Jaager

Pine is good.  I use a lot of it.
There is another wood that is worth a look.  Goodreau Sawmill & Woodworking has Yellow Poplar that costs about the same as their White Pine.
If your focus was a couple hundred years earlier - they also have Hard Maple, Black Cherry, Beech.
They also have the usual nutwood species whose grain and open pores do not scale.
 
I would place a bet that you will come to regret  having a large solid wood carved hull.  The rules that Dana Wegner developed for USN museum acquisitions - rules that specify a hollow hull, are probably the result of lessons paid for from disasters reflected by solid hulls.
 

Pine is good.  I use a lot of it.
There is another wood that is worth a look.  Goodreau Sawmill & Woodworking has Yellow Poplar that costs about the same as their White Pine.
If your focus was a couple hundred years earlier - they also have Hard Maple, Black Cherry, Beech.
They also have the usual nutwood species whose grain and open pores do not scale.
 
I would place a bet that you will come to regret  having a large solid wood carved hull.  The rules that Dana Wegner developed for USN museum acquisitions - rules that specify a hollow hull, are probably the result of lessons paid for from disasters reflected by solid hulls.
 

Cost:  Ordinary lumberyard pine is an overlooked but perfectly suitable wood for “carved hull models.  Sort through the 1” stock and pick out what you need.  You don’t need top grade quality as you will not be using the whole board as one piece.  You can discard areas with knots.  
 
Weight:  For my current project, the lake freighter Benjamin Noble, the long middle body is an open topped box with a U cross section.  Deck is brass plated craft plywood, but you could plate with paper. Bow and stern sections are solid “plugs”that fit into the ends of the box.  All carved to shape.  Material: 1in lumberyard pine.
 
Roger

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

It is to scream in frustration!  The use of jargon with this causes confusion about which agents to use.
A stain - the noun - applies to a semi transparent paint. It does not penetrate wood. It sits on the surface.  It is largish pigment particles in a binder.
A dye - is near single molecule pigment.  It actually enters into the wood and becomes part of it. As commonly found, the pigment is either dissolved in water or alcohol.
The water based version penetrates more deeply but also can swell surface wood fibers (raise the grain).
The alcohol based version penetrates not as deep, but does not affect the wood surface.
 
Small boxwood blocks  - depth of penetration is not something that can be seen, so alcohol is probably the more efficient version.
If you buy a small quantity of red and black dye.  An endless variety of shades of brown is possible by adjusting the relative ration of the two solutions.
Even more variety is possible if a brown pigment is in the mix.  In any case, a little black goes a long way.
Test on scrap.  This is both more tricky than is first imagined and messy - gloves - skin will dye too and it takes a few days for dyed cells to be shed.
Once you have the desired shade, the intensity can be less by adding more alcohol.
To finish, use a coat of clear shellac on the dyed blocks.
 
Or you could leap to the final stage by doing what the original Navy Board modelers did.  Use garnet color shellac on the raw boxwood.  First coat, 1/2 strength, second coat full strength.

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

This ship is a subject of a AAMM monograph. 
The plans are 3 sheets and the scale is 1/75.
If the OcCre plans are not as complete as they could be, this is a ready source for details.
As with the other AAMM Age of Sail subjects, the plans are designed for a carved hull build.
The lines are more than enough for a POB build.  There are enough points for a standard plotting of frames for POF - but no buttock lines.
 
To my eye, the frigate itself is an excellent example of the last of the pure sail warships.  When efficiency was  the primary guiding factor of the design.
 
Here is the description from the AAMM shop:
"La Belle-Poule
first rank frigate (1834 - 1861)
 
The Belle-Poule is one of the last large sail frigates and a masterwork of the shipyards because of its speed, power and handling ease.

With very pure lines and little camber, its battery painted white accentuated further the horizontality of its hull. Launched in 1834 she was involved in a number of military actions. But her fame is essentially due to the fact that, under the command of the Prince of Joinville, King Louis Philippe’s son, she was sent to St.Helen’s island to recover Napoleon’s body for burial in its final resting place in the Invalides. It was at that time that the white line of its gun ports was painted black and so it is for the Museum model.

This model, albeit complicated, can be built by non professional, but patient and skilful model boat builders. It is a rather large model, very decorative, especially if one paints in white the gun ports line, as for all the ships of that period in France.

