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Waldemar
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Everything posted by Waldemar
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I was reminded of the words of Xerxes and Leonidas: – Our arrows will cover the sun. – Then we will fight in the shade.
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Vexillology for some is the least important issue, for others the most important. To be sure, a little more about this. According to the 1629 notarial fleet inventory, the admiral ship had the following set of flags: (a) „Zwo grosse flaggen, darunter eine Schwedische ...” (Swedish flag; for admiral ship only), (b) „... Die Andere mit dem Königl. Poln. Schwedisch[en] Wapen” (Royal Polish-Swedish Standard; for admiral ship only), (c) „Ein bluttfahne” (war flag/bloody flag; for admiral ship only), (d) „Ein flögel” (a vane; used on both flagships and non-flagships), (e) „Zwo kleine alte flaggen” (common flags; for both flagships and non-flagships), (f) „Zwen grosse Topstenders mit buchstaben” (broad pennants; for flagships only), (g) „Ein klein Topstender” (smaller pennant; for flagships only). Except small pennant, all of these flags are shown below on the St George 1627. Non-flagships were clearly not entitled to most of these flags.
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Flags, naturally. And here I have the presumably attractive information that the model of this ship can be built in two variants, also as the King David (the 'sister' ship of the St George), under the imperial colours and the overall command of Wallenstein, the general-captain of the imperial fleet on sea and land. For more on this, see the work Vergessene Flotten. Flotten und Flottenbaupläne im Heiligen Römischen Reich deutscher Nation vom 15. Jahrhundert bis 1632 by Karl Frick. Here, only that the entire fleet was (irretrievably) hired out in exchange for, among other things, the imperial modern infantry, which helped a great deal to halt hostilities in the region at least. For this the lower stern relief needs to be accordingly replaced, as well as the artillery set (for which written details are known). All other 'details' are, or may be the same. View of Wismar harbour, base of the Imperial Fleet (third decade of the 17th century)
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...very true. And the last warrior, meaning the last sculpture in the 'official' version of the ship's plan.
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Thank you very much Montaigne. It would have been difficult to explain it more clearly, and I read it with interest myself 🙂. * * * While the royal coat of arms on the stern has all the heraldic elements (i.e. the emblems of the two kingdoms, Poland-Lithuania and Sweden, and the emblem of the ruling house; all of these on three different levels), then the figurehead beast just holds in its paws only the symbol of the reigning Vasa dynasty. By coincidence, or rather by the course of history, this symbolism is identical to that of the Vasa 1628 ship.
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@Metaspace Roman, thank you very much. I will treat this question as rhetorical, otherwise I would have to tell the story of half my life. If you're going to start, my advice is not to put it off, as it's a long and bumpy road. @Martes This was supposed to be an asymmetrical composition, but you're absolutely right, it came out overly asymmetrical due to my initial reluctance to include the practically obligatory pile of bones seen in most period paintings. I have made the appropriate adjustment and now compositionally it does indeed look much better. I have also added a few other elements and the design of the stern decorations can be considered complete.
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Only the last-minute arrival of the cavalry saved the lady from misfortune.
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Due to dynastic issues, the royal coat of arms of this period was a quite complicated affair.
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With Martes' active help some of the ship's decorations are being made, but only such a model of the stern lantern was available at the lantern booth in 1627 fair, and modellers today will be rather unhappy. Then again, neither are my computer's processors and fans.
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Hello again, Don't know if you will be interested in this, but I have a suggestion. It's about martnets, which you may want to replace with both functional and iconography-compatible ones: make a combination block (i.e. euphroe-single sheaved block) as in the diagram by Ab Hoving below. Look at the graphic in my post #213 on St George and replace everything you will see against the sail with your new block. The double block fixed to the stay (or to the fighting top) remains. Done. It shouldn't be any great earthquake.
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@Montaigne Probably from version 5 onwards, Rhino has an Edge Softening feature that can at least partially replace filleting for renders, without doing the actual filleting. I used it some time ago with very good results. @Ondras71 Thanks a lot. I like to think that I'll be able to prepare commercial plans soon, and that you and your modelling diligence will look at them with a favourable eye.
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The rigging can be considered finished unless someone points out an anachronism worth improving (one side shown). There is little time left for this, as only the decoration needs to be designed now. Bowsprit rigging in all its 'glory' (i.e. both sides shown): And this render found its way here quite by accident:
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When it comes to chamfering and filleting, I try to use these only exceptionally. Basically for larger pieces and/or in situations where it can no longer be avoided, e.g. for knees. And in fact I always chamfer/fillet just one edge rather than all of them of one solid; fortunately the specifics of the project allow me to do this. Primarily because filleting/chamfering, widely applied, would increase the file size, complexity and handling time (e.g. rendering) many times over. Also because subsequent modifications of chamfered/filleted elements (as opposed to unchamfered ones) require much more time and effort. And there probably isn't a single part that I haven't modified three, four, five times and sometimes many more times... It is for this reason that I try to keep backups of the parts before applying filleting or chamfering, but this also complicates the task in itself.
