Louie da fly
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Interesting question. I was actually surprised to find true deadeyes as early as 1380 - I hadn't thought they'd been developed by that time, and contemporary illustrations (yes, I know they're not necessarily reliable) don't show them at all. I'm afraid you'll have to decide for yourself whether the Stralsund cog had them. Regarding deck planks, I doubt that the Viking method of planking was also in use further south - certainly the framing is completely different. The only planking apparently found on the Bremen cog was on the afterdeck, and its side to side, not fore and aft. The orlop(?) deck beams can also be seen, and they are oriented such that the planking would also be side to side. I don't think the through-beams can be relied upon as a gauge of the planking direction, as the attached photo shows - they don't seem to have any relation to the planking. Personal opinion, however - in the absence of any evidence to the contrary, I would be quite happy with the idea of the main planking running fore and aft. Steven
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Hi Ferrus! I'd also refer you to the Bremen cog (c. 1380), the best preserved of all the cog wrecks. Google it for images - there are so many wonderful details in the photos, such as the windlass. I seem to recall she also had a capstan, but I can't see it in any of the photos, so perhaps I'm wrong. And here are three deadeyes from the same vessel - they're described as blocks but they're obviously deadeyes. Steven
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Very nice. It messes with my mind.
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You might be using the wrong kind of wood. Just because the manufacturer supplies it, doesn't mean it's right for the job. I've had great success bending wood using the technique you describe. Try experimenting with other timbers. Fruit woods seem to be particularly good because of the tight, fine grain. And, of course, boxwood. Steven
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And as far as archaeology can tell us, this is the way it was actually done. 😁
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The Lomellina (Genoese, sank 1516) had a capstan a little aft of the mainmast, with a knight between the two. As the May Rose's mast appears to have been directly forward of the aftercastle, it would perhaps be a little differently arranged. But Generally I'd expect it to be similar. On my Great Harry, I put the knight and capstan on the upper deck of the aftercastle - see post #308 at but that's not to say my interpretation is correct. By the way, note that unlike later capstans, the holes for the bars pass right through the capstan and are at two different levels. So there are only two bars, each of which extends out from both sides of the capstan, so there are only four positions for the crew to push at the capstan. I hope that helps. Steven
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Just came across this on Facebook. Further evidence to support Woodrat's interpretation! Steven
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Patrick, I'm sending you the report in a PM. (I hope you can read French!) Steven
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Patrick, Did I send you Max Guerot's report on the guns of the Lomellina, with a very comprehensive examination of the types of guns in use in the first half of the 16th century? If not, I can send it to you if you like. Steven
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Magnificent work, Patrick. Just a quick question - can you tell us the reason for the arches with grey-painted 'false openings' instead of being cut into the hull? Steven
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It's been quite a while since I've posted. I've been busy - life does tend to get in the way. But I re-thunk the sliced 3D shape. And I thunk - the one I've done was sliced into every second frame. But the frames are 5mm apart and the dropsaw's kerf is only about 2mm wide. I could have cut a slice for each frame - they should each end up about 3mm thick - and not have to interpolate between slices to work out the shapes of the ones in between! So I did it all over again - made another 3D model and sliced it into individual frames. And it worked! Now of course I have to transfer that onto paper and mirror it to get the full frames, but all good! There are a few glitches in the shapes of the frames nearest to the stern - the curve seems to go upward at the keel instead of downward. I'll just have to fix that when I transfer it to paper. Steven
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Of course. Just as in the original! Steven
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Nice crisp work, especially the paintwork. Well done! Steven
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I agree about reducing the height of the upper part of the forecastle. It looks better that way. And yes, red, white and yellow stripes. The colours on the Anthony Roll are a bit difficult to interpret, but certainly not green and white as shown in the modern picture. Guns and carriages look great (Henry the Staffy's a real gem!) and the ladders are spot-on. Nice work (as usual!), Patrick. Steven
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https://australian.museum/learn/animals/mammals/drop-bear/
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Strictly this one is a mitre saw because it can be set at an angle, but drop saw is what I call it, and I believe it's a fairly commonly used name. Steven
