druxey

I’ve assembled the two other rows for the shell room, glued the cannonballs in place
and set all three rows in place. I then added the top beams just like the bottom beams.
 

 
Here you see the plans for the mortar pit beams and planking as well as the beams cut
out as per the plans.
 

 

 
The mortar pit beams have been cut and test fit into place on top of the shell room. The
bottom of each beam is notched to fit over the top beams of the room.
 

 
Here you see the notches cut into the tops of the mortar pit beam and ready to accept
the mortar pit boundary timber.
 

 

 
Thanks for stopping by!  

With all due respect, I doubt that the rudder was painted white. In the William Smyth painting that you cite, I think it more likely the effect of light makes the rudder appear to be white.

Young America - extreme clipper 1853
Part 17 – Framing Continued
 
 
American Clipper Note:  Webb’s 1851 clipper, Challenge, was one of the most extreme of designs, with a dead rise of 20 degrees at midship, plus the usual narrow entry and run.  Her owners wanted no expense spared to make her the fastest and finest of merchant ships.  The legendary Robert Waterman was to be her captain and came on early to supervise construction.  Typical of most sea captains given the opportunity, he fitted her with too large a rig of spars and sails that, if anything, detracted from her performance until later replaced.  Expectations ran high for her first run to California, with $10,000 offered to Waterman to do it under 90 days.  It was a disappointing passage.  Waterman, a hard case in a profession of hard cases, had crew problems almost immediately.  Off Rio, the mate was stabbed and mutinous members of the crew flogged.  Later three men were blown off the mizzen topsail yard and a further four died of dysentery.  Upon reaching San Francisco in 108 days, the crew and press provoked sensational riots against Waterman.  He was later cleared of wrongdoing but Challenge went to a new commander.  Her troubles continued.
 
 
Framing is moving ahead at a faster clip than I anticipated.  I have moved up the learning curve and learned the little secrets that make the new pin-indexed assembly process work.  You will recall that the bolt/pin holes are indexed to identical positions on both frames in the CAD lofting process.  After cutting and trimming the parts, only about 30 minutes are required to complete the assembly of a frame pair.  This does not include beveling, milling the sidings or bolting – and I am not pushing the pace.
 
The next few pictures illustrate some frame assembly steps.  The first shows how the pins are used to place the frame timbers – pattern side down - on the assembly pattern.  Pin holes were drilled using the pattern marks on the underside of these pieces.
 

 
Accurate timber end trimming and vertical drill centering are key.  Although the outer frame profiles are sanded back to the pattern line, only the pins are used for alignment. 
 
The next picture shows a lower futtock being glued into place – again relying entirely on the pinhole locations.
 
 

 
After slipping the pins through the timber they are pushed into the holes in the lower pieces before gluing.  Dark glue is then applied as shown and the upper part pushed down and “nailed” into place with the pins and wood block buffers.
 
The next picture shows the amount of offset in the fore and aft timbers of the beveled pairs.  This offset increases going forward.
 

 
 I am not cleaning off excess glue because I do not want to damage the patterns with water.  There are patterns on both sides of the frame pair and they are needed for beveling.  The inboard side will be beveled back to the red line on top of the pair.  The glue will come off when beveling.
 
I described the beveling, siding and bolting process earlier.  The next few pictures show progress in erecting the frames.
 

 
In this picture the first 14 pairs have been installed.  This picture shows a characteristic feature of clipper hull shape.  The deadrise of the timbers is increasing going forward, narrowing the lower part of the hull.  The top timbers, however remain at almost full breadth to provide adequate floor space on the forecastle for crew activity.
 
 

 
Eventually the forward shape will flare out at the top over the very sharp entry below.  This is a very different hull shape from Naiad.
 
All these pictures show temporary pine spacing chocks being glued between the frames above the lower futtocks.  This provides strength and helps maintain alignment.  Later when all frames are in place, these will be replaced with temporary ribbands – probably at the height of the planksheer.  These will bring the toptimbers and rail stanchions into a final fair line and hold them in place until permanent rails are installed.
 
 

 
The last picture shows the 15th frame (O) being positioned for drilling of the pin/bolt hole into the keel.
 

 
Time to start cutting out more frame timbers.
 
