Hubac's Historian

Dan, you have really perfected the subtleties of moving water - very impressive! The model is no slouch, either; lovely details interspersed throughout, and I really like the little things like the slight deformations of the handrails. The bone model sounds really intriguing, and I look forward to following your restoration.

I’ve heard varied reports on the durability of Modelspan, once it has been saturated with dilute glue. Most seem to say that it is more resilient than expected, once dry. I have purposefully over-built every aspect of this model so that it will stay together for the duration of my lifetime, and hopefully my childrens’ as well. Given that, it would probably make a lot of sense to go with Dafi’s method, which is almost certain to age better over time. I’ll have to look for that translation button. I use Apple devices, though, so that may not work for me. Thank you, Kirill, for bringing this technique to the forum!

Hello Kirill! Yes, as is his usual, Dan has found an ingenious method. The translation of this site is not perfect, so it is not entirely clear to me what particular fabric and paper he is using. I also could not open the second link. The results do look very good, though. My inclination, as an introductory experiment, is to attempt making sails from ModelSpan tissue, using a method so clearly described by Blue Ensign on his build of La Superb. Dafi’s method probably creates a more realistic sense of light penetration, but it appears to be significantly more labor intensive. I’m not ruling it out, but I will probably first try something a little easier. I will be attempting, though, to re-create the billowing shapes seen, here, in the unfurling of the main topsail and foresail of Le Royal Louis: Dan’s method may allow for better modeling of the sails into these billowing shapes. I imagine that, either way, the use of annealed wire, folded into the edges of the sails will be an integral component of that process. That, and the liberal application of dilute glue.

will you be adding a bonaventure mizzen?

A remarkable accomplishment, Kirill! So what is next for your prodigious talents?

I appreciate the backstory, and your intrepidness to take the journey. I’m in!

Ad Infinitum, for sure. My wife, of education, can attest that I am a poor speller. However, the Iphone is little help. Spell Correct - PLEASE!! I’d be saying much worse or wronger things, if I relied on that. Not, ad-nauseam, though. I never tire of this stuff.

Complexitus Communitus Ad-Infinitium

Thanks, Mark! I will check this out.

Gaetan, thank you so much! This is all very helpfull

Gaetan, this is a work of spectacular complexity and execution. Your chaloupes are so elegantly constructed; they are ship models unto themselves. The ship stoves are of particular interest to me. Thank you for taking so many good photos of them. Would the basic structure of these stoves have been more or less the same in the 17th Century? For his St. Philippe, Lemineur shows two smaller stoves between the middle deck guns, at the bow. For my Soleil Royal, it only makes sense for there to be a larger stove, perhaps with two separate cooking bays, in the center of the main deck, beneath the forecastle deck. What you have constructed would work quite nicely, it seems to me. I just wonder whether it is reasonably appropriate for my time period. Also, presumably, the top of the stove would be some sort of iron hood funneling hot exhaust up the chimney? If you have some recommendations, here, I would really appreciate it. Thanks, Marc

Ingenious - I love it!

This is all very impressive, Mike.

Thank you for your thoughtful reply, Tom.

Great prep and early construction progress, Tom! In thinking about this method, I was wondering about grain selection for the various lifts - particularly the bottom lift. Most of the poplar stock you have shown appears to be rift-sawn. I wonder, though, whether it may he particularly advantageous to use quarter-sawn stock for the first lift because you won’t be cutting out the middle. Do you find that the relative stability of poplar negates this consideration?

CCoyle could not have said it better.

This is just some beautiful work you are doing, here, Ondras.

You know, I just marvel at the fact that even the parts of the model that aren’t to be seen - in the end - can be looked at freely.

I can see from your organization of thought and shop that this is going to be a good one. I love the lines of this ship, and really look forward to watching how you approach the build. Health, of course, is everything. I'm glad you are feeling more like yourself. Let's see what you are going to do!

WOW -really impressive scale work, Mike! I am always impressed when modelers go this small. I will be following with great interest. You are doing an amazing job, here!

Hi George - do you have a pic of the Paris model that shows the circumstance you describe? To have a working capstan on the forecastle deck does seem strange to me, as well, for a French ship of any rate or time. My knowledge base is limited, though. Any Boudriot references, anyone?

That is just pure magic! I have enjoyed watching every step of this project come together. And now, if I may propose a new project deserving of your particular talents: La Reine of 1668, as drawn here in 1672. Nobody can capture the elegant magnificence of French Baroque ornamentation quite like you. Just something to consider🙃😉

T_C, a great idea should always be acknowledged. This one, I shall not soon forget. I have to say that, while the making of window frames is labor intensive, it is an enjoyable process. One cause for satisfaction is that the original drawing is quite a mess, in this section: The reduction of windows from five to three just really de-clutters the whole design. Also, ensuring that the top and bottom rails of the windows are parallel improve the overall sense of balance. A brief montage: This is one approximate idea for doing a stylized false window. It isn’t exactly what I had in mind, but it is an idea worth playing around with a little. I’ll make some extra panes to experiment with a few different looks. By including the top-rail ornament, I ensure that there is consistency with the corresponding stern windows. If I had made simple frames, without these ornaments, the windows would appear too tall. Another nice thing is that, for a change, I have a really clear idea what the underlying structure of these windows will be. Constructing them should be relatively straight-forward. Anyway, it is a work in-process. I tried to get a decent zoom into this portrait of the Battle of Barfleur by Peter Monamy: The well-documented stern of HMS Britannia is easily recognizable. There is a strong likelihood that the French ship firing on her from the starboard broadside is Soleil Royal. Like all potentially credible portraits of SR (Monamy is in the upper echelon of period marine artists), these thumbs are too small to read for detail. This portrait may still exist in the Glasgow collection, though. I will have to send an inquiry. ’Twas a dark day for America, yesterday. Hopefully, more sane days are on their way. Thank you for your likes, comments and looking in!

Take your time, John. Straight out of the box, she’s a beast to build. Once you start modifying things, the time increases exponentially. You won’t regret the extra care taken, though.

That parquet floor rescue must have been nerve-wracking! I can feel it in my guts just imagining it. This is beautiful progress, Mike.