ClipperFan
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Rob, I know for a fact one such image exists, as Leslie, Peggy's dad pointed it out to me. It was an old photo from the 1800s of a man casually leaning into the Foremast shrouds of a large three masted Maine built Merchant vessel. He proudly told me that this was a picture of his dad in a vessel that he was Foreman of construction for. I'll ask my wife if she might know where it is. -
Rob, I kinda figured that was the fact but just in case, I felt it was better to speak up than not. My wife Peggy is constantly impressed with your work. She says her late dad would have loved to have met you. He built a bread & butter Brigantine "Newsboy". Unfortunately he became sick and unable to complete her. I found his blueprint & have all materials to finish. It's a goal of mine to honor the man and complete his work. His father was an actual Nova Scotian Shipwright who worked on Maine Downeasters.
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Rob, your ratlines look sharp. There's one item on the roof of the rear house that you haven't installed yet. Before the rigging makes it more of a challenge, I thought I would remind you. There's an exhaust flu with cap from a stove inside towards the front center of the house just before the catwalk. It appears to be 2 feet tall probably 10" diameter. From Mike's blueprint it appears to be set back 1' from the front wall. With a 3' overhang, that would set it back 4'. I apologize in advance if you already had plans to install this piece.
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Rob, how's that saying go? I "misremembered." What I do remember is how the knot from below being at the extreme Stern gives the vessel an appearance of floating in midair. Definitely a quite unique appearance for a vessel's mount. FYI thanks for the beautiful broadside.
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Rob, I have, as best as I can tell. I particularly like the rather large piece of irregular driftwood that acts as a base to your magnificent "Great Republic." My sole concern was for a viewing public to be able to see the entire Hull of Glory. Why not put a lot of leaning stabilizers all along her lower Hull, just like the practice done in a ship's dry dock. Just a suggestion to an alternate approach which would also add interest. Then again, it's your creation and ultimately your choice.
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Rob after having done such exhaustively detailed work to fully realize "Glory of the Seas" in every minute detail, I would think you would want to have every inch of her visible. I suggest mounting her on pedestals on top of the cleat. Carving a slot for her keel to rest in will hide that part of her beautiful Hull. Just my continuing, potentially annoying 2c.
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Rob, I'm going to have to refer to a Thesaurus in order to come up with further superlatives to accurately describe my reactions to your breathtaking work on your Glory model! Wow.... just wow. I am constantly blown away by your beautiful work on this simply impressive vessel. Your rigging of the Bowsprit spreader truly reinforces how much more rugged this additional spar would have made the rigging forces supporting the bowsprit, making it far more capable of withstanding stress. I bet Captain Nicholson must have seen that the lack of such a spar was a weakness to be corrected. This is somewhat reinforced by seeing the impressive loftiness of even just the Mizzenmast alone. It's hard to appreciate how tall this mast actually is, since it is so dwarfed by the Mainmast before it. Seeing your model's development with magnificent 1877 photo of "Glory of the Seas" docked at San Francisco behind, I can see why she was so popular in every port she arrived at.
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Ian Grant, don't worry about being a so-called dinosaur. My flip phone was only replaced when the ability to recharge it failed due to an inability to get the cable to properly set in. Look at the bright side though, without GPS nobody can track you. These smart phones are nowhere near as intelligent as advertised. Although, I must admit my Samsung Galaxy S8 does have a beautiful camera. Pretty soon I'll have to spring for a new one as I've run out of storage, even with the largest capacity sim card too ... I love beautiful pictures....
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Rob your inventiveness and clever use of plain, ordinary materials to achieve such extraordinary results constantly amazes me. Thanks for describing your lifeboat canvas cover creative process. I really appreciate it.
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Rick310 I agree with Rob. If you have a build log, do please share it with us.
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Rob, Not only can I confirm these few shorter iron mounts on Glory, there's another McKay Clipper "Sovereign of the Seas" (most likely II) that's equipped with them too.
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Rob, by slightly cropping your images, I was finally able to get them all oriented correctly.
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Vladimir, these images are from "Before the Mast in the Clippers" I shared the painting of Clipper 'Surprise' just because it's a beautiful piece. The other two images show complete rigging fore and aft of topsail and course (main lower sail). I thought you might be able to use them for your plans.