 
Ed

HOISTING TERROR’S COLOURS
 
HMS Terror’s paint scheme is considered to be well known. Richard Cyriax, who produced the most authoritative work on Franklin’s last expedition, states: “Both ships were flush-decked, and had black hulls, white masts, and yellow weather works...” (Cyriax 1997:39).  This passage has long been interpreted by subsequent researchers to mean that the ships had a yellow stripe along their outside hull (e.g. Parks Canada, Canadian Geographic, and published work too numerous to list here).  Cyriax based this description not on a primary source, but on a popular work by his friend, Rupert T. Gould (1928:112); unfortunately Gould appears to have misinterpreted the primary source material.
 
Gould’s information came from a remarkable parliamentary record, which documents an Admiralty investigation into two ships spotted trapped in an iceberg off the coast of Newfoundland in 1851 (Inglis 1852). The investigation focused on comparing the eyewitness testimony about the iceberg ships to the firsthand knowledge of the shipwrights who worked on Erebus and Terror. While the Admiralty determined that the iceberg ships could not be Franklin’s vessels (the size difference between the ships was too large and they were not barque-rigged ), the report contains critical primary information on the paint scheme of the Erebus and Terror from Oliver Lang, the master shipwright responsible for the 1845 refit of the vessels.  
 
The correspondence between Lang and the Admiralty is worth quoting here in its entirety (Inglis 1852:18):
 
 
Admiralty, 17 April 1852.
Sir,
I am commanded by my Lords Commissioners of the Admiralty to desire
you to call upon the officers of the yard under your superintendence to
report how Sir John Franklin's ships, the " Erebus" and " Terror," were
painted when they sailed.
 
 
I am &c.
(signed) J. H. Hay,
pro Secretary.
 
Commodore Superintendent Eden,
Woolwich.
  
 
Woolwich Yard, 17 April 1852.
 
Sir,
With reference to their Lordships' letter of this day's date, we beg to
acquaint you, that Sir John Franklin's ships, the " Erebus " and " Terror,"
were painted when they sailed, black on the outside, and weather works
inside yellow.
 
 
                                    We are, &c.
(signed)                         O. Lang,
Master Shipwright
 
 
 
Further information about the colour of the masts was also requested from Lang and appears below (Inglis 1852:35).
 
 
Admiralty, 2 June 1852.
 
Commodore Superintendent at Woolwich,
Referring to your communication of the 17th April last, upon the subject
of painting the " Erebus" and "'Terror," my Lords desire that you will state
for their information how their lower masts were painted.
 
By command of their Lordships.
(signed) W. A. B. Hamilton.
                                                                                   
Woolwich Yard, 2 June 1852.
 
Sir,
Agreeably to your minute on Captain Hamilton's letter of yesterday,
we have to acquaint you that the lower masts of the "Erebus" and "Terror"
were painted white when they left this port.
 
We are, &c.
(signed)                       O. Lang,
Master Shipwright..
 
 
 
H. Chatfteld, Assistant ditto.'
(Mr. Peake sick.)
The Commodore Superintendent.
Submitted for the information of their Lordships.
Henry Eden, Commodore Superintendent.
The Secretary of the Admiralty
 
Lang’s choice of words in the first correspondence appears to be the source of the enduring discrepancy regarding the ships’ paint schemes. It seems Gould, followed by Cyriax, and then myriad others, interpreted the phrase “weather works inside yellow” to mean a band of yellow on the outside hull of the vessel. Indeed, the “weather works”, or upper works of a ship, are those areas of the vessel above the waterline exposed to the weather, including the upper hull and bulwarks both inside towards the deck and outside on the hull. However, Lang specifically states that the “weather works inside “ were yellow, meaning that the inside bulwarks were painted yellow. He makes no mention of a stripe on the outside hull, although a solid paint scheme without a stripe would have been unusual for a Royal Navy vessel of the era.
 
Thankfully, a watercolour painting by Owen Stanley, who accompanied the ships across the North Atlantic to Greenland in 1845, provides important primary evidence which dispels much ambiguity (see below). The painting shows conclusively that the Terror and Erebus had black hulls with a white stripe along the outside weather works. The painting indicates that the white stripe was contiguous with the chock channel and that it ascended the outside stern frame of the Erebus at an angle. Another watercolour, which may also be the work of Stanley (it is clearly based on his 1845 drawing), confirms these characteristics, and also shows the yellow painting on the inside bulwarks (note also the very rusted condition of the iron bow plating). This image also suggests that the white stripe extended forward around the knee of the ship.
 
