Hubac's Historian

Hi John, and thank you! My guiding principle is that sharing the RL portrait can only help us ALL. I could keep it to myself, but then I’d be working in a vacuum without the benefit of others’ more concrete knowledge. What I will ultimately do with this portrait still depends very much on my artistic sensibilities, continued research, and willingness to develop the idea to its fullest extent possible. My hope is that others will use these portraits to begin their own voyage of discovery, because more new projects means more research, debate and discovery. We all benefit from pushing the conversation forward, as long as we are honest with ourselves about what is factual and what is conjecture, or even straight-up guesswork. Now, as for the gun layout presented in the RL portrait, this is an excellent example of where even credible artists present anomalies, that have no support in the recorded history of the ship, in question; there is nothing ever written about these ships of the Premier Rang Extraordinaire to suggest that any of them were ever pierced for 17 on the lower deck, or that they carried 3 guns per side on the poop. I am merely arguing that the profusion of guns in the Van Beecq portrait, as compared with the Vienna portraits, distinguishes this VB portrait as being the Royal Louis, and not the Monarque. When I do my tracing of the VB portrait, in order to create a base-template for what my SR 1670’s ornamental program may have looked like, I am looking to record the length of the hull, overall, and the placement and sheer of the wales. I will slightly increase the poop sheer, as the available tafferal space on the VB portrait is not quite enough to represent SR’s Apollo with his horse-drawn chariot. For my distribution of armament, I will rely on what I have, so far, found to be the best-researched source of information on as-launched armaments: Winfield and Roberts’s, French Warships in the Age of Sail 1626-1786. Respecting scale as best I can, I will locate ports on my drawing, according to the above distribution. This tracing exercise is primarily to get an isometric perspective that will help me to strike a harmonic balance between the quarters and stern. I have been immersing myself in the art history and particular allegorical styles of LeBrun and Puget. Even right now, I have a pretty solid rough-draft of what 90% of the ornamental program might look like. The key will be to begin putting ideas to paper so that I can begin to see how all of these elements relate to each other and tell the story of the ship. What I have found in my experience of designing ornamental projects is that one needs a basic conceptual framework, as a departure point. Fortunately, in the case of SR 1670 the essential allegory does not differ much from Berain’s re-working of the original design. The portraits of the Monarque, the RL, and the refit Dauphin Royal make it possible to design supporting ornament that is appropriate for this earlier time, while still supporting the particular story of SR. That story is always a story of fours; four continents, four seasons and four winds. The quarters, though, could potentially include the four humors of man, or the four times of day, for example: Over time, as these ideas coalesce in my sub-conscious, I have usually experienced a moment of epiphany, where these relationships become concrete and balanced. We will likely NEVER fully understand what SR looked like in 1670, but I do think it is possible to design something that is highly representative of the times.

So, on your first attempt 40 years ago, you also cut away the lower hull? Whomever you gifted that model to is a lucky friend! Is it still in their possession?

Wow - Kevin! I didn’t think you could improve upon the teak effect, but that is precisely what you have done. I love the new color! Your progress is pretty amazing, especially considering your recent health set-backs. I’m glad to hear you are up and running again.

YEAH - I’m already knee-deep!! I’ve already mapped out the layout of guns; I’m going to go with Winfield & Roberts for the initial armament - 106 guns, actual; 30 LD, 30 MD, 26 UD, 10 QD, 6 FC, 4 poop. I will transpose the gun layout and the break of the quarter deck bulwarks (which will be further aft than represented in the VB portrait, which presents as a very short waist between QD and FC) from the other principal Hubac 3-decker, La Reyne. I will be paying particular attention to the relative proportions, as they relate to the stern; with La Reyne as my model, my SR will be a little broader or more “Dutchy,” to borrow the phrasing of Heinrich de Seafarer. My general sense is that, while SR and RL were the same greatest breadth, SR probably was broader across the stern, as an affinity for breadth, overall, was a particular predilection of Laurent Hubac. One interesting thing to consider is a basic framing guide that was probably drafted by Laurent’s son, Etienne, following his informal espionage of the English and Dutch building practices, in the 1670s. At around 1680, this drawing surfaces: My general impression, here, is that this proposed vessel has too much “flat”, and that it does not jibe with Tourville’s contributions to Le Chevallier de Tourville. At this time in the 17th C, these were still elegant sailing ships, as opposed to East River barges. My supposition is that this was a “spitball” projection of what might yield the most stable gun platform, along with the lowered (below the chase ports) stern counter timber. I don’t think this drawing is necessarily reflective of a First Marine First-Rate, apart from the possibility that the rake of stem and stern-post may still reflect earlier practice. I am just guessing here, though, and welcome any and all concrete insight. Obviously, I have a lot of homework to do, here, but this is my present stream of rabbit-hole free-fall😜.

