ClipperFan
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Rob, no critique intended, I was merely saying what I was observing after you directed me to that area of this amazing picture. Another fascination I have with this image is the apparent height of the Forecastle. The only logical way I can reconcile this much higher bulkhead is if the main deck had remained more level instead of following the molded level. Confusing to me at least. -
Rob, very perceptive of you to find those. When I enlarged that image, I also saw the distinct shape of a ship's bell apparently mounted to the rear of the Foremast just above the long House behind it. To me, that's sort of an awkward position for one but it sure looks like a bell to me. I can see the metal stanchions you refer to, but it looks like two sets of wires rigged across them. One runs across the top and another runs just slightly above midway. More confusing still, is that the wires appear to run completely across the forecastle rear with no break for ladders. Speaking of which, I see lower Bulwarks on the Port side, with three equal sets of long rectangular moldings and a bearded sailor crouching down just to the right of them but no visible ladders. Do you think it's possible the crew might have moved them to work on the deck?
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Rob, the forecastle rail is a nice touch. One I've never seen before on a McKay Clipper but which makes total sense from a safety factor. It looks like it's a wooden cross bar attached to iron stanchions. By the way, do you think maybe the center of this rail might be where the ship's bell might have been located?
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Rob, being on the East Coast, it seems damn near impossible but some day, when she's fully rigged, I would love to see your Museum piece in person. I am sure she will be quite imposing.
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Rob, this is really demonstrating how every spare inch of space was utilized on sailing Merchant vessels. Again, I believe this is shaping up to being your best most intricate modeling effort yet. This is getting more and more exciting daily.
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Rob, thanks for sharing your creative process.
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Rob, I hear you. You will have put an incredible amount of time and effort into your project by then. I don't even know if I would want to part with such a beautiful model by then. If you did though. I'm sure the logistics could be worked out.
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Rob, mark my words. By the time you complete her lofty masts, powerful spars and intricate rigging like the 1877 scene of her at the San Francisco Wharf, she will indeed be a stunning Museum piece for the ages. Can't you just imagine her sitting serenely in front of the sole remaining "GLORY of the SEAS" nameboard? It could start a whole new generation rediscovering McKay's final magnificent Clipper!
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Rob, these overall scenes are my favorites. You can really get a sense of how not one inch of space was wasted on these sailing merchant vessels. My guess is that a Chicken Coop would have been mounted on the forward hatch before the Foremast. This is just so exciting to see develop, it's like your creating a museum piece heirloom for the ages!
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Rob, this is continuing to shape up as your most fascinating build to date! I love the intricate interactions of the turned stanchions on the cat walk compared to the ones on the Carriage House and Poop Deck. Just beautiful work. Even the tarps on the ship's boats look amazingly realistic, especially the simulated tie downs.
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Rob, great catch on those house wall structures on the long house roof. Another answer we can see is that in both images, there are open window shutters on hinges on that same building. From the Boy's House forward, it appears like one has a broken hinge, as it hangs awkwardly. From the opposite scene, another silhouette of a open shutter appears to be open just fine. As far as solid vs built masts, maybe during tight financial times, they used solids and when affordable, converted to original built masts.
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George beautifully impressive work on "Flying Fish" Rear Carriage House. I really appreciate the internal strengthening beams to support the Mizzen Mast mounting structure. A suggestion I have is to follow the dual arched windows located near the outer support brackets, as illustrated in the Buttersworth oil. It's more similar to actual photos of this facade we've seen in Glory then the more simplistic one in your plans. If you look at Michael Mjelde's illustration too, you'll see that for Glory, there were a series of arches which highlighted the ornateness of this house. If you want to get an idea of what a nice touch this is, just look at how the treatment of these facades really emphasize the beauty of Rob and Vladimir's vessels. I suspect this would have been a hallmark of all of McKay's Clipper Ships.
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Rob, this is probably my most favorite feature of the modified Glory. Most Ships I've read about never seemed to have been so heavily revised as "GLORY of the SEAS." This section of your build is particularly fascinating.
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Pat, Glory's weathered hull is intentional by Rob. His vessel is modeled after the image of her as she's seen docked in San Francisco with her lofty masts.
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Rob, of course Vladimir's right. Your Bow treatment is just gorgeous.
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Rob, you always do such beautiful, clean work. I particularly like the two tone paint job on the arch for the rear boat skids, very nice touch.
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Rob, I can't wait to see your latest results!
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Vladimir, What must be encouraging though must be how much your Stern captures all the intricacies of Glory herself. I think one of the most exciting facets of our proposed NRG article will be the uncanny resemblance of your two models to the genuine vessel herself.
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Vladimir, great catch about the use of telephoto lens! My only observation is that your angle is still lower than that used from the tree in Alaska. It make sense that an intrepid photographer would go to that length in rugged Alaskan territory to get such a shot. Compare the amount of roofs viewable on the Wheelhouse and Rear Carriage House to how there's almost none visible of the Wheelhouse and a much lower view of the Carriage House in your own. Overall an excellent discovery though.
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Vladimir, this "curvilinear" vs "round" topic highlights another feature of McKay's more robust larger Clippers vs Great Britain's more Yacht like Tea Clippers. McKay vessels in particular were noted for their stout short 'overhang' vs English vessels which had more delicate rounded ones. In fact, it's thought that the famous Tea Clipper "Ariel" was lost due to waves sinking her counter from the Stern. I look forward to the images of your Glory taken from the same vantage point as this rare Alaska photo. Perhaps Rob can do the same with his too. It would be fascinating to see results compared to Glory herself.
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Vladimir, It's the very 1st of three photos in your long post about the shape of Glory's stern. It's looking through evergreens from slightly above directly at her Stern while she's docked in Alaska. From this never before seen image it's clear the center of her Stern is far more flattened than a round stern would appear. Thus "Curvilinear" now means to me a flat center with curves on the ends where the Stern meets the sides.
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Vladimir, That's quite a detailed, well thought out and intellectual evaluation of McKay's "curvilinear" stern. What simply amazed me when I first saw the rear view of Glory in Alaska was the almost flat center of her counter. In essence this curvilinear quality was far more of a rounded flat than a more graceful ellipse, which was how I originally envisioned curvilinear to be. Fortunately, despite your lack of this incredibly significant photo, you guys both captured this quality of Glory very closely. Kudos to both of you for a job well done!
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Rob & Vladimir What's beautiful is how perfectly symmetrical both of your Clipper Ship models are. What a wonderful tribute to Donald McKay's vessel "GLORY of the SEAS!"
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Vladimir, that's a nice view of your Model's Stern viewed from above. Now "drop the other shoe" and give Rob a clear understanding for what you meant for the second one.
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Vladimir, Why don't you take pictures of the Stern of your vessel in the angles you're asking Rob for. That way he knows exactly what you're asking him to do.
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