Specifications : Displacement : 1 500 tonneaux.
Lenght : 54 m.
Beam : 15 m.
Armament : Battery : Two 80 pound howitzers
Twenty eight 30 pound guns Deck : Twenty six 30 pound caron guns
Four 30 pound howitzers on deck Fighting tops : Eight swivel guns
Model building : Advanced skills and time required

Scale of drawing : 1/75th,
Three plans, four photographs, one notice (french)."

This ship is a subject of a AAMM monograph. 
The plans are 3 sheets and the scale is 1/75.
If the OcCre plans are not as complete as they could be, this is a ready source for details.
As with the other AAMM Age of Sail subjects, the plans are designed for a carved hull build.
The lines are more than enough for a POB build.  There are enough points for a standard plotting of frames for POF - but no buttock lines.
 
To my eye, the frigate itself is an excellent example of the last of the pure sail warships.  When efficiency was  the primary guiding factor of the design.
 
Here is the description from the AAMM shop:
"La Belle-Poule
first rank frigate (1834 - 1861)
 
The Belle-Poule is one of the last large sail frigates and a masterwork of the shipyards because of its speed, power and handling ease.

With very pure lines and little camber, its battery painted white accentuated further the horizontality of its hull. Launched in 1834 she was involved in a number of military actions. But her fame is essentially due to the fact that, under the command of the Prince of Joinville, King Louis Philippe’s son, she was sent to St.Helen’s island to recover Napoleon’s body for burial in its final resting place in the Invalides. It was at that time that the white line of its gun ports was painted black and so it is for the Museum model.

This model, albeit complicated, can be built by non professional, but patient and skilful model boat builders. It is a rather large model, very decorative, especially if one paints in white the gun ports line, as for all the ships of that period in France.

Specifications : Displacement : 1 500 tonneaux.
Lenght : 54 m.
Beam : 15 m.
Armament : Battery : Two 80 pound howitzers
Twenty eight 30 pound guns Deck : Twenty six 30 pound caron guns
Four 30 pound howitzers on deck Fighting tops : Eight swivel guns
Model building : Advanced skills and time required

Scale of drawing : 1/75th,
Three plans, four photographs, one notice (french)."

This ship is a subject of a AAMM monograph. 
The plans are 3 sheets and the scale is 1/75.
If the OcCre plans are not as complete as they could be, this is a ready source for details.
As with the other AAMM Age of Sail subjects, the plans are designed for a carved hull build.
The lines are more than enough for a POB build.  There are enough points for a standard plotting of frames for POF - but no buttock lines.
 
To my eye, the frigate itself is an excellent example of the last of the pure sail warships.  When efficiency was  the primary guiding factor of the design.
 
Here is the description from the AAMM shop:
"La Belle-Poule
first rank frigate (1834 - 1861)
 
The Belle-Poule is one of the last large sail frigates and a masterwork of the shipyards because of its speed, power and handling ease.

With very pure lines and little camber, its battery painted white accentuated further the horizontality of its hull. Launched in 1834 she was involved in a number of military actions. But her fame is essentially due to the fact that, under the command of the Prince of Joinville, King Louis Philippe’s son, she was sent to St.Helen’s island to recover Napoleon’s body for burial in its final resting place in the Invalides. It was at that time that the white line of its gun ports was painted black and so it is for the Museum model.

This model, albeit complicated, can be built by non professional, but patient and skilful model boat builders. It is a rather large model, very decorative, especially if one paints in white the gun ports line, as for all the ships of that period in France.

Specifications : Displacement : 1 500 tonneaux.
Lenght : 54 m.
Beam : 15 m.
Armament : Battery : Two 80 pound howitzers
Twenty eight 30 pound guns Deck : Twenty six 30 pound caron guns
Four 30 pound howitzers on deck Fighting tops : Eight swivel guns
Model building : Advanced skills and time required

Scale of drawing : 1/75th,
Three plans, four photographs, one notice (french)."

This ship is a subject of a AAMM monograph. 
The plans are 3 sheets and the scale is 1/75.
If the OcCre plans are not as complete as they could be, this is a ready source for details.
As with the other AAMM Age of Sail subjects, the plans are designed for a carved hull build.
The lines are more than enough for a POB build.  There are enough points for a standard plotting of frames for POF - but no buttock lines.
 
To my eye, the frigate itself is an excellent example of the last of the pure sail warships.  When efficiency was  the primary guiding factor of the design.
 