Thank you, Dan! Yes, well, whether I self-publish or not, there will definitely be an actual bound book in all of this, somewhere down the line, that is. Interspersed throughout these 67 pages, I estimate there are maybe 5 really strong analyses of the research I have, so far, uncovered. What I need to start doing is printing some of this log out for future research, fact-checking, refinement of ideas, and general editing. As I continue to pore over the VB portrait, it occurs to me that I should have a relatively large color print made, over which I can do a vellum tracing of the underlying hull. I can see the underlying outline of the stern framing pretty clearly. It would be a fun visualization exercise to make a concept drawing with the SR reverse, cyma-curve tafferal, and begin sketching-in what the quarters and stern might look like, along with the pronounced aft sheer, the layout of the guns, and what the broadside ornament might look like.

I agree with you on this point Mark; the VB portrait is merely a snapshot in time, stripped of any context relating to whether the portrait memorializes any particular scene in history, or whether the ship had been modified in any way to serve that present reality. Dan Pariser had shared an article with me from the Mariners’ Mirror, which discusses this very difficulty of bestowing too much credibility into any one artists’ work, when trying to determine what a vessel may have looked like. Not only do we lack a thorough accounting of small repairs and refurbishments, but we have no way of knowing to what degree an artist such as VB may have simplified his gestures so as not to bog the portrait down in the minutia. To that point, if one considers the interior descriptions of the ship, alone, it quickly becomes clear that every surface was adorned with carving, gilt, paint and sculpture. She must have been a riot of color and truly a load for the senses. Hyatt’s monograph describes the interior bulkheads and surfaces at great length, as he walks the “viewer” up from the aft lower gun deck, up through the higher decks and officers chambers: ___ THE SCULPTURE AND PAINTING It may be said that never has a ship been so richly adorned with painting, sculpture and carving as this one, built to the designs of M. Le Brun, who, in the service of His Majesty, is one of the most eminent exponents of his art in Europe is. The general color of the ship is gold and white,278 both on the outside of the beams 1401 as well as at the stern, all covered with golden Bourbon lilies279. ON THE FIRST DECK One sees the wall of Saint Barbara,280 richly decorated with Bourbon lilies and gilded mouldings. One then finds a stairway with two risers and their banisters, all richly painted, di leading to the second deck.281 SECOND DECK Three cabins are seen on each side, decorated with richly beautiful paintings.282 - 26 ini? ashisblad siul tim THE GROSS CHAMBER In the aft part one finds the large chamber,283 which is commonly referred to as the chamber of the volunteers, the wall of which can be divided into four sections and can be opened and, in the event of a battle, allows a view over the entire deck from the stern to the forecastle, with a door to starboard for entering said chamber. This wall is decorated on the outside with several small painted panels surrounded by gilded mouldings, and on the inside bears a large painting showing the king's gilded coat of arms supported by painted sea gods in fine grisaille 284, with the coat of arms of His Eminence Duke de Vendôme on the right and that of His Eminence the Duke of Beaufort on the left, enriched with trophies of captured weapons, in a very beautifully gilded frame. and Next to said picture are further paintings of two allegories of renown bearing the king's gilded monograms in an azure oval and a DF Cupid 285 carrying their trumpets. In the background is a balustrade with distant terrain on the horizon. On the port side, in a frame that occupies almost the entire length of the said chamber, is the painted representation of Apollo's encounter with Cupid, who, seated on a cloud, draws his bow after defeating the python.2 To starboard is a painting of the same size, showing Apollo in pursuit of Daphne who has been transformed into a laurel tree,287 with a nymph in each corner of both frames shedding a blue curtain. In the back of this chamber, extending from the gallery wall to the stern, there is a door on each side with three windows, decorated with very fine foliage and gilded mouldings; in the lower area there are pictures of buildings and marble slabs. The ceiling of the chamber is painted azure blue and is supported by six deck beams with rounded borders decorated with wickerwork 288 as gold as said deck beams with their sea gods, rich foliage, intertwined suns and deck beams with sea gods, of which the one bears Bourbon lilies and the others bear the king's initials. Upon exiting this chamber, one step or visette leads to two opposing oval flights of stairs,289 that lead to the third deck lead, adorned by its supports and a railing decorated with a painting by foliage is richly decorated. Its entrances and exits are surrounded by an arcade supported by two columns with their capitals painted in the color of jasper 290 in the most artistic way. The parquet of the said chamber seems to want to compete with the rest of the ornaments, even to surpass them, as generously as olive wood, ebony and ivory have been used for it. THIRD DECK During the ascent, when one arrives at the intermediate landing where the two flights of stairs meet, one finds at the foot of the mizzen mast a plaque bearing, in golden letters on an azure background, the following unique and true inscription: »JE SUIS L'UNIQUE DESSUS L'ONDE. ET MON ROY L'EST DEDANS LE MONDE<< >>I AM UNIQUE ON THE SEA LIKE MY KING IN THE WORLD.