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Jared I reviewed the Butterworth piece and see that in the stern area, where lifeboats are on davits, they're both stored face up while covered with canvas tarps. Meanwhile the ship's launch on the large house abaft the foremast is stored face down. This also appears to have been the practice on "Glory of the Seas." There are also photos which verify this procedure.
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https://www.maritimawoodcarving.co.uk/maritima-commissions/the-cutty-sark/ Vladimir I thought you might appreciate seeing the creation process start to finish of a real figurehead. Attached is a link to the woodcutter's replacement of Scottish "Cutty Sark" Witch 'Nannie'. The earliest image shows a paper outline laying on a block of wood. Then the wood is carefully shaped by the carver. In the background you can see a smaller scale version of the completed sculpture. Since you're already working on a 1&1/4" size to start, there's no need to start any smaller 😉 Regardless, I hope this article serves as inspiration for your effort. Another helpful hint, all human bodies are 7 heads tall. It helps to know this in order to keep your Proportions accurate. A favorite resource for me is Michelangelo's "Illustrated Man." the famous image of a man inside a circle. While Glory's figurehead 'Athene' is topless, a good portion of her is wrapped in a Grecian toga. Her left arm barely covers her left breast and her left hand grasps her toga just below a large necklace around her neck. The toga flows outward in a tight triangular flowing shape. Her right arm reaches back to grasp the other end of her toga. The right thumb faces outward while the upper part of the hand is mostly hidden by fabric. Speaking of which, the fabric forms an open loop behind 'Athene' so that you can see right through both sides. On both sides of the figure, her torso is open with the toga flowing down in graceful arcs almost below her hips. Her pose is left foot forward, toes down, heel slightly elevated while her right foot is back practically verticle. The model was very graceful and looks as if she's ready to step right off the pedestal she's resting on. Most of her legs are hidden by her dress. I realize very few of these details can be realized on a figure just barely over an inch tall but I thought you might appreciate knowing regardless.
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Jared This contemporary photo of Glory's lifeboats actually shows a type of quick release tie down securing the craft to the ship's mounting rail. Either mounted face up or face down, it makes sense that lifeboats, due to anticipated expediency for their use, would be secured with quick release lines either way.
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Vladimir it may surprise you to know that I agree with Rob 100%. There is an immediacy and rustic charm to the lovely work you've already done. There is such a thing as trying too hard. Sometimes it's better to step back and accept the beautiful results you've already created. As for Glory's figurehead, I encourage you to set your doubts aside and just go for it. She can either be constructed from a series of smaller carved wooden components, like her arms, for instance or using thin wire armature, built up out of clay or sculpey. Good luck!
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TheAuthorsDaughter Arina if you let me know about these rare items, I'll try to get them for you and your dad. If anybody does, it's your dad who deserves to have these rarities in his collection.
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Rob, the addition of the Bowsprit spreader really is a fascinating anachronistic device. As usual you've done a beautiful job on the inclusion of this unique spar. I'm far more used to seeing such original spritsail mounts in 18th Century warships. Then those were mounted below the Jibboom in order to allow mounting a sail. Being set up on top, clearly there was no intent to mount a sail. As it apparently wasn't originally installed at her launch, this spar like the many other ingenious deck revisions was most likely a result of Captain Nickerson's work.
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Rob, while you see the flaws, what others like myself see is the single finest miniature replica under an inch, of Glory's Grecian Goddess Athene figurehead ever done. Even the great McNarry sculpture is much larger being around six inches tall.
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Rob, one consistent feature I've seen with ship's figureheads is that the subject's head is tilted in such a way that their face is looking straight out. Invariably when a figure is mounted at a sharp angle, this put their head at a tilted back position too.
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Rob, at the risk of sounding seriously redundant, I just want to once again acknowledge how meticulously accurate your scratch built model is to "GLORY of the SEAS" herself. It's remarkable how even the bowsprit's angle matches the one in the picture behind. Well done, sir. Well done indeed.
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Rob, not having either of these beautiful figurehead images, how on earth did you come so close to them? I'm even more impressed with your capabilities now!
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Rob, actually besides the lower tilt of his head and lower position of your figurehead's left arm, the rest of him is very accurate, including authentic paint job. I read that the McKay's original figurehead was lost at sea. This replica was carved by the Ship's Carpenter as a replacement at sea. Knowing how complex a project it is to create a 7' likeness, it's a fair bet that the original artwork, especially if sculpted by Mason was far more refined.
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