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Thanks for all the likes, and thanks to Druxey for the comment. So here's the result so far. I glued the shaped form to a longer wooden plank, so I could feed it through the drop-saw without cutting my fingers off. I glued a sheet of paper between the form and the plank so I could break them apart after they'd been sawn into slices. And here they are in the saw - part-way through the process. And all cut. About half have been separated from the remains of the plank. (One of them had a corner split off, so I glued it back again and this photo shows them at the point where I'm waiting for the glue to dry). And here they all are, ready to be used as templates for the new frames. Steven
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I've been working on the other frames. Here's one from the bow - the French refer to the V-shaped piece at the bottom, charmingly, as a fourcat. But I came to the conclusion that the shapes I'd worked out for the frames of the aftercastle and some for the bow were based on a wrong premise - I hadn't taken into account the evidence of contemporary pictures and had made them much too narrow, and quite a few of them will have to be either tossed or dramatically altered. The first pic below is the frame as made; the second is how wide it ought to be. I'm hoping I can at least salvage some of the futtocks, but I'm pretty sure the floor timbers will have to be ditched. I eventually got sick of trying to figure out the frame shapes on paper from the lines I'd drawn up - every time I worked it out it was different. So I went a different way. Based on the sterns of carracks from contemporary representations from near the Lomellina's time, I made a solid half-hull, going aft from the last frame I was happy with Took very little time - a couple hours with a hand-saw and a rasp, once I'd decided to do it. Next I'll be cutting this solid shape into slivers at 10mm ( a bit under half an inch) intervals - equivalent to every second frame - along the length of the keel, to get reliable shapes for the frames. Wish me luck! Steven
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I've done both. My earlier models were 'pristine', but I have been slowly teaching myself to weather my wooden models. Some people are masters of weathering - have a look at RGL's wonderful (plastic) warships - his Dreadnought, Heian Maru etc. And somewhere on the forum there's a Russian battleship of his from the Battle of Tsushima which I can't find (unfortunately) - it's amazing! Here's a bit of my own weathering - a 12th century Mediterranean merchant ship that doesn't get a lot of TLC - the owners are more interested in immediate profits than maintenance. And yes, I have enough figures on board for a full crew. I carved them from pear wood - scale 1:75 . I've perhaps been a bit cautious about applying the weathering - better than too much. Still learning, and learning how to shade the figures so they don't look like they're model railway figures straight out of the box. Steven
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Better choice, in my opinion. Santa Anna is VERY complicated. Building the Santa Maria will develop your skills at a much gentler gradient, but they will be skills you can then use on more ambitious models. And as I mentioned before, don't hesitate to ask questions. BTW, Santa Maria is a type of vessel known as a carrack, which I just happen to be very fond of - in fact I'm scratch building one myself at the moment. So if you do have questions I may be able to help. And check out Woodrat's wonderful Venetian Carrack or Cocha build as well. Steven
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Ah! Santa Maria! Totally different model. Much less difficult. But now I'm confused - your Feb 22 post says Santa Anna! Steven
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Hullo again, John. Though I've visited towns all around it - Dubbo, Mudgee, Newcastle, Tamworth; I've never been to Scone. I've looked at some photos of the town and it looks nice. Some good heritage buildings there. You're taking on quite a challenge with the Santa Anna. A very steep learning curve and a very large and complex model. You might find it too much of a challenge, though I have seen first timers on this forum complete things of similar complexity. If you do hit a brick wall with it, though, you might want to put it on hold and undertake a less demanding model as a transition piece. It's a huge jump from your existing model to the proposed one. But if you do have questions or need help on the Santa Anna, don't hesitate to ask. The people here are very knowledgeable and helpful. Best wishes, Steven
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Same here. That's why my signature says what it does . . .
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Hi Fiurar and welcome to MSW. That's quite an ambitious project you've taken on. There are quite a few build logs for the same model on MSW - I just did a search for them and came up with this - https://modelshipworld.com/search/?q=corel victory&quick=1 You might find it helpful to have a look at what others have done building it and any traps or problems that you can be forewarned about - and how other people solved them. I'd recommend you start a build log for your model - it's a great opportunity to get help and feedback and get your questions answered. The MSW members are very friendly and helpful. Instructions on how to begin your build log are here: https://modelshipworld.com/topic/24705-before-you-post-your-build-log-please-read-this-starting-and-naming-your-build-log/ Have fun with it! Steven
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