« The whole wall, along which runs the flight of stairs leading to the upper decks, is adorned with balustrades and marble-colored ovals with ubiquitous foliage and gold braid. - 27 - BELOW THE AFTER DECK (Corps de Guard)291 Attached to the eaves 292 above the entrance is a cornice with a parapet 293 dividing the jambs into four foot sections and decorated with moldings and a king's monogram. On each of said four pillars is a gilded globe or sphere. The entire ceiling is painted with Bourbon lilies, crowns and gilded monograms with intertwined foliage in fine grisaille. All the beams are bordered by rounded, gilded fringes and are decorated on all sides with beautiful multi-colored friezes. In the middle is a platform with eight columns and capitals supporting them, painted in the color of jasper; in addition, four gun ports on each side, adorned with cartouches294 that adorn children; all painted in very fine grisaille. In the middle of one of the said cartouches you can see painted false windowpanes. Between the gun ports there are large paintings depicting swamps, seascapes and landscapes. Between them are knee beams that support the quarterdeck and whose rounded edges are decorated all over with golden braiding. The sides bear paintings of masked children accompanied by lots of beautiful foliage. The back of the staircase is more richly decorated than its other parts. The 295 mizzen mast is up to the quarterdeck with a gold fluting on azure reason adorned. Nearby is the wall of Council Chamber 296 with some other chambers for the officers. It is divided into four gilded cassettes on the outside, on which members of the guards are depicted in a naïve manner, some smoking, others playing dice or cards - all beautifully painted. The chambers are divided into three. Those of the Council and one on each side, between them a hallway297 in which Turks have been painted, who raise curtains and appear to salute those entering. The doors and windows are very nicely worked. Their shutters are painted with Bourbon lilies, suns, and the king's monograms, adorned with gilded braid and very fine foliage. In the starboard compartment there are two panels on the outside wall. The one closer to the stern bears the depictions of Midas, Pan and Apollo in a round gilded ornament, the latter playing his violin. The table is supported by beautiful nymphs, who draw back curtains. In the chamber on the port side, also on the outer wall, Apollo is depicted flaying the satyr Martias,298 with the same decoration as on the starboard side. On the inner wall, in addition to the azure panels, the beautiful golden ornaments, braiding and similar cornices, there is a beautiful round panel containing a very rare portrait of our indomitable monarch by the hand of M. Fauchier299 and one of his Eminence the heir apparent. On the other side are a portrait of the queen and an effigy of the king's only brother. These four panels are of the same size and have the same gilded ornaments. Each is supported by two children and rests on large marble colored capitals ___ The monograph goes on, in this fashion, but you get the idea; The exterior of the ship must have been just as spectacularly detailed, but that would be a very difficult thing to convey in oils, so the artist must make interpretive choices. While portraits like these are sometimes quite difficult to locate, I believe in sharing this information because my present inability to freely visit the French archives, in-person, limits my ability to understand and interpret what I am looking at. By re-introducing these works in the public domain (for which my licensing of the image permits, as long as I am not selling it), I hope to spark interest and conversation, among the community, and perhaps those individuals who really know what we are looking at might contribute some of their insight, as well. For this early time period, though, artists’ works are the only visual reference we have for these ships, as no formal plan-sets exist for these vessels. My whole effort, here, is to establish some degree of a contextual framework so that these ships can be better understood in the evolution from the First to the Second Marine. Paintings, such as this, do nobody any good if they remain buried in a crate, somewhere. Just consider it - this is one of only a very few coherent, color representations of a French First-Rate from the early First Marine; as the inscription upon her mizzen mast makes clear - this portrait like the ship she represents is unique!

