, except that of the poop which was white. The deck layout on Drawing 59 gives their dimensions.

Knights

Fig. 45 shows a design which harmonizes with the age of the ship and suits the fittings which are available at your supplier.

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There is no actual design for merchant ships of the early seventeenth century to suit everyone. Instead of sheaves used in knights designed for warships of this age, cleats are used because they are suitable and easily procured. These knights, painted black, are set into the deck immediately behind each mast. Their main function is to accommodate the tackle for the yard lifts, which is explained in the section on Rigging.

Wales

Wales were heavy planks running fore and aft on the outside of the hull for protection against collision of enemy ships when boarding. The lower wale of stripwood is centred on the waterline. The top is the sheer wale, the centre is midway between the two as shown in the broadside view of the ship. Fit these wales, paint them black and pin the two lower ones in position; but do not install the sheer wale until the bulwarks are in position, then the sheer wale will hide the join.

Channels

Fig. 46 is a spacing board or channel fastened to the hull to space the deadeyes.

They are secured to the hull by knees for rigidity. The fore channel has notches for five deadeyes. The main has six and the mizzen four.

Anchors

The wood stock anchors are slung in the davit by a lanyard which is fastened to the rail by a cleat. Do not use chain; anchor cables were made of rope in those days. Seize the cable to the ring, with the other end in the hawse pipe, which you can make with a large eyelet.

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A line is attached to the fluke of the anchor and the other end is fastened to a small cask or buoy to mark the position of the anchor if the cable broke. A suitable cask can be bought from your supplier for five cents.

The Whipstaff

The steering whipstaff is set in the quarter deck at midships, in front of the window in the poop deck bulkhead. It indicates to the helmsman below deck which way to move the helm. The steering gallery below decks was only 5' wide and allowed very little leverage to the helm. The principal steering was done by the lateen sail. The lateen sail on the mizzen was used solely as a steering sail. It was not considered as a propelling sail.

Hand Rails

The bow view of the ship gives a clear view of all the hand rails and how they are installed. They are all made of stripwood, slightly larger than the thickness of the bulwarks to which they are attached. The top of the railings can be made half oval by sanding the edges. Small white beads make excellent stanchions. Paint your railings first, then fasten them in position with pins driven down through the railing and the beads, into the bulwark below.

Armaments

The ship's armaments consisted of eight demi-culverins, 9 lb. shot; eight sakers 5 lb. shot; and four falcons 3 lb. shot.

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The main and quarter deck demi-culverins and the two small falcons on the forecastle head are mounted on carriages as shown in Figs. 49 and 50.

The sakers are all inboard and only the gunport lids, to show their position, are required. Two of the demi-culverins are mounted on the quarter deck with the muzzles poking through between the bulwark and the hand rail. No gunports or lids are required. The other six demi-culverins are on the main deck, spaced evenly. Carriages are separate and they should be pinned and glued to the deck close to the bulwark. When they are in position, mark the gunports in the bulwark, cut them out, paint the inner side blood red and the outerside black. Now the main deck bulwarks can be installed, the gunport lids fitted, as shown in the bow view of the ship, and the guns glued into their carriages with contact glue. All that remains are the two smaller falcons on the forecastle head which can be fitted without gunports on lids.

Gunport Lids

The main deck demi-culverins require open lids; they should be painted black on the outside and blood red inside. They are held up by a lanyard attached to a cleat on the main rail. (See Fig. 51) The sakers are all stowed inboard with closed lids. The Quarter deck demi-culverins and falcons on the forecastle need no lids.

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Ladders

Two ladders are required for the poop deck; they are painted white and may be made with wood or metal. The bow view of the ship gives a clear vision of these ladders.

Two poop deck lanterns, painted red, are required. They are fastened to the upper transom, one on each side. They are rather difficult to carve but can be obtained from the supplier.

Davits

Anchor davits are posts set into the fore deck bulwarks. There is a sheave in the outer end and a screw eye on the lower side to accommodate the catting lanyard.

Lifeboats

The longboat, painted white, is laid bottom-up on the main hatch and is lashed to four screweyes in the hatch combings. The catboat is stowed and lashed over the quarter deck hatch in a similar manner. Use black twine for the lashings.

Capstan And Pumps

Two upright old fashioned draw pumps are fitted near the quarter deck bulkhead. These are painted black. The capstan, painted red, is fixed in the deck midway between the pumps and the main knight.

Symbolic Drawings In The Text

The little figure drawings in the text where they are most applicable provide a visualization to be followed in the time and sequence of model building.