 
The presence of a single stripe along the hull, which extended around the knee of the ship and up the exterior stern frames, appears to be confirmed in other contemporary sketches by Stanley, Gore (also here), and Fitzjames, as well as by the Illustrated London News (which also confirms the white stripe on the outside stern frame, see below). 
 


 
 
A white stripe painted on the exterior weather works is entirely consistent with Royal Navy standards of the mid-19th century. Yellow and black striping, or the “Nelson Checker”, was common in the Royal Navy vessels up to about 1815. However, after ca. 1815, Royal Navy vessels began to adopt the black on white pattern first established by the American Navy around the turn of the 19th century. In fact, black hulls with white stripes remained the standard paint scheme of Royal Navy vessels well into the steam era (see Konstam 2010 for good summary).  It therefore seems obvious, given all of the available data, that Erebus and Terror were painted with the standard white on black scheme of the era, which may explain why Lang didn’t deem it necessary to mention this standard attribute to the Admiralty.
 
Most Royal Navy ships placed the white stripe over the gun ports above the waterline; when opened, the ports/lids created the “checker board” pattern. However, all contemporary images of the Franklin ships show that the white band corresponded with the solid chock channels grafted on to the ships. It is important to note that this paint scheme is different than that utilized during the 1839 Ross voyage, where the ships appear to have had two bands of white on the outside weather works. This watercolor of HMS Terror by Davis shows that one of the white stripes was contiguous with the chock channels, as in the 1845 expedition, while the other white stripe was a little lower, perhaps contiguous with the band of copper sheathing that extended below the chock channels for most of the ships' length at this time.
 
The colour of the top, horizontal, surface of the channel is less certain, as the Stanley watercolours provide little detail in these areas. One of Stanley’s sketches (see here) seems to indicate that the tops of the channels were black, while another suggests they were potentially white (see here). However, the famous image from the Illustrated London News clearly shows that that the top of the channels were painted white (see image above). An image of the Terror beached on the Irish Coast in 1837 by Owen Stanley (see here) also shows that the tops of the channels may have been painted white (or at least a lighter colour), though how consistently the ships were painted on subsequent voyages is unknown. Since the paint scheme is ambiguous, I intend to try both versions on the model and choose whichever seems to fit better with the overall colour scheme of the ship.
 
 
Similarly, contradictory information exists about the paint scheme on the rudder and transom of the ships. The 1845 watercolour by Owen Stanley seems to show that the transom and rudder were painted black, although the lighting effects on the painting suggest that those areas of the ships may simply be in shadow. Other contemporary sketches by Stanley and  Graham Gore (also here) suggest that a lighter colour was painted on the stern window frames and on the entire transom of the ship, while the rudder remained black (perhaps with white trim?).  The Illustrated London News image is slightly different (see above), showing a thinner arch of white surrounding the windows of the ship and a darkly painted rudder.
 
Colour paintings of the Erebus and Terror produced for the Antarctic expedition by Davis (see also here) show that the entire transom was painted white and the rudder was black, again perhaps with white trim (although lighting might play a factor here as well). Interestingly, the Davis paintings also show detail of an arch-shaped feature surrounding the windows.  Similarly, a sketch of the Terror from 1837, by Owen Stanley, indicates that the transom was painted completely white (Back 1838:400, see below).  A water colour of the Terror on the same voyage by William Smyth also shows an all white transom, this time with a white rudder.
 
 

HMS Erebus and Terror under sail . Note lighter colour of transom (Ross 1847a).
 
On balance, the available sketches and paintings suggest that the transom was painted completely white, and that the window frames were as well. The rudder is more ambiguous, but again, the weight of evidence seems to indicate that it was painted black, perhaps with white trim (the Terror did have several separate trim pieces grafted to the aft margin of the rudder).    
I assume the black hull paint extended to the keel, as we know that HMS Terror and Erebus were not coppered below the waterline, as noted in The Times on 26th April, 1845:
 
 
“The decks of the Erebus and Terror are constructed on the diagonal principle,
and about twenty feet on each side of the bows has been cased with strong sheet
iron. There is not any copper sheathing on either of the vessels, as no danger is
to be apprehended from the attacks of shellfish or barnacles, the ice soon clearing
them from encumbrances of that description.”
 
