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    nortvaarders, koopvaarders, fluyts and hulks.

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  1. Hubie, that’s very good work. The reincorporated elements, within a simpler structural program for sea keeping and martial reputation, makes sense. Its excellent to see the reused ceiling. The van Beecq painting is perfect. It clearly shows they are in use on French warships by the 1680s. You could not get better primary source document for a 1689 SR. Its especially useful because it predates 1689, this showing it in use by that time. It also helps refine the overall timeline for details like this, and gives us a better picture for the development and evolution of ship features. Red gun port lids come into use around 1650, and quickly become very popular. In fact they seem to become universal almost immediately, and far more rapidly then blackened wales. I used to think they dated back to Vasa in the 1620s, but now I think that Vasa is a separate and unrelated style, which is another discussion. Your technique for the wooden hull is very sound and looks good. You will have a very effective and impressive ship.
  2. Hey Hubie, I know exactly what you mean. It's challenging but intensely rewarding. The Lemineur monograph strong suggest primary sources, like a written summary equivalent to the early 18th century models you posted. Saint Phillipe may be the next step forward in the naval progression, but still close enough to the age of SR to give good ground. If you find the earlier work, it umight be interesting to see what changes occurred between the two periods. Red ochre bulwarks are already coming into use on English ships by 1689, they are not implausible for a vessel rebuilt just before the construction of the Saint Phillipe. The vermillion details would "pop" visually in contrast with the ordinary red ochre. Lemineur says the lower decks were painted white inside, probably for light and cleanliness. If this is reading right, the red gunport lids alone of the lower decks were red, probably for display when opened. Interesting, the drawing of the RS you just posted has a lot of red on the head. Le Soileil Lucy. Somewhere in the Vasa discussions is a comment that gilding could be imitated by applying a tinted varnish over white, which gave color with a luminous body. Thanks for posting that book, it was really enjoyable to read-
  3. The Mary Rose Trust and others are all accepting the high forecastle, and here's a clip from their web page. It shows the Geoff Hunt version, with the paint scheme based on the Anthony Roll. The present question is what shape it had, and how many decks. Some reconstructions include four decks, while others use three. The answer may come with further archeological work. Its understandably daunting to imagine something as high as that actually existing, but the broad range of evidence, far beyond the Anthony Roll makes it clear that something was up there, and that it was a common and standard feature of European ships in the first half of the 16th c. These details from a print of Amsterdam, drawn in 1544, shows a variety of ships from different nations with these forecastles. Some are imposing, others are more modest. There are also a few vessels where the castle is beginning to migrate below the waist rail, the first steps of a significant design evolution that would occur over the following decades. Mary Rose was built, sailed and lost in the age of the high forecastle. Have fun and build it tall.
  4. Glad it's useful. I've edited for clarity but the content is all the same. That Wasa model is great, and there's a similar model of Svardet out there, in a diorama style. They are very useful for evaluating evidence in situ. My projects are focusing on reconstructing the 16th c hull form, using primary data from surviving ships and their wrecks. It looks as if contemporary 18th c French models often have a great deal of red inboard. It takes a while for that style to develop, and English sources indicate that this process began around 1650, gradually becoming more prevalent. It would seem natural for a late 17th c interpretation of SR, yet the Bakhuizen also includes a sinking French vessel whose decks seem not to have any red at all. Is there any good evidence for the treatment of inboard works of late 17th c French warships?
  5. The painting technique goal was to develop a Texel style finish using acrylics, for easy clean up and no fumes. Here is the method: * start with Testor's "wood" as a base coat. This substitutes for the ochre, and is used overall. * if desired, use a fine felt permanent ink pen to represent bolts, hinges, etc. * then give a wash with thinned flat black, using a broad brush and a little drop of soap in the water to reduce viscosity. You can apply as many times as desired. The reduced viscosity allows the wash to flow into crevices, highlighting details. You can also stipple and dry brush to gain various effects of weathering on the hull as desired. * apply a wash of Liquitex Artist's Acrylic Burnt Umber, thinned with soapy water using a broad brush, repeating were desired. A thin mix is good to gradually build up tone, while a thicker mix can be used to create depth. * use an old tooth brush with uneven bristles, dip in rubbing alcohol, and run very quickly and lightly across the surface in the direction of grain. This will disturb the burnt umber and create streaks that imitate wood grain. Be careful not to go hard, as it can remove paint from edges of moldings, bolts, hinges, etc. let dry and repeat as desired. *touch up with ink or paint to clean up any details as desired, and you're done.
  6. Van de Velde is contemporary, reliable and realistic, so that’s a great source. Check out Bakhuisen as well. The 18th and 19th century models and drawings are probably better as historiography than sources, esp. the ones made during the reign of Louis Philippe. That huge instructional model is gorgeous, and sources say very early 18th century, during the ship’s lifespan and after the fashion for blacked wales along the whole of the side came in. After slowly cooking along the lower sides of English ships for fifty years, blackened wales suddenly appear everywhere right at the turn of the 18th century. There has to be a rich story there. Your detail work along the upperworks is spectacular. Keep up the good work!
  7. It looks fabulous, a proto-fontage heaven. I hate to ask this now, but . . . is it certain the wales were blacked? Seventeenth century ships were not big on blacked wales; by mid sixties the English play around with blacking the lower pair, while everyone else seems to be holding off. French capital ships may be different, though. On a side note, an acrylic method for tarred wood hulls comes from a ground coat of Testers wood, followed by a wash of black and then one of liquitex transparent burnt umber. A ragged toothbrush, dipped in rubbing alcohol and streaked across the surface, adds grain, but takes practice. Black pens can be used to highlight bolts and so forth, and it’s a good idea to add that detail before the washes. It gives a Texel like effect while practical for rooms where oil fumes and clean up are not desirable.
  8. It would be especially interesting to see how the bow structure was constructed. This is the transition era when forecastles placed above the waist rail were beginning to move down, integral to the hull. In a sense, the last of the truly medieval forecastle constructions.
  9. Kurt, take a look at the "Flags of the World" website if you can. The white flag, associated with the Royal Navy of France, and a symbol of Louis, is listed with historic naval flags and something like that should be suitable. You could also check the NMM website for contemporary paintings of battles involving French ships. http://www.crwflags.com/fotw/flags/fr~mon.html (Interestingly, some sources describe a white flag with the new tricolor in the upper corner, used in the 1790-94 period. Sort of a transitional design from the early Directory.) A lot of Cerf models show a black hull but I wonder, especially for the 1770s-80s era. A tarred, unpainted hull, or one that was painted with yellow ochre, along with black wales, typical trim and that polychrome stern carving would seem more typical of trends in the largely pre-Napoleanic eighties.
  10. Congratulations! It looks wonderful. Very interested in the shape. Would it have any runes scratched into the railings by bored vikings? I think there are some in the Hagia Sophia.

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