Fractional measurements without guidance are often puzzling unless limits are known and understood. The shape of things to come outlined in these unsealed figures enables the modeler to understand the nautical names and purpose of the particular section he is working on.

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Working by patterns, carefully fitted to their measurements by rule, is the acme of professionalism, because drawings and detailed specifications together assure greater accuracy. While these innovations apply to modelling Sea Venture; they are also applicable to any kind of model ship building.

Mast And Spars

The scale Drawing 59 provides details and measurements for all masts and spars for the 1/10th scale model. A table of lengths, thickness and tapers is provided for the larger model. There is no substantiated evidence that spar measurements followed the same scale as that of the hull. Fractional measurements, therefore, can be omitted and be replaced by standard rule dimensions.

Sea Venture's spars were made from Baltic (white) Pine, but many modelers use the standard cherry wood dowels. These dowels are a little harder to taper and form, but the use of broken glass for scraping the wood to size is very helpful, and this type of wood seldom has refractory grains like pine.

Table Of Mast And Spar Dimensions max. length diameter masthead in inches in inches in inches

main lower mast 12 ⅜ ¼ fore lower mast 9 5/16 ¼ mizzen lower mast 6¾ ¼ 3/16 fore & main flag pole 2 ⅛ 1/16

The main mast is measured from the main deck; foremast from the forecastle deck, and the mizzen from the quarter deck. Add the length required for stepping below decks'.

max. length diameter masthead in inches in inches in inches

main top mast 6¼ ¼ 7/32 fore top mast 6 ¼ 3/16 mizzen top mast 6¾ 3/16 1/16 main topgallant 5 3/16 1/16 fore topgallant 4 5/32 1/16

Bowsprit: length to fore deck bulkhead is 1¼", diameter ¾", tip 14".

max. length diameter masthead in inches in inches in inches

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main lower yard l2½ ⅜ 3/16 fore lower yard l0¾ ⅜ 3/16 mizzen lower yard 6½ ¼ ⅛ spritsail yard 6½ ¼ ⅛ lateen yard l0¾ ¼ ⅛ main topsail yard 6¼ ¼ ⅛ fore topsail yard 5⅜ 3/16 3/32 mizzen topsail yard 3¼ ⅛ 1/16 main topgallant yard 3⅛ ⅛ 1/16 fore topgallant yard 2¼ ⅛ 1/16

NOTE: Yard tapering is a subject on which no unanimity has ever been reached. Proportionate tapering half way from the centre to the yard arm looks best. In each case the yard arm tip should be half the diameter of the yard's centre.

Make your bowsprit to its proper dimensions and taper it. Sand it for painting, then install two cleats on each side near the stem head. Paint the bowsprit mast color and wold it.

Your supplier has 3/16" brass cleats that can be driven into any spar to fasten the halyards and braces. They are listed in his catalog as "Brass Cleats No. 13." Refer to listings in the Appendix.

Woldings are rope bands around the bowsprit and masts to strengthen them. They can be simulated by winding black cord around at even intervals. Five woldings of eight turns are required for the bowsprit. Details are shown on the fore and main masts in Drawing 59.

The bowsprit is the first spar to be stepped because it governs the rigidity and setting of all the masts. The tilt or "steeve" of the bowsprit is very important. This spar, which is the longest in the ship, enters the deck in front of the forecastle bulkhead, not in the centre, but far enough to starboard to clear the foremast. In the actual ship it continues on down into the hold and was stepped under the main hatch. You can bevel the under side of the butt to simulate its entrance into the deck, once you have found the correct steeve or tilt.

The actual height of the outer end of the bowsprit is 35' above the water line mark on the hull, which equals 3½" on the 1/10th scale and 7" on the 1/5th scale, by rule. Carve the bevel on the underside of the butt to suit this height; then pin and glue it to the deck. Gammon the bowsprit as shown in Fig. 39. The gammoning line goes down through two slots in the beak head deck and around the stem knee.

The Lower Masts And Yards

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Make all three of the lower masts and yards at the same time; paint them mast color and wold the fore and main mast. Drive in three small cleats on each side of the fore mast two rows of three on each side of the main and mizzen, half inch above the deck level. These cleats are the same as used on bowsprit and are needed for the braces and halyards. The object of fixing these cleats to the mast now is because you can hammer them in before the mast is stepped and they can be painted mast color at the same time.

Fixing The Lower Yard

Drill a hole in the mast, fore and aft, one inch below the doubling. The lift goes through this hole and forms into a loop to hold the lift halyard block on the after side. All three masts are the same. Pin the yard to the mast in its proper position. It can be permanently secured later on.