                                                     (The Times, London, 26 April 1845)
 
This is in contrast with the Illustrated London News image of the ships which appears to show a copper plated hull, which must be an error.
 
One of the things I enjoy about ship modeling is that it is woodworking – often with very fine hardwoods. Like many ship modelers, I don’t want to cover beautiful wood with paint; instead, I intend to present the Terror’s historic paint scheme using minimally treated natural or dyed/stained wood finishes. My plan is to use dyed or stained Swiss pear for the keel, stem and stern timbers, and hull planking; holly for the transom, chock, and deck planking; and yellowheart for the inside bulwarks. I’ve order the material from Hobby Mill, all planed to exact scale thicknesses, which I will discuss in future posts.  My wood arrives in early December; until then, I will keep cutting stations!
 
 
References Cited:
 
Gould, Rupert T.
1928    Oddities. Frederick A. Stokes Company, London .
 
Inglis, R.H.
1852 Vessels in the North Atlantic. House of Common Parliamentary Papers, London.
 
Konstam, A.
2010 Naval Miscellany. Osprey Publishing, Oxford.
 
 
As always, for better images please see my blog!

John, Jay, Carlos, and Bob  thanks for you continued support it means a lot.
 
Popeye the snow is likely going to stick around the temp is dropping to -16c tonight.
 
Today I worked on the grating and chose some dark coloured Cedar for the frame.
 

 
Using the same mill to also create the correct spacing for the short slats.
 

 
reassembled with the correct spacing in both directions now.
 

 
The top surface sanded down with some 220 then 600
 

 
oiled with some teak oil.
 
Michael

Buck: what a beautiful set up, a nicely crafted tool you have there and I like the design. I will have to make myself one of those, thanks for sharing.
 
I also have this little tool that I use sometimes
 

 
It also uses a 1/4 x 20 thread and as the handle turns it indexes over the fence by a .25 mm
I used this to make micro adjustments to the width of sheets of styrene and acrylic when I was doing Architectural Models.
 
It just sits on top of the table and there is a stop to prevent it from moving forward I rough set the main fence then use some carpet tape to hold down a piece if 1/8th white faced MDF bring the blade up for zero tolerance then make the micro adjustments to get the right width.
 
These pics are using my cheap $100 table saw that I use out and about the house for doing rough building work, this was while I was building the house and my Unisaw was in pieces in storage (it was in pieces because it was too heavy to lift up the stairs out of the basement of my old house).
 

 

 
 
 
Michael

For cutting wood here are a few shots of how I cut it



This is one of the plywood blades that I use on my 10 inch tablesaw.





The blade has no set to the teeth.





A test cut to set the thickness.





This slice is .027"





Use a push stick to feed the wood through the saw.





This is the thinnest cut I was able to make with this wood and blade combination.





You can see that this wood has been darkened by the blade because it is dull and needs to be sharpened.





Using a scraper to clean up the wood in this case the wood is Maple.









The scaper is pulled towards me in single smooth strokes.





When the scraper is sharp the wood shaves off in fine curls.





Here
you can see the transition from the burned surface to the scraped one
and the small clamp holding the wood to a smooth surface. Make sure that
the support surface stays clear of dust and shavings this is because
the wood this thin has a tendency to curl up allowing dust to stick to
the underside of the slice being scraped and the support because of
static. This would create problems getting an even thickness.





The amount of wood removed with the scraper is about .002"





The finished slice that is .75" wide and .012" thick.





The slice easily bends cold and dry around a 1/2 inch radius former.

   
Michael

The bitt standards are knees that extend anteriorly from the bitt pin.  They are let into the deck beams and ledges by 1".  I rough-cut the standard and then cut in the notches using the Preac saw with the blade elevated 1" above the table.  To make things more interesting, the round-up of the deck needs to be taken into consideration.  Also, the deck slopes upward towards the bow but the bitt pin is perpendicular to the water line.  That angle had to be cut on the aft side of the standard so it would fit snuggly against the pin.  Once I was happy with the fit, I transferred the shape of the standard onto the rough piece and cut it to the correct shape.  The edges are beveled.
 

 

 
After the starboard standard was fabricated, the port one was made.  The pictures show the port standard before and after final shaping.
 