One more thought - there has been some discussion on Nek0’s log about the likelihood of ver-de-gris bronze guns on active ships of the French navy; I certainly agree with what Nek0 has to say on the subject, and it is interesting that that detail is so clearly portrayed here.

It really makes one wonder what else is damaged and out of public view.

Okay, so, here are my thoughts. One point I was hoping to illustrate with the above exercise is that, sometimes, two portraits of the same subject (the Vienna portraits) don’t always perfectly agree with each other in all details. Given that Puget was such a scrupulous draftsman, it is interesting that the fleurs are missing from the lower stern counter on the port Vienna portrait. Perhaps, with the vantage point of the light being what it was, he chose to simplify this area in shadow. More to the point, though, Hyatt’s monograph is a highly scrupulous first-hand account and quite a lot of what he describes corresponds with Van Beecq and not Vienna, or visa-versa. Which brings me to my next point: I have no way of determining, as of now, the date of this VB portrait, so it probably falls somewhere within the first 9 years of the RL’s existence. I make this assertion on the basis of my belief that this represents the post 1677 appearance of the RL: While I don’t know this for fact, my inference is that while this later version of the RL still displays a profusion of figures, even on the QGs, the sheer is appropriately lower and the QGs, themselves, represent the beginnings of the evolution from terraced galleries to fully closed bottles. The head structure also represents an evolution in style. Lastly, and related to this broad 9-year time-frame, ornament is the most ephemeral aspect of the entire construction. While it certainly would seem a monumental effort for any of us to carve even one figure, in our modern times, the artists of this time churned these works out with surprising efficiency. What Van Beecq may have been looking at, at any one time, could be vastly different from the way the ship actually appeared in 1668 or 1677. Also, I might add that the LeBrun drawing probably represents more of a proposal than an as-built and decorated representation. In the end - for me - it comes down to the guns, and the allegory, and the specific domed shape of the taffrail (which, it seems to me, is also a characteristic of the Monarque): there is just no way the Monarque carried that many guns, let alone guns on the poop. Unfortunately, VB’s forecastle is too damaged to interpret. My other curiosity with this portrait is the flag carried on the Mizzen; the “L” with a crown. I do not know whether this flag only alludes to Louis, or whether it specifically represents the Levant, or Mediterranean fleet, that the RL was the primary representative of. Very lastly - I really wonder whether it is VB’s portrait that Bakhuizen referenced for his depiction of Soleil Royal: I have previously discussed the many anomalies of this portrait in earlier posts, but there is no mistaking that this is the RL’s tafferal allegory and domed cornice. Even the figures reclining on the tafferal are very similar. Also, there appears to be an allusion to the swagged garland, beneath the stern chase ports. And, so, that is what I have to say about that. What say you, friends?