Stepping The Foremast

Do not step the main and mizzen masts until the foremast is complete; otherwise, they will be in your way while dressing the mast and yards.

The Tops

The tops are fixed to the mast ⅞" below the mast head. This is the length of the doubling on the 24" model. However, holes have to be drilled in the bottom of the top before they are fitted to the masts. There is the centre hole through which the mast head passes; two slots made, one on each side where the shrouds enter; a ⅛" hole forward for the forestay, and three small holes on each side for the upper yard halyards to pass through on their way down to the cleats driven into the mast. When this is accomplished, paint the top grey like the hull and black inside; then fix it to the mast with Weldwood glue.

Tops should be made on a turning lathe, out of hardwood. There is no available supply source for tops of this period.

Mast Assembly

Plate No. 6 shows an enlarged view of the mast assembly and the positions of the yards. It is good practice to complete the mast work and attach the yards in position temporarily before stepping the masts. Holes for the yard halyards should be drilled through the masts where shown in dotted lines, using the Collet drill, item No. 7 in the tool list. Cut a slot in the lower mast doubling just above the bottom of the top to allow the lower shrouds to be fastened there. All this work should be done before the tops and mast caps are glued in position. The upper tops are plain circles made with sheet fibre. All masts are fitted the same, except that the mizzen has no upper doublings.

The best way to step the mast is to fasten a tiny screw into the butt and file it down to needle sharpness; Fig. 31 shows the detail. When the masts are properly aligned push the sharp point into the soft wood below decks.

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The Fore Channels And Deadeyes

The five wire stropped deadeyes can now be fixed into the channels with tiny round head screws, ¼" x 0. The deadeyes for the fore shrouds must be the same size and design, but without strops.

Attach the stropped deadeyes to the side of the ship, using six for the main, five for the foremast and four for the mizzen. Now you can make your shrouds and ratlines.

Shrouds And Ratlines

The methods and specifications, detailed in the intermediate course applying to the clipper ship Flying Cloud, apply also to the Sea Venture, except lengths which you must determine by measurement when the masts are all set dead midships. Reeve your lanyards into the deadeyes as shown in Fig. 33.

Spreaders On The Lower Shrouds

There are three wooden spreaders to each lower shroud; the lower one, called the sheer pole, is attached to the shroud at the deadeyes; the middle one is half way up the shroud, and the upper one is called the futtock staff. Seize these spreaders to each strand of the shrouds and varnish them.

The Topmast Shrouds

These shrouds, which can be made on the same form as the lower ones, have three strands and are fastened to the futtock staff on the lower shroud. The upper end goes through the top and is attached to the mast head. File three slots in the lower top for the strands to rest in; then use a spot of glue to hold them.

The Topgallant Shrouds

These shrouds have no deadeyes or landyards; they are fastened to the upper top by a crown or drawbucket knot. The upper end is attached to the topgallant doubling. Only two strands are required.

Rigging Lines, Blocks and Deadeyes

All the standing rigging should be black and increased in size as you work downward. If you have difficulty in finding black cord for this purpose, bleach the wax out of white cord and dye it black; then varnish it when it is in position. The main stay, which is equal to the anchor cable, is the largest rope in the ship; the other stays should be reduced proportionately.

Yard Halyards

Sea Venture's yard halyards were all fastened inboard to the knights behind the masts. There is no way of showing them in a profile drawing because the mass of other rigging obscures them.

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The exaggerated view of these halyards shown on Plate No. 10 is quite clear. Yard halyards on all the masts are rigged the same except that the mizzen has one yard less.

Halyards are fastened to the yards as shown in detail 2 Plate No. 10; the end goes through the mast to a block on the after side. One end of the halyard is whipped to the block as shown in Fig. 35. The lower block of the topgallant and topmast halyards is fastened to the masthead and the end comes down to a cleat on the knight. The lower yard halyards are similar, but the lower block is hooked to the ring in the knight and the end is also fastened there. The upper blocks should be⅛", the topmast block 3/16", and the lower ones ¼". White cord is used for these halyards, decreasing in size downward. Yard arm halyards are clearly shown on Drawing 59. All are the same and end up on cleats fastened to the mast near the deck.

Dressing The Yards

Each yard arm requires two single blocks one pointing upward for the yard arm halyards, and the other pointing aft for the braces. The latter should have a short pendant of 26 link chain. File a slot in each yard arm near the tip for the lashings of the blocks. This will look professional and make the lashings secure. All lashings on all yards, stays and masts should be fine black cord and be touched with clear nail polish.