 

 

 
The standards are bolted to the underlying frames.  The cable stopper hole is drilled near the intersection of the pin and the floor height.  It is 2.75" in diameter.  I used a #60 drill bit and then enlarged and rounded over the hole with Swiss needle files.  The hole is barely visible in the last photo.  The color difference betweeen the pin and the standard is because I put finish on the pin but will be delaying putting any finish on the standard until after the deck has been installed.
 

 

Deck planking was to be no wider than 10" at that time, I believe.

I want to be able to see the outside shape of the ship especially in the back.
 

I stopped working inside and did some work fore and plane the fore mast made from 7 parts.  Actually, it is easier to plane round than what we could think. To be able to install the rudder upper metal fitting, it needed 1 layer of plank before.

Would, in reality, all those wooden beads be exactly the same size? I doubt it. Either way, the model looks lovely.

STATION UPDATE
 

 
Over the past several weeks, another woodworking project has kept me away from HMS Terror. However, I’ve made a little progress on preparing the bulkheads for assembly. These are made simply enough; the plans are glued directly to the plywood board using spray adhesive and then cut out using a scroll saw with a fine blade.
 
You can see from the picture that I’ve intentionally left a rough 1-2mm gap surrounding the plan outlines. It is impossible to cut the bulkheads accurately with the scroll saw, so they will be carefully reduced to the precise dimensions using a spindle sander and file. The midline slots will be cut with a coping saw and filed, again to ensure accuracy.
 
If you look closely, you can see the shrewd eye of Crozier overlooking the outfitting of his ship (he’s 1:48 scale as well).

Can you tell that I'm smiling seeing your photos again?

Angle grinders! Orbital sanders! Oh my! Hopefully the later stages of construction will not be quite so brutal. All the best with this new project.

Hi everyone,
 
After building the cisterns, I discovered how difficult it was to locate them square to the mast partners, and the right distance from the mortises for the jeer bitts. So I built a little spacing jig, slotted into the mortises in the partners and with a spacer the right distance to the cistern. Once the cisterns were clamped in place against the jig, I was then able to drill down with a Foredom through the stub pump tube tops, for location pins. I also used this jig to align the hoods so that the future pump handles running through the hoods will line up with the inner face of the bitts where the rhodings will be attached. I made a little sliding joint on the bottom of the hoods so that they could move a little on the cistern athwartships, to allow precise alignment.
 
And finally, in keeping with the color scheme of the dockyard models that so I admire, I stained the cisterns red, to match the riding bitts. In the closeup, you can see the stump tube tops, and a simplified drain plug. The bearings are still to come. The long shots show how nicely the red accents are showing up along the length of the hull. I know color is not to the taste of everyone, but I like the overall effect of colored accents against the natural wood.
 
I am being pulled back to work issues, so I may not be able to work and then post for a while. It was a nice run while it lasted....
 
Best wishes,
 
Mark

Hi everyone,
 
I then started on the pump cisterns. I had originally planned to run the pump tubes down into the hold, but after trying some mock-ups, I reminded myself that my stylized dockland framing system really does start everything above the gun deck for a reason. Without an orlop, a well, or anything else along with the tubes, I decided they would look silly all by themselves down in the hold. So I followed the lead of the HMS Princess Royal in the Legacy of a Model book, and built stub tube tops between the partners and the bottom of the cisterns.
 
I pondered how to build the coopered covers on the pumps; at 3/16" scale, a ¾" thick shell was too thin to get good coopered joints. So I cheated a little. I turned a wood blank, and then layered the ¾" pieces (plus a little for trimming) on the blank. I then re-chucked this, and turned the assembly down to final size, leaving a clean and accurately sized hood. I cut off the lower half of the blank, leaving the half round hood. They aren't hollow, but I didn't build the pump inside anyway...
 
Best wishes,
 
Mark

I'm picking this log back up starting with the rigging stage of this model. The masts and yards are complete, and the hull's deadeyes and etc. are on.
 
My goal with this model is to accurately depict the appearance of a prime example of a clipper ship. My concern is to depict all components scaled correctly and to do all at the best of my ability hoping to show the highest development of the wooden merchant ship.
 
I like speed. I like the example these ships made in the form follows function regard. These ships came about at a period in history when speed was essential. Generally they were driven without mercy as a true racing machine should be. As an old worn out motorcycle racer and builder these clippers really grab me by the guts
 
You see the model after she has had a first attempt at the standing rigging stripped from her. As with most of the build I've had to do everything at least twice.
 
I'll post as time and health permits, hope you enjoy the rigging process.
 