When I first found this thumbnail, over five years ago, I didn’t know what it represented, nor who painted it, however, I had a strong sense that whatever was there was important. Having finally located the portrait, I decided to treat myself to an early birthday present. Fifty dollars yielded a super high-resolution (pixelation is 9,528 x 6,489) digital file of this portrait. I was correct. There is, indeed, something of great significance, here. To begin with, the portrait was painted by the renown Dutch marine artist Jean Karel Donatus Van Beecq. His early career spans from 1672 - 1681, when he left France for England, at the invitation of Charles II who wanted to encourage Dutch marine artists to expatriate. Although the Van de Veldes dominated the patronage scene, during this time, Van Beecq was also highly regarded for his technical mastery and his lively color palate. He was no slouch: And, his best-known and most brilliant portrait of the Royal Prince: Well, it turns out that it is Van Beecq, to whom this mystery portrait is attributed, and despite the horrendous damage to the portrait, you will soon see the many parallels to his other, better known work. I can only guess that this portrait - clearly of a French First-Rate - was done before he left for England. On the other hand, it may have been done upon his return to France, where he benefited from the patronage of his friend, the Duc de Vendome. And so, without further ado, I present to you Le Royal Louis of 1668, at some point in her early career between 1668 and 1677, as seen through the eyes of Van Beecq: Of course, my hope was that this portrait would reveal itself to be Soleil Royal. I am not the least bit disappointed, though! The reasons for this are several. From a dimensional standpoint, the RL 1668 and SR 1670 are only nominally different, with SR being slightly longer overall (1.5 French pieds), and with a deeper draft (1 pied). Their breadth is the same, though, at 44 pieds. Given that, I think there are reasonable grounds to assume that Soleil Royal 1670 would have had a similar “presence” on the water, sheer plan, distribution of armament, and underlying structure for the stern and quarters. The chief differences would be a lesser profusion of monumental figures for SR, and the defining allegory would be very similar to Berain’s re-working of Puget’s original design. Make no mistake - any future attempt I make at representing SR 1670 can only by its very nature be a product of conjecture and artistic interpretation, within the known dimensional parameters of the ship. I am more confident than ever, though, that I can accomplish this with a high degree of fidelity to the artistic sensibilities of the time. So, why am I so certain this is the Royal Louis? Well, the main reason is the profusion of guns, if not their exact number and distribution. Also, and just as importantly, the known allegory of the RL is very much in attendance, and overall - while their are certain key differences between this portrait and the Hyatt monograph, which do correlate in certain aspects more directly to the Vienna portraits, the important elements agree really very closely to this portrait. I am excerpting a German to English translation of Hyatt’s monograph from the excellent Versailles de Mer. German to English translates more coherently than French in Google Translate. Within the text, I have inserted [..], where I attempt to clarify what specific element or area is being referred to. In a few instances, here, I am guessing a bit, and welcome any insight. Also interspersed between paragraphs are my notes in italics. ___ ABOUT THE SCULPTURES Presentation of the transom of the ROYAL LOUIS. The large transom is richly decorated on the outside with laurel leaves, garlands and shells underneath, all in perfect gilding [lower transom]. Above are a seahorse on each side and four large brackets supporting the first battery [lower stern balcony]. Underneath there is a very beautiful pendent decorated with foliage [covering the jaumier, or tiller opening]. This description corresponds very closely to LeBrun’s drawing, and Van Beecq’s portrait, as well: The first gallery at the level of the support is covered with gilded Bourbon lilies. On it [the gallery] sit four sirens who serve to support the second gallery. On the sides [quarters] are three sea gods and two consoles, as well as an all-encompassing frieze [middle balcony/main deck level]. On it are the coats of arms of His Eminence the Duke of Beaufort, also supported by two sea gods holding an anchor. The arms of Beaufort do not appear to be present on either Van Beecq or the Vienna portraits. Only on LeBrun are they shown, and in that instance they appear on the lower stern balcony. The fleur-de-lis do not appear on LeBrun or Van Beecq, yet they are apparent on the starboard quarter portrait of the Monarque: Any, yet, not on the port quarter of the same: Next to them sit Neptune on the starboard side and Thetis310 on the left with a Cupid at their feet offering the aforementioned deities the treasures of the sea and the earth. These in turn are offered to the figure of the king seated on the throne of justice above the third gallery. In this aspect Hyatt agrees with the Vienna portraits, while Lebrun and Van Beecq have Neptune and Thetis reversed. The entire stern is in the same gold relief, with a slave on each side and a gilded cornice running the length of the ship. Along with trophies, everything adds up to the aforementioned gods. At the top of each corner is an allegory of renown with a trumpet. Above the second ledge on the portico, which gives the same impression as the other, sit two figures holding in their hands a laurel wreath on one side and an olive branch on the king's head on the other. On these points, everyone agrees. On the third gallery there is a balcony projecting two feet where the king's arms are set in a medallion. On it are four capitals with four gilded half-figures representing the four continents. All gunport covers are decorated with gilded Bourbon lilies, king's monograms, lyres and suns. And at a distance [above] from this arrangement of clasps described above, there is a gilded frieze between the mountain timbers [upper bulwarks?] which runs the entire length of the nave [upper bulwarks from Q-deck aft?] with also gilded intertwined Bourbon lilies. This may, indeed, be what Van Beecq is showing just beneath the timberhead sheer railings. Between the gunports of the second battery are gilded naval trophies, even with fiskers and anchors woven into them. Here is an important variance where Hyatt is in agreement with the Vienna portraits. Van Beecq places these trophy carvings even above the main deck guns. I still do not think that negates my distinction between the Royal Louis and the Monarque, which I will explain more fully in a moment. Those of the third battery are decorated with frames of foliage with griffins³11 on the sides, all finished in gilding. It is not possible to discern what ornament Van Beecq has placed here, while on the Vienna portraits, the flanking figures are cherubs with triton tails. On the highest mountain wood [poop royal level upper bulwarks] there are consoles, the spaces between which are golden Bridging garlands. Clearly evident on Vienna portraits and not at all on Van Beecq. The sides of the nave are richly decorated on the beams with gilded Bourbon lilies and mouldings. The entire mirror - in other words, the patron saint of this ship - is painted in blue and dotted with golden Bourbon lilies. This is one important detail where Van Beecq stands apart from all the other representations. I am always worried I might lose a really long post, so I am going to post this much, before continuing with a few observations…

Persistence, Vic. I just keep digging. I just sent an email to the Louvre to see about obtaining high-res images of this portrait. We’ll see what they say.