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Standing Rigging

Yard arm halyards should be attached at the beginning so that the yards may be set in proper alignment. They are all marked No. 12 on the Drawing 56. The whip is fastened to the mast where shown; the end comes down to a cleat on the mast near the deck. All these lines should be white.

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Fore and Aft Stays

The fore and aft stays are clearly shown on Drawing 59. The main stay, which is heavy cord the size of the anchor cable, has deadeyes and lanyard above the forecastle. The fore topmast stay has a euphoe or fiddle block and a martinet laced to the bowsprit. The mizzen stay is lashed to the main mast under a cleek as shown in Fig. 31. All cords are black.

Back Stays

The fore and main backstays are fastened to the upper doublings and have tackles at the lower end which are attached to the after end of the channels; the ends are fastened to belaying pins in the railings. The mizzen mast has no backstays. The stays are black cord the tackles are white.

The Winding Tackles No. 190

These tackles are fastened to the lower main doubling and come down through the top with the main stay. The ends are fastened to screw eyes in the forecastle deck. The upper block is lashed to the stay; the lower one is hooked into a screw eye in the ammunition hatch cover; the end is fastened there also. The stay is black cord; the tackle is white.

The Yard Arm Braces No. 14

The fore topgallant yard braces are whipped to the main topmast stay, then to a block on the yard pendant; down to another block on the main topmast stay; through a block on the fore top and end at a cleat on the mast. All blocks except the pendant block should be double. All cords are white. The fore topmast yard braces are rigged exactly the same; so is the fore lower yard, except the end is fastened to a belaying pin on the after forecastle railing.

The main topgallant yard braces are whipped to the mizzen mast head; then to the pendant block; back to the double block on the mizzen mast head and end up on a cleat on the mast near the deck. The main topmast yard braces are rigged the same. The lower main yard braces are whipped in the pendant block as shown in Fig. 35. The lower block is attached to a screw eye in the after deck railing, the end is fastened to a belaying pin close by.

The mizzen topmast yard braces are whipped to the lateen yard; up to the pendant block; back to a double block on the lateen yard; then down through another double block on the mizzen top to a cleat on the mast. The mizzen lower yard braces are rigged the same as those on the main.

The lateen yard braces are actually guys to secure the yard in position and no blocks are required. The ends go down to belaying pins on each side of the quarter deck railings. The lateen down haul No. 116 is rigged exactly the same.

The spritsail yard braces on the bowsprit are shown clearly the end comes along the bowsprit to a cleat on the port and starboard sides of it. The ends of the spritsail yard halyards are fastened to the bowsprit in the same manner; all are white cord.

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Sail Outlines

These lines indicate the shape of the sails and their actual size. Fasten a white line to the upper yard arms, down to the next yard and ending up on the lower yard arms.

Now you can adjust all your yards to proper alignment, then put a spot of nail polish on the fastenings and trim them closely with scissors.

Finishing Touches

Flags St. George's crosses, two to one in dimensions, are sewn to the foremast head and the after staff; the union flag, not the union jack, about 4 to 5 in dimensions is sewn to the mainmast head. This flag has no St. Patrick's cross. The admiral's broad pendant, about 6 to 4 in dimensions, is sewn to the mizzen mast head. All can be made from cardboard and painted on both sides.

Figurehead This can be carved out of wood, using the pattern shown in the upper transom Fig. E. It is painted white and fastened to the beak head deck between the railings.

Exhibiting the Model

If you have made a complete hull, mount it on pedestals and baseboard, or make a suitable cradle. If it is a waterline model, it can be left as is. Glass cases are not recommended unless the model is exhibited in public places.

If a glass case is necessary do not put glass in the back of it. Use a plywood board painted azure; this will give the rigging lines more definition. Always show model ships from the starboard side. Don't forget the oriflames or stern lanterns, one on each side of the upper transom -both are painted red.

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Chapter 9 - Precious Model Ships The principal object of this chapter is to reveal and provide leads and contacts to sources of information for those modelers who are interested in research work. The models exhibited were all dug up out of the dust of time. No plans or pictures of them existed and no one knew what they looked like. They are all national treasures of great historical importance, or precious symbols that appeal to descendants of bygone shipmasters, builders or operators. Scores of others await the research worker's patience and the craftsman's skill. Some of these old ships have colored the pages of local history with great significance and gallant enterprise that laid the foundation of many communities and the fortunes of hundreds of descendants still living.