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Thank you very much Fred for your comment and information! In the case of the Ann Royal, joining these pairs of single blocks together (as was sometimes done) would virtually give fiddle blocks, and a trivial euphroes from some arbitrary pieces of wood could have been successfully made even by a novice ship carpenter. This would have given exactly the set of blocks I came up with for the St George. Well, it may not be the simplest arrangement, but after all, one can also come across even more elaborate ones on the pictures. I would also add that information from you, on this issue or any other, is always among the most valuable. Thanks again, Waldemar
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Hello Ron, Not much data available for the first half of the 17th century. Apart from the well known work by Adrian Caruana, The History of English Sea Ordnance 1523–1875 with rather sparing information for this difficult period, there is also Journal of the Ordnance Society which you may investigate. Be that as it may, any existing sources were also certainly explored by Richard Endsor and the resulting interpretation presented in his works, which are all too easy to find on the web to list them here.
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Bowlines and Martnets. Mysterious martnets deserve more commentary because the configuration shown here, reconstructed by me on the basis of period iconography, was used here for the first time. With regard to this item, other modern historical reconstructions of ships' rigging (including the Vasa rigging reconstruction), were usually based on an unsatisfactory, not to say incorrect, interpretation of R.C. Anderson presented in his otherwise excellent as a whole work The Rigging of Ships in the Days of the Spritsail Topmast, 1600–1720. My interpretation of the martnets configuration, shown below, is first and foremost consistent with the iconography, is functional, can be simplified or elaborated as required, and can be flexibly modified, e.g. by lengthening or shortening pendants or by using different blocks (e.g. two single blocks instead of one double block at the stay, or a direct connection/combination of a dead block/euphroe with a single sheaved block).
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Many thanks Martes. Hmm, all ropes have their correct, individual thickness and there is not much you can do about that. The background... I'll try some more experimenting, as you suggest, but I guess that's for later, because the priority now is to draw all the missing elements, which fortunately aren't that many anymore. We'll come back to this issue later, because of course an objective, assertively expressed evaluation/opinion/review is always desirable for best results.
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Thanks Martes, however, that's down to the software developers rather than me. I just select the shots. The rigging from greater distances is quite ungrateful to render clearly and I'm trying various possibilities, as below, with clew lines added in the meantime. If you have any suggestions in this regard, please put them forward, of course. I would only add that this rather archaic appearance of the rigging as a whole is as much as possible intentional. Again, only one side shown.
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Thank you very much Roman. Not to discourage you, but it's quite a tough experience and you also have to fight the inevitable mental crises. But if you are consistent, I urge you to go ahead with such an endeavour. You will have immense satisfaction... The woodworking has already taken off (no admiral permission to show photos 🙂). I insisted on using 100% pear wood for the prototype model (scale 1:15), but the museum modellers opted for alder instead. I'm happy with the result anyway, because it looks almost as good, well, and I managed to successfully persuade them to not use oak wood at all. My model, if any, would be definitely out of pear and some ebony, and nothing else. Roughly aiming at the dominant style of modern Belgian and French modellers.
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All sheets and tacks (only one side shown). While my home laptop is probably no more powerful than NASA's hardware, it can still handle a file of about 600 MB.
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Of course I had noticed this before, I just recognised that it was not about the weather, but, for example, the notoriously polluted environment and murky water. 🙂
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Your models are just perfect for such group scenery with several ships. This is another very attractive advantage of them that is practically unavailable for very complex designs. Unless one has access to NASA computers, for example.
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Thank you and please be patient. Now just a quick demonstration of the effects. On the two-dimensional renders it may not be so visible, but all the blocks have the correct position and orientation in relation to the run of the ropes.
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At first I also tried to use 2D and 3D rotations, but this was a mistake. Time consuming and very inaccurate. I found a method that is relatively quick, straightforward and very precise at the same time. I will explain everything, but together with diagrams and a clear explanation, the preparation would take me at least one whole day, and I cannot afford it now. Please give me some time. Rather, weeks.
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I've written this before, but I'll reiterate that you have some kind of special gift for displaying the sexy features of ships. And that special care and feel in shaping the hull surfaces, which I find so appealing. "Small" masterpieces in their specificity and beyond...
Our Emblem ®