This morning, the idea occurred to me to do a reverse-image search for any number of images that I was hoping to find better resolution for. I tried a few different image checkers, but the one that loaded results for the greatest number of search engines was DupliChecker: https://www.duplichecker.com/reverse-image-search.php In particular, the Yandex search engine seemed to pull the broadest range of related images. Now, while I didn’t hit upon my “Gilded Ghost” portrait nor my Battle of Barfleur VDV portrait, I did have one fascinating hit. Here is the original fuzzy image I found years ago on some corner of the internet: And then, via Duplichecker/Yandex: A fuzzy enlargement of the ship: A sharper resolution enlargement: Okay, now that is really interesting! I still can’t tell whether this is the Royal Louis or Soleil Royal (both pierced for 16, initially, and poop guns are visible, here), but I can at least get a clearer sense for the ornamental tableaux and the structure of the quarter galleries. I can say this, though, the deadworks are not painted white, as was the case for the RL, according to Hyatt in 1677. What is of particular interest to me are a series of figures that appear to be seated on the main deck-level, gallery and balcony rails. The foremost figure on the quarter gallery has no corollary on the Vienna portraits of the Monarque. The aft seated figures, at the turn to the stern balcony, do not resemble the Neptune and Thetis figures that are associated with both the RL and the Monarque. In fact, the starboard figure appears to have an up-stretched arm that is reminiscent of the “seeking” posture of the Africa figure of Soleil Royal. While that is nothing to draw any firm conclusions from, it must also be noted that the overall structure of the stern and arrangement of statuary has much in common with that of the RL, including what seems to be a swagged-garland ornament beneath the stern chase ports: My hunch, more-so than before, is that these two portraits are directly related: On a separate note, I churned a pair of low-res VDV drawings from 1672 through the DPI enhancement app. Although it is very hard to see much appreciable difference, the DPI supposedly increased from 92 to 5000. Before: After: Before: After: The second, clearer VdV sketch is nearly identical in identifiable details to the much less clear portrait, above. Perhaps the second is simply a more finished portrait of the same subject. ‘Nothing earth-shattering, here; just playing with tools at my disposal. Work on the model continues at a moderate pace. Progress update to follow in the not too distant future. All the best, Marc

‘Much appreciated, Gary!

Truly delicate work, B.E. I love that idea to use sectioning clips for clamps.

What impresses me most is the work you did at the bow. Somehow, you appear to have re-cycled the middle gallery railing into your trailboard to brilliant effect. It looks like it grew there. You also managed a very nice sweep to the transverse supporting timbers of the headrails. My supposition, here, is that Nek0's lines lowered the knee of the head, allowing a little more clearance beneath the headrails. Did you also move the turreted head seats a little further in-board? As you are well aware, these are all of the difficult problems I've been trying to suss-through myself. I also really like your decking; the shift pattern and nailing look very realistic with appropriately spaced beams. It really is incredible to me that you started this whole thing just a couple of months ago, and it has all come together so beautifully.

There are so many good things to say about this, Vic, and I will share my thoughts tomorrow, when I have a little more time to focus. As you yourself might say - "good sheww!"

Well, it sounds like good things are happening in her life. Doris looks happy and healthy!

Whatever the winding path, you got there in style Gary. Capstan looks terrific!

This is very high praise coming from a person who’s work I very much admire - thank you B.E.!

Absolutely, when it comes to scraps of plastic and off-cuts from nice furniture projects; one never knows when they may have to splice a dutchman with perfectly matching color and grain - kids being kids, and all. I do at least go through my plastic scraps and use the just big enough piece for the next little thing I’m making.

Yeah, weirdly, mica was something readily available in the ground where I grew up (Northern Westchester County, NY). I wasn’t a hoarder back then, or I might still be carrying around chunks of this remarkably useful material.

One of the most brilliant talents out there. I hope she is well and looking for her next inspiration.

Acetate sheet is always a good option for glass. It is usually obtainable in a good art supply store like Blick. It can be cut with a matte knife.

Really beautiful work, overall. I love the mast detailing.

This is an interesting move to lower Africa and the Americas figures; it does seem to lower the whole center of gravity of the stern in a pleasing way. Arguably, they have a more reasonable perch, given the scale of the figures, upon the mid-balcony rail.