Research work alone, without craftsmanship, cannot bring the knowledge recovered into fruition. Pictures, writing and lectures fail to produce the detailed images of these old ships. Only the skilled modeler can fashion them into treasured models of great accuracy. There is also the subsidiary field of writing and lecturing which brings with it a feeling of importance. Research and modeling combined is by far the most absorbing of all hobbies because it is remunerative enough to make a retired man feel useful and important in his later days. It is an unending quest from which there is no escape nor any desire to do so. Age never catches up with him and boredom is unknown.

The Flagship Traveller

The Traveller was the flagship of a fleet of twenty-six ships that traded among the Islands of the Caribbean from 1750, until 1829. This enterprise is a salt water saga of vigil, hardships and little ease. The stouthearted family that owned and operated these vessels pitted their resources and courage against the cruel sea for eighty years; sometimes winning great stakes when their luck was in; at other times losing everything through the vagaries of the sea. All that is known of these missing ships is the melancholy entry in the Register of Shipping "Not cancelled out" meaning that they are still missing after a century and a half.

Long before the Registry of Shipping opened in 1787, these little home built sloops and schooners were operating out of St. Kitts, St. Vincent and Bermuda. All that is known of them is their departure dates in the Register. They sailed away upon their lawful occasions manned by local crews; some reached their destination and returned; others were never heard of again; some were lost in deep water and some in the sight of shore, but the family took their losses for granted and built others. Four times in four score years the fleet was reduced to one vessel, or to nil. Each time disaster struck, the family staked all their assets on a new fleet, only to have them fall victims to enemy action, hazards of the sea or act of God.

The flagship appears on the scene in 1820 with her sister ships, Dart, Paget and Mariner. Undaunted by earlier losses, the family staked all their possessions on these great brigs that could range as far north as Newfoundland for salt codfish; to Halifax for lumber and flour, and southward to Trinidad for sugar, molasses and pitch.

For the next nine years fortune smiled; their lands and possessions were redeemed; the ships were paid for and the family prospered. Then out of the blue disaster came again. Early in 1829

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the Dart foundered in a hurricane off Barbadoes with the loss of all hands; in April of the same year, the flagship Traveller, the gem of the fleet, was a total loss on the Bahamas; three months later, on July 3rd, the Mariner piled up on the rocks of Cape Cause, N.S. a total loss. It was the end; the Paget was sold; the house flag, the cross patee, was hauled down for the last time.

The Flagship Traveller

There was not much research work attached to the pattern of the Traveller, although there were no insurance underwriters to provide details of her. Information in the Registry of Shipping, although scant and cryptic, provided her dimensions and rig. Typical brigs, built after the war of 1812, supplied many other details needed. The model of the Traveller is owned by Kenneth Trimmingham, Esq.

Cedrene the Splendid

The barke Cedrene was the largest of the four great ships built by J. J. Outerbridge; all were distinctive in different ways. Sir Geo. Seymour was a rakish, low waisted vessel that looked like a swashbuckling privateer. Her record run to Queenstown, Ireland, in twelve days established a record in the mid-fifties. Kohinor was elegant from keel to truck, with her cruiser stern and standing bowsprit. Her gilded figurehead the great mogul with the "kohinor" diamond around his neck, gave her an outstanding look alongside the other barkes of that age. Lady Milne was a dainty little thoroughbred that seemed to be prancing on her moorings eager to get out to sea. Cedrene, however, was J. J.'s masterpiece and valedictory. Old records claim that he built her from memory, straight out of his heart, and made the plans afterwards. The news of her loss by human incompetency was a blow from which he never recovered.

Cedrene was the first and perhaps the loveliest of the great sea beauties that came to an untimely end in the nineteenth century. Old seamen claim that the jealous sea put a jinx on these great racing thoroughbreds out of spite; but in every case their loss may be traced to human error.

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Fragments of information were scattered and skimp, but perusal of old letters and documents; details of Capt. Dill's log of that fateful voyage; entries in the Registry of Shipping, and the plans of her uncovered from the insurance underwriters, revealed a clear picture of her within a few months.

What surprised me most was the difference between her lines and innovations and the usual lowly barkes of that age. Trading barks of the mid-nineteenth century were the simple workhorses of the sea, lacking glamour of any kind. The grace and beauty of Cedrene was not a matter of local opinion only she possessed the lines, advanced design, and every innovation that the nautical rennaissance of the century had developed and which were applicable to full rigged ships only. Barkes, as a rule in the 1860s, averaged about four beams that is, they were four times their beams in length. Cedrene, when she appeared in 1862, was five and a half beams. Her hull was, therefore, longer and narrower, giving the ship a graceful, yacht-like appearance. Barkes of those days carried masts about two-thirds of their length on deck. Cedrene $ mainmast was 93', the same length as the ship between perpendiculars. With taller spars she was able to accommodate the double topsail, probably the first time in maritime history that a barke was fitted with the split topsail. Certainly, she was the first colonial barke to sport them.