Here is the description from the AAMM shop:
"La Belle-Poule
first rank frigate (1834 - 1861)
 
The Belle-Poule is one of the last large sail frigates and a masterwork of the shipyards because of its speed, power and handling ease.

With very pure lines and little camber, its battery painted white accentuated further the horizontality of its hull. Launched in 1834 she was involved in a number of military actions. But her fame is essentially due to the fact that, under the command of the Prince of Joinville, King Louis Philippe’s son, she was sent to St.Helen’s island to recover Napoleon’s body for burial in its final resting place in the Invalides. It was at that time that the white line of its gun ports was painted black and so it is for the Museum model.

This model, albeit complicated, can be built by non professional, but patient and skilful model boat builders. It is a rather large model, very decorative, especially if one paints in white the gun ports line, as for all the ships of that period in France.

Specifications : Displacement : 1 500 tonneaux.
Lenght : 54 m.
Beam : 15 m.
Armament : Battery : Two 80 pound howitzers
Twenty eight 30 pound guns Deck : Twenty six 30 pound caron guns
Four 30 pound howitzers on deck Fighting tops : Eight swivel guns
Model building : Advanced skills and time required

Scale of drawing : 1/75th,
Three plans, four photographs, one notice (french)."

My personal bias:
Contact cement is really terrible for anything on a ship model.  It tends to oxidize and fail in a decades time line.  You get one shot at placement, no fine adjustment possible.
Duco is not a good choice and fails any serious strength test.
Hide glue I have not tried it, but really old school is hide glue flakes melted in a glue pot.  Messy and time consuming, but it should last a couple hundred years.  I tried Franklin liquid hide glue as a reversible wood to wood bond - it held too strongly for my purposes.  Old Brown Glue is said to be a better choice,  but this type is probably too aqueous to play nice with wood.  The pot type has a lot less water.
CA,  some love it and a lot of us moldy figs really hate it and do not touch it.
Epoxy,  the thing to use for metal to wood,  but too messy and ugly for wood to wood.
PVA  - the go to for wood to wood.  The closer the two surfaces, the stronger the bond.  It comes white (dries clear), yellow ( aliphatic ) dries amber and has partial to complete water resistance -depending on the formula used.  It also comes white pH7 - bookbinders strictly for rigging done using natural fibers.   If you coat both surfaces with PVA, let it dry, put the two surfaces together and iron it, the heat allows a bond.  It is a contact cement of sorts. I doubt that the strength is anything like a wet PVA bond.  A proper PVA bond is stronger than the lignin that holds the wood fibers together.
Foaming type would be awful to mess with.
Resorcinol glue is the thing if you are building a full size PT boat,  not worth the trouble on a model.
 
Your bonding - PVA and clamping or weight.  East coast US,  what with the humidity, I prefer Titebond II.

I have found that the HF 4" ratcheting bar clamp - the one with the large wingnut - is the only one that I have tried that really works.
The HF model with a small wingnut, the MM variety, the Widget Supply model, the expensive Irwin 4'' - none of these will apply any appreciable pressure.
Plus, the trigger tends to break.

This ship is a subject of a AAMM monograph. 
The plans are 3 sheets and the scale is 1/75.
If the OcCre plans are not as complete as they could be, this is a ready source for details.
As with the other AAMM Age of Sail subjects, the plans are designed for a carved hull build.
The lines are more than enough for a POB build.  There are enough points for a standard plotting of frames for POF - but no buttock lines.
 
To my eye, the frigate itself is an excellent example of the last of the pure sail warships.  When efficiency was  the primary guiding factor of the design.
 
Here is the description from the AAMM shop:
"La Belle-Poule
first rank frigate (1834 - 1861)
 
The Belle-Poule is one of the last large sail frigates and a masterwork of the shipyards because of its speed, power and handling ease.

With very pure lines and little camber, its battery painted white accentuated further the horizontality of its hull. Launched in 1834 she was involved in a number of military actions. But her fame is essentially due to the fact that, under the command of the Prince of Joinville, King Louis Philippe’s son, she was sent to St.Helen’s island to recover Napoleon’s body for burial in its final resting place in the Invalides. It was at that time that the white line of its gun ports was painted black and so it is for the Museum model.

This model, albeit complicated, can be built by non professional, but patient and skilful model boat builders. It is a rather large model, very decorative, especially if one paints in white the gun ports line, as for all the ships of that period in France.

