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In the church of San Marco (Saint Mark's) in Venice is a series of mosaics celebrating the so-called "translation" of the body of Saint Mark from Alexandria to Venice, where he became the city's Patron Saint. "According to legend, Saint Mark’s body was taken from Alexandria, Egypt, in 828. Two Venetian merchants travelling in Alexandria, obtained the relics of Saint Mark from Priests at the church of Saint Mark, where the saint’s body was interred. The Priests feared Saint Mark’s relics might be damaged or destroyed by the Saracens during the persecution of the Catholic community in Alexandria. Promising to safeguard the Saint’s relics, the merchants convinced the Priests to allow them to return to Venice with the body of Saint Mark. The body of Saint Mark was taken out of the sarcophagus and unwrapped from its silk shroud, the relic being substituted by another and less eminent Saint. It was then placed in a chest and taken on board the Venetian ship, the merchants first ensuring, that the Saint’s remains were covered by a layer of pork and cabbage. When the Muslim officials asked to inspect the chest, they cried out ‘Kanzir, kanzir’ (Oh horror) at the sight and smell of the pork. . . . Thus the Evangelist was safely conveyed to Venice but not before a number of miracles eased his passage across the Mediterranean.” There are five mosaic panels showing the ship itself at various stages of the voyage. They are all very much the same - three masted, lateen rigged, with two side-rudders - but with minor variations in the shape of the aftercastle, the stempost, the line of the gunwale etc. Some of these variations don't make a lot of sense and I am going to have to reconcile them and come up with a version that I'm happy with. This is a rather difficult ship to get a good concept of, but I was inspired by a couple of sketches on a Facebook forum by Wagdemar Lookomsky (I hope he doesn't mind me posting them here) which finally suggested a configuration for this ship that made sense. I'll be using these as a basis for my own reconstruction, but I won't be copying them exactly. I will be basing the hull shape mainly on that of the 14th century Contarina ship which Woodrat has already used for his 14th century Venetian Round Ship (see https://modelshipworld.com/topic/17991-venetian-round-ship-13th-century-by-woodrat-132-scale-fully-framed-completed/ ) and I will be shamelessly copying much of his technique in building my own (though at a smaller scale). However, this is at the research stage at the moment. First I want to get a lot more done on my Great Harry restoration, which as languished while I built my nef. But this is a bit of a heads-up for those who are interested. Steven
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Per la prima volta mi ritrovo coinvolto nella ricerca storica (sebbene il lavoro di ricerca e sviluppo del piano sia quasi interamente di Luigi Ombrato) di una nave veneziana. Fu l'idea di realizzare una nave italiana in contrasto con la miriade di navi francesi e inglesi che alla fine mi convinse. Poi considerando la possibilità di fare anche un vaso veneziano poiché anch'io veneto essendo nato a Chioggia, tutti i miei timori sono svaniti. Per scelta modellistica ho deciso di rimanere entro gli anni '80 del Settecento poiché, a differenza di francesi e inglesi, nelle costruzioni veneziane si usava ancora il sistema ad una costola costruita con la tecnica dei partisoni arrivando a utilizzare ben nove pezzi per costruire un unico rib, una realizzazione a livello modellistico più complicata del doppio rib ma tipica delle nostre navi. Lo studio è iniziato esaminando attraverso rilievi due modelli appartenenti alla collezione del Museo della Marina di Venezia; dopo attenti confronti si è stabilito che questi modelli appartengono alla classe che prende il nome di 1780. La scala del modello preso in esame è 1:22; rispetto ai disegni della classe 1780 conservati nell'Archivio di Trieste, la scala della tavola della classe 1780 è 1:44, il doppio del modello in questione. For the first time I find myself involved in the historical research (although the research and development work on the plan is almost entirely by Luigi Ombrato) of a Venetian ship. It was the idea of making an Italian ship in contrast to the myriad of French and English ships that finally convinced me. Then considering the possibility of also making a Venetian vase since I too was born in Chioggia, all my fears vanished. For modeling choice I decided to stay within the eighties of the eighteenth century because, unlike the French and English, in Venetian constructions the one-rib system was still used, built with the technique of partisons, coming to use nine pieces to build a single rib, a more complicated modeling level realization than the double rib but typical of our ships. The study began by examining through reliefs two models belonging to the collection of the Museo della Marina di Venezia; after careful comparisons it has been established that these models belong to the class that takes the name of 1780. The scale of the model examined is 1:22; compared to the 1780 class drawings preserved in the Trieste Archive, the scale of the 1780 class panel is 1:44, double the model in question. Below are the two models on display at the Naval Museum in Venice.
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