F. Hamilton Cedrene, The Splendid

There were many other innovations woven into Cedrene that lack of space prevents me from detailing. Her crowning glory, however, were her topgallant railings, her clear cut entrance and her great shearwater bows. I have searched through the records of the nineteenth century to find a counterpart of this splendid barke, but she had no equal until the beautiful Ladas was built in 1894. Had she survived, she would have been acclaimed the most graceful barke in the Western Ocean.

She sailed from Hamilton, Bermuda, on March 16th, 1862, with 170 convicts and a strong naval guard, for Portsmouth, England. That fatal voyage has been considered a mystery by some on

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account of the course taken by Capt. Dill, and the erratic way in which the log book was written up; but I find nothing irregular or unusual under the circumstances.

Strong westerly gales prevailed for the first ten days and Capt. Dill steered due east in order to ease the ship off before the wind under lower canvas, because he did not dare to put the strain on her before she tightened up. The fact that she was several points off course has no relation to the disaster that followed. It was a precaution that a good skipper would take with a heavy human cargo aboard.

She picked up the Bishop's Light at 10 p.m. on April 1st. The night was fair with a moderate southwest wind and all was well. Capt. Dill left the ship in charge of the mate and went below with instructions to be called if needed. At 1 a.m. the mate became confused by a dark mass ahead which he mistook for a cloud. He called the skipper who ordered the ship about, but it was then too late. Cedrene had hit the sandbank on the Isle of Wight. At daylight when the tide was out, the convicts waded ashore. There were no casualties, but the ship was a total loss.

The wreck was stripped of her beams, planks and decking and built into the little church of Mottistone, where the fragrance of cedar wood lingers after a hundred years.

This model was built for the late I. S. Outerbridge whose grandfather built the ship in 1862.

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Quarter View Of Sea Venture Bermuda News Bureau

Sea Venture

The remarkable accuracy and success of the search for details of the ship Sea Venture is probably the highlight of nautical investigation during this century, mainly because it was a solo search by a modeler without benefit of state or public funds. All the details unearthed during the three years' search had been available for over two centuries, but the former searchers were not interested in the nautical details available, or else lacked the modeler's knowledge to appraise them.

Thousands of pages have been written about the historical significance of the great Sea Venture expedition of 1609; its importance and far reaching effect on early American history are outstanding and profound. Shakespeare's "Tempest" is based on the wreck of her; all England contributed to the enterprise, and the bishop of London likened her mission to Abraham's "journey into a far country" but these things were useless to a modeler seeking mechanical details in order to build a model.

Over the centuries, artists, historians, writers and others have cast up mind pictures of the ship, ranging all the way from the Great Harry to the Flying Dutchman. In all history there was not a single reference to the ship herself, except the inscription on the cross left behind by Sir Thos. Gates in 1609 that she was "an English Shippe of 300 Tonnes called Sea Venture."

That lone fragment meant nothing until we knew when the ship was built. Tonnage ratings varied according to the period in which the ship was constructed. If she was an old Tudor vessel reconditioned for the purpose, like the others, her tonnage would have been measured by the total bulk of the hull in cubic or wines tons. In Stuart days tonnage was subject to one-quarter deduction for fallaway the result was tons burden. The difference in tonnage would change the classification of the ship. There could be no progress toward model building until her actual tonnage was a known quantity.

No advancement occurred during the first six months of the search. Nautical museums, libraries and historical institutions possess neither the funds nor inclination to correspond with a lone individual who might be motivated by personal curiosity only. Without the timely assistance received later from the acting Governor of Bermuda the search might have ended in failure.

The patterns and proportions of a ship's hull during the period between 1560 and 1640 changed very little. Baker's FRAGMENTS OF ANCIENT SHIPWRIGHTY, and Deanne's DOCTRINE OF NAVAL ARCHITECTURE provide the exact scales of lengths, beams, depths, rakes and overhangs; all were based on the keel's length. But no one thought it worth while to preserve, or record details of a ship's keel in those days. However, if her correct tonnage is known, her bulk is known and you can work downward towards the keel with these proportions and the result will be the keel's length.