Specifications : Displacement : 1 500 tonneaux.
Lenght : 54 m.
Beam : 15 m.
Armament : Battery : Two 80 pound howitzers
Twenty eight 30 pound guns Deck : Twenty six 30 pound caron guns
Four 30 pound howitzers on deck Fighting tops : Eight swivel guns
Model building : Advanced skills and time required

Scale of drawing : 1/75th,
Three plans, four photographs, one notice (french)."

This ship is a subject of a AAMM monograph. 
The plans are 3 sheets and the scale is 1/75.
If the OcCre plans are not as complete as they could be, this is a ready source for details.
As with the other AAMM Age of Sail subjects, the plans are designed for a carved hull build.
The lines are more than enough for a POB build.  There are enough points for a standard plotting of frames for POF - but no buttock lines.
 
To my eye, the frigate itself is an excellent example of the last of the pure sail warships.  When efficiency was  the primary guiding factor of the design.
 
Here is the description from the AAMM shop:
"La Belle-Poule
first rank frigate (1834 - 1861)
 
The Belle-Poule is one of the last large sail frigates and a masterwork of the shipyards because of its speed, power and handling ease.

With very pure lines and little camber, its battery painted white accentuated further the horizontality of its hull. Launched in 1834 she was involved in a number of military actions. But her fame is essentially due to the fact that, under the command of the Prince of Joinville, King Louis Philippe’s son, she was sent to St.Helen’s island to recover Napoleon’s body for burial in its final resting place in the Invalides. It was at that time that the white line of its gun ports was painted black and so it is for the Museum model.

This model, albeit complicated, can be built by non professional, but patient and skilful model boat builders. It is a rather large model, very decorative, especially if one paints in white the gun ports line, as for all the ships of that period in France.

Specifications : Displacement : 1 500 tonneaux.
Lenght : 54 m.
Beam : 15 m.
Armament : Battery : Two 80 pound howitzers
Twenty eight 30 pound guns Deck : Twenty six 30 pound caron guns
Four 30 pound howitzers on deck Fighting tops : Eight swivel guns
Model building : Advanced skills and time required

Scale of drawing : 1/75th,
Three plans, four photographs, one notice (french)."

My personal bias:
Contact cement is really terrible for anything on a ship model.  It tends to oxidize and fail in a decades time line.  You get one shot at placement, no fine adjustment possible.
Duco is not a good choice and fails any serious strength test.
Hide glue I have not tried it, but really old school is hide glue flakes melted in a glue pot.  Messy and time consuming, but it should last a couple hundred years.  I tried Franklin liquid hide glue as a reversible wood to wood bond - it held too strongly for my purposes.  Old Brown Glue is said to be a better choice,  but this type is probably too aqueous to play nice with wood.  The pot type has a lot less water.
CA,  some love it and a lot of us moldy figs really hate it and do not touch it.
Epoxy,  the thing to use for metal to wood,  but too messy and ugly for wood to wood.
PVA  - the go to for wood to wood.  The closer the two surfaces, the stronger the bond.  It comes white (dries clear), yellow ( aliphatic ) dries amber and has partial to complete water resistance -depending on the formula used.  It also comes white pH7 - bookbinders strictly for rigging done using natural fibers.   If you coat both surfaces with PVA, let it dry, put the two surfaces together and iron it, the heat allows a bond.  It is a contact cement of sorts. I doubt that the strength is anything like a wet PVA bond.  A proper PVA bond is stronger than the lignin that holds the wood fibers together.
Foaming type would be awful to mess with.
Resorcinol glue is the thing if you are building a full size PT boat,  not worth the trouble on a model.
 
Your bonding - PVA and clamping or weight.  East coast US,  what with the humidity, I prefer Titebond II.

I have found that the HF 4" ratcheting bar clamp - the one with the large wingnut - is the only one that I have tried that really works.
The HF model with a small wingnut, the MM variety, the Widget Supply model, the expensive Irwin 4'' - none of these will apply any appreciable pressure.
Plus, the trigger tends to break.

If the object being held can stand the pressure,  Kelly clamps become No Mar holders if a piece of used IV tubing is slipped over the teeth.
What with the close tolerance there is pressure even with thin wall Tygon.

If the object being held can stand the pressure,  Kelly clamps become No Mar holders if a piece of used IV tubing is slipped over the teeth.
What with the close tolerance there is pressure even with thin wall Tygon.