bearegalleon

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    nortvaarders, koopvaarders, fluyts and hulks.

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  1. Not sure about the Sequin herself, but in general, these types of late 19th c ornaments were either painted with gilt or in natural, lifelike colors. Consider searching the internet for Americana or folk art, which might bring up sites that deal in these types of things - cigar store statues, pilot house eagles, etc - for reference.
  2. No, its not appropriate for ships of the Armada. Red bulwarks were a mid to late 17th century innovation, which arose in small ways before enrolling the entire bulwark. The oldest examples all appear to be English, but this may be an artifact of surviving evidence. On the same vein, red gunport lids are also a 17th century thing. They are on the Wasa (1628) and might be in the Livro de Tracas de Carpinteria of a decade earlier, which shows a number of ships with red trim on the gun port openings, but the gun port lids are not shown and we don't know if they were painted or not. Generally, red gun port lids are unknown prior to the 1620s, and rare for several decades after that. For an armada era ship, and pre-17th century ships in general, leave the gunport lids tarred wood on both sides. On to gun carriages. Frustratingly, very few 16th - 17th c paintings depict guns in their carriages. Those that do - a Baker drawing of the 1580s, a Dutch painting of the 1610s - all show unpainted gun carriages. A few Armada era ships - usually the really big ones, and then only some of them - had black painted wales, but most do not, and the smaller ones were most likely unpainted. Black wales were an English fashion of the 1580s (but not before) that slowly spread, first among English ships by the mid 17th c, and then to all ships by 1700. A few of the ships in the Armada painting also show the flat of the stern painted black, a kind of forgotten 1580s thing.
  3. Mark is right on in that painted work was more common than assumed, and that it was used to convey a sense of capacity and presence, or what was considered fitting and right, to a ship representing its national prestige. It was also relatively inexpensive compared to carved-work, and had a ready labor pool of skilled painters and apprentices who specialized in the work. It was relatively simple to hire skilled workmen who could decorate a ship rapidly and with quality. I don't think contemporary models necessarily represent the actual garnishing painted on the ships but only the general style, indicating that some suitable painted work would go here, etc. The real heyday of painted work on the upper sides of superstructures was from the 1680s to the 1750s or so, after which its used less often. Painted work on the stern and imitation draperies on the counter lasted well into the 1780s and 90s, but the general revolution of ship painting in the 1790s pretty much bright this style to a final close. Thats very interesting about single wales being mandated by the 1719 establishment. Is there any indication why?
  4. Paired lower wales were a longstanding tradition that dated to the mid seventeenth century, becoming very widely employed by the 1680s and 90s. Prior to that, wales were placed in a variety of patterns; sometimes paired, sometimes evenly spaced along the hull according to regional preferences and traditions. No less than four lower wales were used on the Wasa, built in the late 1620s. Paired lower wales are a ready early 18th century hallmark. They lasted up to the 1740s or so, when a single, solid wale then became the norm. The change was not overnight, and a few models in the NMM show this style as early as the 1720s and 30s. That tasty third rate of 1745 in your illustration was one of the last to have the old style of paired wales, and a few ships so built painted the area between them black to imitate the newer design.
  5. I wondered if any had been found. I know some pintles had come up, and nails from the hull.