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The first bit of useful information received came from the London Science Museum of South Kensington; it was only a shred. They advised that Sea Venture was an early 17th century ship but they had no details. Later the National Maritime Museum referred me to Marsden's SHIPPES OF THE REIGN OF JAMES I. Well, there it was substantiated proof that she was built sometime between 1603, when James came to the throne, and 1609 when she was wrecked. Touché the backbone of the search was broken. Properly interpreted, this bit of information led to the complete resurrection of the ship because her cubic bulk was a known quantity. Sir Thos. Gates' inscription that she was "300 tonnes" meant tons burden and not cubic wine tonnes of olden days. It meant also that she was not just another lowly barke of the merchant fleet, like the others, but a 6th rater, a galleon and a full rigger, with topgallants on her fore and main and a topsail on her mizzen. The rest was simple mathematics.

To fashion a hull large enough to produce 300 tons burden, the total bulk must be 400 cubic tons of 100 cubic feet per ton; then deduct one-quarter for fallaway and the result is 300 tons burden. The scale of proportions nearest to 300 tons provided in "Petts Scale," DEANNE'S DOCTRINE OF NAVAL ARCHITECTURE, and Millward's authentic drawings of a ship circa 1610, were as follows:

Length on the keel 75 ft. Beam 26½ ft. Depth 15 ft. Length on deck 100 t. Bulk or wine tones 397 Fallaway 99 tons Tons burden 298 Sir Thos Gates Rating, 1610 300

There were no major problems once the hull structure was built; Millward's drawings show her elaborate stern walk and transoms; the little Ashmolean ship in the Ashmolean Library at Oxford University, gives details of her royal Stuart colorings; The Tower and London and the Naval Ordinance Stores provided the correct armaments for a ship of her size and age; the College of Heralds keep records of figureheads, which in this case was the mythical Sea Dog, worn by the Phoenicians 2700 years ago, and by the Vikings in the tenth century, and her proper flags are specified by the Naval Signals Dept.

I doubt if there is any other moment in a modeler's career more rewarding and satisfying than when he sees the image and beauty of an old ship unfold, that no other human eyes had seen in three and a half centuries. Whatever renown, or remuneration may follow in its wake that moment will always be the most precious.

In 1958 the model was completed and exhibited by the Bermuda Historical Society. Thousands of American visitors have seen it and wondered why this great galleon had not been honored in their own land. Now that the details of her had been proved by substantiated evidence. The reef hunters, skin divers, surveyors, marine archeologists and fishermen, who had been scouring the

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reefs for the wreck of her for years, renewed their efforts. Then within three months they found it in the very spot where history says she was wrecked on July 28, 1609.

There is always a climax to an event of this nature. The wreck lies down in 30 ft. of turbulent, shark infested water, under 8 ft. of sand where teredos can not live. There the international divers found evidence that the physical structure of the wreck varied only three-quarters of one percent of the model itself; something that is unique in maritime history.

The model was presented to the Bermuda Government by the city merchants. F. Hamilton Deliverance, The Goodwill Ship

Deliverance the Goodwill Ship

Deliverance was built from the wreckage of Sea Venture in 1610 built by the mariners and settlers without benefit of skilled help or shipbuilding tools. She possessed no vestige of glamour like the parent ship, because those who built her had neither the means nor inclination to build a pretty ship; nevertheless, students of history consider this little lowly barke the most important survival vessel in maritime history.

The wreckage of Sea Venture on July 28, 1609, was a major disaster, both to the settlers in Jamestown and to the Virginia Co. The polyglot lot of neer-do-wells brought to Virginia by Capt. Newport in 1607, were totally unfit to cope with pioneer conditions in a new land. They were solely dependent on supplies from England, despite the abundance available in Virginia.

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They were too reluctant or incapable to forage for themselves or trade with the Indians. Consequently many died from malnutrition on a diet of snakes and wild roots; the rest were eager to abandon the Colony at the first opportunity.

Capt. Newport, one time master of Susan Constant, built Deliverance; undoubtedly he copied the pattern of Susan. This is borne out by details of her in the Mariners' Museum at Newport News, and is confirmed by the famous John Smith of Colonial History, who visited Deliverance when she arrived back in England with the body of Sir Geo. Somers in 1610. Sketches supplied by the National Maritime Museum of London show both ships similar to each other in dimensions, rig and design.