Bruce

Martin, on the left is a workbench I only use for building full size parts like jigs and furniture.
 
I had some alignment issues with the carlings so I decided to cut all the mortices for the remaining beams and marked them all using a batten. Important lesson to remember for the upper deck.... Pillars are installed temporarily and still need to be chamfered. 
 

 
Remco

Young America - extreme clipper 1853
Part 16 – Framing Continued
 
                                                                                                                  
American Clipper Note: In June 1856, the clipper Rapid, Captain Winsor, left New York for San Francisco, followed four days later by Intrepid and Neptune’s Car.  Some weeks later Rapid was battling hurricane force winter storms off Cape Horn.  Making no progress for weeks, with most of the sails gone, ten of the crew dead, ten more disabled below deck and only four frozen souls to work the ship, Winsor turned back for Rio.  He soon came in sight of one of the other ships, hailed her and got no response.  It was probably Neptune’s Car.  Facing the same conditions, her Captain Patten was confined below, having been struck deaf and blind.  With the mate in irons for insubordination, Patten’s 19-year old wife, a capable navigator, took charge of the ship and brought Rapid into San Francisco, 134 days out, 11 days before Intrepid.  Where’s Hollywood?
 
Back to Young America.  Progress continues on the frame fabrication and installation.  The first picture shows the first 7 frames, 0 to F, installed.
 
 

 
The next picture shows parts for the next few frame pairs cut out, trimmed and waiting for assembly.
 

 
After cutting out on the scroll saw, each part is trimmed using the disk sander.  First the ends are sanded back square to the pattern cut line.  The outer profile is then sanded square up to the outer line as shown below.  In the case of the forward frames this is the aft – red – line. 
 

 
From printing a frame pattern to all pieces cut out and trimmed takes about 30 minutes.  Average time to loft the two patterns is also about 30 minutes.  So up to the point in the second photo, about one hour is invested in each frame pair.  I have not timed the remaining steps yet.
 
The next picture shows the amount of bevel starting to appear in the frames forward of midship.
 

 
After assembly each pair is beveled to the forward outer profile using the disk sander – but staying away from the previously trimmed  profile on the aft face.  The resulting unsanded hump is then removed by hand as shown below.
 

 
A flat rasp is being used for this followed by a 120 grit sanding block if needed.  The bevel is trimmed back to – but not into - the line on the pattern.  Final sanding of the hull will remove the last bit, any glue line residue and will smooth the frames.   At this stage - before assembly - most of the external beveling on each pair is complete.  The inside has been left somewhat fuller, so more internal sanding will be needed.  After this step the patterns are removed from both sides, the sidings of timbers machined back and the bolts added.  The pair is the erected.
 
The next picture shows temporary pine chocks being installed between erected frames.  These chocks will align the frames and strengthen the assembly, which is rather weak with only the small glued area and pin on the keel.
 

 
The next picture shows the assembly during the addition of these chocks.
 

 
As each chock is added, the joint line is plumbed to the line on the base drawing and the breadth is matched to the maximum breadth line.
 
Progress at this point:  Pairs 0 to F set, 0 to J fabricated, 2 to U lofted.  Keeping these progress measures helps keep me focused on what is a lot of repetitive work.
 
 
Ed

Hello Ferit,
 
thank you for your nice comment.
 
With a few pictures I explain today the soldering of the Flanges on the tube of the carronades.

 

 

 

Hello modelers,
 
thank you for the nice comments and the motivating words.
Here is a small update of the report on the construction of Carronades.

 

Hi Alex,
 
I am very pleased about your nice comment.
 
Here is an update of the report:
 
Completion of the fittings for the carronades.
So now the fittings are manufactured for the carronades. For assembling the brass parts still need to be blacked.
In the following picture you can see almost all the parts to build a Carronade.
 
All parts are now neatly sorted in a plastic box, ready for final assembly. Thus, over 50 items come together for a Carronade. For 20 carronades which means about 1000 parts.

Hello,
many thanks for your nice comments!
Here are some photos for making the carronades pipe supports.

 

 

 

Many Thanks Karl.
 
Hello Dear Friends,
gun locks were also used to fire the carronades.
The rifle lock was fastened with a thumb screw.

 
Later percussion locks came into use.
The next picture shows one of the 1849.

The production of the carronades of La Creole continues steadily.
Here is a short update: