wefalck

In any case, don't iron sails already treated with acrylic paint. The paint is not heat resistant. Otherwise, I ironed silk-paper slightly humid with a wool seeting or so between two thin cotton towels. Keep the iron moving, it is easy to 'brown' the paper ...

The problem is, that it only works for the set of diameters provide in the tool ...

Aveling & Porter converted a couple of their traction engines for use on rails in the RN Dockyards. There is a preserved one in Chatham: https://newsite.dockyardrailway.co.uk/?page_id=89. The wheels are driven by chain from the crankshaft.

Well, I did not contemplate to etch the bars, but rather to etch notches into the back of the frames to allow to glue in the wires at correct and equal spacing, as I had done for the engine-room skylight of SMS WESPE.

Machining bevel gears it not trivial and one needs a pretty massive 'universal' milling machine or shaper and a dividing head for that. However, by 1900 it would not be uncommon to see bevel gears of some sort on steam-engines. For instance, they were used since the later 1860s or so to drive the rope-drums on ploughing engines. Also, they became increasingly common in engineering due to the budding automotive sector, although there initially chain-drives were used. Chain-drives were used on (sailing) ships for instance to power winches from a centrally placed IC engine, but also in stationary industrial applications powered by steam. From the modelling perspective, one could turn a cone and file the teeth for bevel gears. You can buy them down to 0.3 modular, but that would be still too coarse for your scale. For chains, one could try to find a so-called fusee-chain as used in certain types of clocks/watches, but I have no idea of prices.

Well, it's a vintage milling machine that never was: https://www.maritima-et-mechanika.org/tools/micromill/micromill.html. The key mechanical parts came from antique watchmaking lathes. https://www.maritima-et-mechanika.org/tools/micromill/MF-V1.mp4 The miniature vice is shop-made: https://www.maritima-et-mechanika.org/tools/attachments/attachments.html#Micro_vice

In between business-related absences from home, I managed to progress a little bit ... **************** Cabin Skylight As noted previously, the cabin skylight is a somewhat perilous position, but nevertheless contemporary drawings and some old models indicated, that they were of relatively lightweight construction. The actual construction is somewhat conjectural, but it seems that the hatch was covered by frame into which glass-panes were insert. Over this, there is a shallow roof-like structure with protective iron bars. In this arrangement, the glass-panes are not actually insert into the roof-like structure, but are at some distance below. The effect is, that even in the event that the iron bars are bent, the glass would not be touched. It also conceivable, that in the Baltic not real glass was used, but rather muscovite, which would be obtained by trade from Russia. In the event of very bad weather, the roof-like grille presumably could be replaced by a plain hatch cover. Milling to shape of the acrylic glass core for the cabin skylight This structure was built up in my preferred way, that is around a core of acrylic glass. It was milled to size from scrap piece of acrylic glass. For the ‘glass’ surface, I was able to use one of the original - as manufactured - surfaces, so no polishing was required. The high-speed milling with a fly-cutter a low feed-rate left almost transparent surfaces. Milling to shape of the acrylic glass core for the cabin skylight Milling of the recesses for the laser-cut frame parts The parts for the roof-like structure were produced again with the laser-cutter from Canson paper. The structure was to be designed in two parts, namely the frame attached to acrylic core and the two roof halves with the grilles, to allow painting. During painting the horizontal pane will be masked off and the roof halves painted separately. In order to ensure equal spacing of the ‘bars’, the roof was built up from three layers with the middle layers having notches. This layer was lacquered onto one of the outer layers and the ‘bars’ attached with drops of varnish – quite a fiddly bit of work and I am not entirely satisfied with the result. In the past, I made such parts from surface-etched brass and this seems to have worked better, but I didn’t want to set up everything for etching just a couple of small parts. Basic structure of the skylight, waiting to be painted and finally assembled I prefer to defer painting to the late stages of the building process in order to avoid handling the painted parts as much as possible, so construction of the skylight stops here for the moment. To be continued …

You mean by drive-shaft and bevel gears?

Perhaps a chain-drive?

... well, I studied in Zürich and one of my friends came from a family, who were 'in' aluminium 😁

Impressive 'engineering' work 👍🏻

Actually, it was not completely finished, I still have to arrange properly the glass case and some brass plaques …

I am pleased to see that my suggestion worked 😇 Looking at the anchor in the photograph, it looks quite 'shop-made' by someone, who did not really understand, how these anchors work, just roughly copying their shape. In theory, the stock is a bit thicker on one side of the shaft and secured from slipping through the hole in the shaft by a removable pin. When the pin is removed, the stock can be pulled through and rests flat against the shaft for storing, which is why it is bent 90° at the end. The stock also has a sort of ball at the end, preventing it from being completely pulled out. Your anchor is a very good representation of this home-brew version!

I think, Eric is right about the dinghy.

Thank you very much, gentlemen, for your kind words! @JacquesCousteau I have been trawling various museum image databases and national meta-databases in Denmark, Sweden and Norway with keywords such as jacht, jagt, jægt, schlup, slup, sloop etc. Unfortunately, German museums are not so advanced in digitising their holding, though there are meta-databases at Länder level in Schleswig-Holstein and Mecklenburg-Vorpommern. Vorpommern, Swedish Pomerania until the Vienna Congress in 1815, is now in Germany, while Hinterpommern, originally Prussian, is now part of Poland. I didn't have access to Polish database in this respect, though they do a good job in digitising their archival holdings it seems. The problem is also, that both parts of Pomerania were rather marginal areas with comparatively little industry and trade and thus wealth, so they did not attract that many painters or later photographers. In consequence, the pictorial records until the late 19th century are quite limited - at least judging by what is available in books and on the internet. @Bedford Such gratings do not appear on any builders drawings at that time. This may be a weak argument though, as they are not structural parts of a ship. My anecdotical feeling is, that they only appear, when wheel-steering became more common, even in smaller vessels. I could imagine, that they would not support much sideway pressure, as would be needed when handling a tiller (though relief tackles were common). They also do not appear on any contemporary models of small merchant vessels. Later photographic evidence supports arrangements as seen on the Norwegian jægt above. Many of such small vessels had a quarterdeck raised by a foot or so (a 'roof') with the skylight inserted into this and the tiller just clearing it. The helmsman would stand in front of the raised quarterdeck. However, these Pomeranian Rahschlups were characterised by a flush deck.

Cabin companionway and binnacle The layout of the access to the stern cabin is somewhat puzzling, even taking into consideration that accommodation in this kind of vessel was spartanic and cramped. There seems to be a skylight over the cabin that was most probably protected by a grille. However, it is just in the area over which the business end of tiller sweeps. The helmsman would have to pay attention, where he puts his feet. Rather close in front of it seems to be the companionway that leads down into the cabin. Unlike for the other deck openings no coamings are drawn. Normally, there would have been a movable binnacle behind the companionway, so that the helmsman has a good view. The binnacle at that time was constructed like a cabinet and would be lashed down to the deck. However, the space between the skylight and the companionway seems to be too narrow to accommodate this kind of cabinet. Details of the stern arrangements, original drawing by Möller (1846) By looking through contemporary paintings and drawings of similar vessels, I chanced upon a somewhat naïve watercolour of a local painter from Trondheim, that shows a combination of binnacle and companionway. It also opens in a somewhat unusual fashion, where a segment of the roof is hinged to flip backward – rather than the usual sliding cover. Not sure how this would behave in any kind of stronger wind. Not all the details and the perspective in the watercolour seem to be right, but overall, it looks credible. The whole arrangement is actually quite similar to that of the original drawing, also with the skylight right under the tiller, which actually is worked quite casually with ropes by the gentleman with straw(?)-hat sitting on the port stern rail. Anyway, I opted for this solution as it is unusual and solves the space problem. As a bonus I don’t need to worry about rendering the lashings of the binnacle. The Norwegian jægt HAABET (1849). Source: Town archives of Trondheim - https://www.flickr.com/photos/trondheim_byarkiv/3539132719. The companionway-binnacle combination was again built from laminations of laser-cut pieces. The main objective was to show the panelling. So, each side was built up from three layers, the outer ones simulating the frames with the cut-outs for the panels. The profiled coamings were simulated by adding two further layers. The collection of parts for laser-cutting Assembly of all those parts was a bit of fiddling and I prefer my usual method of assembling companionways etc. around a solid core milled from a piece of acrylic glass, but this obviously only works, when they are shown closed. To be continued …

The figure-of-eight knot is the classical knot that one puts on the end of line to prevent it from running out through blocks et. I learned this already 50+ years ago during my first sailing lessons. It becomes a habitual gesture to put one on, as soon as one has reeved a line through a block. This has not be confused with the 'stopper-knot' that was used to attach shorter lengths of rope to anchor-cables inboard to relief spills etc. when riding at anchor.

A 'waste' well used! When I had a (blond) beard for a while, I used trimmings from it to represent the stubbs on a winter-field.

Normally, one should get threaded rod from M3 (or imperial equivalents) upwards. Cutting such rods with a hacksaw is easy and one can use a file to bevel the ends of the rod so that the nuts fit over them. If you have one, you can also use a small triangular file to clean up the threads - they have the same 60° angle (or perhaps 55°, if imperial threads).

Consider it storm-damage ... sailors were good at fixing things while under way ...

I have used saw-dust: put some white glue on the sticks in blotches snd then roll in saw dust. When dry paint to the bark colour.

That makes perfect sense 👍🏻

As in the case of purchasing any kind of machine tool, it is useful to make a list of fundamental specification and capabilities needed: - Which are the maximum dimensions of parts I want to produce? - What is the maximum thickness of materials I want to work with? - What kind of materials do I want to work with? - What sort of operations I want to do, i.e. cutting out 2d-objects or sculpting 3d-objects (2-axis router vs. 3-axis milling machine) - What is the spatial resolution needed? - Do my objects have have to have sharp corners or can I live with or hand-treat rounded corners? Then also a list of possible constraints is helpful: - Do I have the surface space to permanently accomodate the machine ? (moving it around may cause alignment issues) - Do I have the possibility to vent out fumes? - Do I have connections for cooling water? (needed for some types of lasers) - When do I want to work with it re. nuisance due to noise produced by routers - How can I manage dust? 'Sculpting' with a laser in principle is possible by modulating the power and/or the lengths of pulses and the number of repeated passes. However, it always will result in charred surfaces and removing the charred wood form small intricate parts can be difficult, particularly when one wants to have the 'real' wood surface in the end. On the other hand, the laser works 'contact-less', which is particularly useful for very small and delicate parts.

Never heard the term 'guest-rope' before, but seems to make sense for something a boat crew could hold onto while coming alongside. However, in such a case, I would have expected the hope to be running more or less horizontally, while on virtually all the pictures one end is tied up to the bottle-screws or thereabouts. I know that yachts-people sometimes jump ashore and grab the shrouds to pull their boat towards the quay, but I am not so sure that would work for a 150 ton schooner. Otherwise the 'guest-rope' could help in such endeavour. However, I would rather expect one man to jump ashore and another throwing the mooring line to him, with which the ship could be coerced more safely towards the quay. A puzzle ...

He doesn't take a breath before starting a new project ... Good thing that this is a historic ship, otherwise one would wonder, whether it would stay afloat long enough to complete the model 😲