Deliverance, with her little pinnace Patience, arrived in Jamestown on May 23, 1610, with a great quantity of foodstuffs and new settlers saved from Sea Venture. The pattern of colonization was changed entirely this time. The settlers were selected immigrants; yeomen, farmers, builders and mechanics, whose descendants laid the foundation of a great civilization. The Christian faith, the English tongue, the spirit of fair play and the pattern of freedom, came for the first time.

Maritime history records many instances where ship-wrecked mariners have built some kind of vessel out of the wreckage of the parent ship; always with one purpose in mind; always with one end in view: to get back home to safety. It is seldom we read of survivors continuing the broken journey to succor their fellow men. The building of Deliverance out of the bones of Sea Venture, the storing up of great quantities of foodstuffs for the destitute settlers, and the journey to Jamestown, are all part and parcel of the great Sea Venture mission that began in 1609 and has never ended.

No other survival ship in the early history of North America possesses the significance and continuity in the lives of her descendants as this little home made bark. For downright stout heartedness on the part of the leaders, mariners and settlers, maritime history has no parallel.

The model was built for the Jamestown Tercentennial in 1957 and was exhibited in the major cities of the U.S. as part of the festival attraction. It is now on exhibition at Jamestown the property of the State of Virginia.

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Glossary Of Nautical Terms ARQUEBUSSES Old fashioned blunderbusses about 3" bore for scouring the deck with shot, nails or metal parts; murderous at close range.

B. P. Between perpendiculars; from stem to stern post.

BEAKHEAD That part of the fore deck extending beyond the stem head.

BOARDING Vertical planks overside for boarding an enemy ship, obsolete after 1591.

SKEDS BONNETS Sail extensions that were laced to the foot of all sails in light or moderate winds.

BROAD PENNANT A forked white pennant flown at the masthead to denote an Admiral on board.

CARTHAPINS Rope lashings between mast and shrouds.

CHANNELS DEMI Chain plates that fasten the dead eyes to the hull.

CULVERINS The fourth heaviest gun of the Stuart period, exceeded only by the demi cannon 30 Ib. shot; cannon-perrier 24 Ib. shot, and culverins 17 Ib. shot.

EUPHOES Old time vertical blocks with two or more sheaves.

FALCONS The smallest cannon used for bow or stern chasers. GROUND TACKLE GAMMONINGS The ropes attached to the anchor. Rope lashings to secure the bowsprit to the stem knee. Inside the bulwarks or railings.

GROUND TACKLE GAMMONINGS The outer sides of a square sail.

MARTNETS The after fore and aft sail on the mizzen used for steering the ship. Distinct from propelling sails. Lines rove through the euphoes and fastened to the leeches of square sails for clewing up the sail from the deck.

ORIFLAMES The red lanterns on the taffrail of the leading ship hence "Follow my oriflames."

POOP DECK The deck farthest aft.

QUARTER DECK The deck between the poop and the main deck.

ROBANDS Lines used to lace a sail to the yard.

RATLINES The horizontal lines that form the ladder up the shrouds.

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SPRIT-SAIL The balancing sail under the bowsprit to keep the ship's head up.

SHIPPE OR SHIP The word shippe is used to denote a full rigger or galleon. Ship is used in the collective sense to denote vessels of any rig or size.

SHROUDS The multiple stays from the mast to the sides of the ship.

SAKERS A small 5 Ib. shot cannon for short range.

STERN WALK A railed-in walk around the stern of the ship. That part of the stem which supports the beak-head.

STEM KNEE A tackle on the mainstay used for hoisting purposes.

STAY GARNET The second square sail from the deck.

TOPSAIL Top gallant; the third square sail from the deck.

T. GALLANT The inward slope of the ship above the waterline.

TUMBLE HOME WALES Fore and aft timbers outside the hull to protect the ship from collision.

WHIPSTAFF A long steering lever with a forked end which gripped the tiller below decks.

WINDING TACKLES Falls fastened to the main stay to hoist shot from lower decks.

WITHE RODS Tough roots of trees found in the marshes or ponds.

WOLDINGS Rope bands around the masts and bowsprit to strengthen them.

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Appendix Model kits and parts are available from many sources. The yellow pages of your local telephone book provide a list of these suppliers. If, however, you require a variety of items, the general supplier is the most practical, because he stocks materials from many manufacturers and you can obtain all your requirements from one source. This is a great advantage if you have to shop by post. I mention two firms for the modeler's benefit because both have a general catalog containing everything needed and have served me promptly and well for many years.

In England The Web Model Fitting Co. 204 High Road, Wood Green, London, N.22.

In the U.S.A. James Bliss 8c Co. Inc. 342 Atlantic Avenue, Boston 10, Mass.