rybakov

Good morning and thank you all for the likes and messages.
More photos.
 
 

Good morning everyone, thanks for the likes.
more photos.
 
 

Good morning everyone, thanks for the likes you gave me
more photos
 
 

Good morning and thank you all for the likes and messages.
 
 

Hello,
the carpenters laid the first planks. I'm away from the shipyard over the next weekend, so I think that the workers made nothing during that time 

@Gahm
@jdbondy
Thank you for your interest and the kind words.
Also many thanks to all the others for the LIKES.
 
Continued: Equipment of the main yard - Blocks for buntlines and clewlines - Poulies de cargue fond et poulies de bouline
In the meantime I have made 12 blocks l = 3.4 mm for the blocks for buntlines and clewlines of the lower yards. I tried to make the seizing as small as possible, which wasn't easy with this size.


These blocks were moored to jackstay as shown in the following images.



I will make my model of the La Créole without the sails, as I have already mentioned several times, analogous to the Paris model. Nevertheless, I would like to attach the arrangement for the clews of the lower sails. These rigging elements are not shown on the original model, so the sheets, tacks and clewlines with the necessary blocks are missing.
At the moment I'm still researching whether single or double tacks were used at La Créole. It still needs to be clarified how the fore tacks were led to the mooring cleats, as there is no information on this in the monograph. There is also another question, whether the French also use cable-laid ropes for the tack ropes?
Up soon …

Good morning and thank you all for the messages and likes you are all too kind.
 
 

Good morning everyone, after a few months of absence I am starting to put up photos again, in the meantime I have finished the boat.
 
 

Good morning and thank you all, with these photos I have arrived at the current status of the Requin construction, I have caught up.
 
 

Hello,
the shipwright has done his homework, but it may take a little time to realise it. There are so many small things to build, before I could assemble them.

Hello,
today the carpenters build in the waterways, the planking and the final edge of the deck. The painter is just ready with his job.

@BobG
Hi Bob,
Thanks for the positive affirmation.

I would also like to thank you for the many LIKES.
 
Continued: Equipment of the big yard - Blocks for buntlines and clewlines - Poulies de cargue fond et poulies de bouline
According to the relevant table in the monograph, the blocks for the buntlines and clewlines are only 3.4 mm long and 1.3 mm thick at a scale of 1:48. With this block size, the sheaves with a thickness of d= 0.5 mm are not used separately, but worked out. In total I need 12 blocks for the main yard and fore yard.
Before I start "series production", I made a "prototype" in the usual way and equipped it with a served strop. The eye is used to attach to the jackstay.

 
In the following image I have shown different block types and sizes compared to a block for a buntlines.

The next picture shows how these blocks are attached to the jackstay by means of tying.

Sequel follows …

@Nunnehi (Don)
Hello,
Thank you for your positive comment.
I would like to thank the others for the LIKES.
 
Continued: Main yard equipment and others - Footropes and stirrups - Marchepieds et étriers - etc.
The blocks for the La Créole's braces were attached directly to the yard arms by strop. The connection of the blocks for the braces with the thimble sling was called "Dog and Bitch".


In addition to the strops for the braces, strops for the yard tackles also had to be considered, as can be seen in the following picture.


The yard tackles were then only attached when needed. In connection with the stay tackles, e.g. B. the boats are loaded and unloaded. The next picture shows the main yard with the newly installed rigging elements. For the lower yards, this corvette had simple yard lifts with a diameter of 30 mm, which went over blocks hooked into the tops for belaying on deck. The yard arms are now fully occupied. The footropes and stirrups that have already been attached still have to be properly lashed down in the middle of the frame.


I still have to clarify in detail to what extent these lanyards can still be lashed over the sling of the lower yard, as shown in the following drawing by Nares. Unfortunately I don't have a meaningful picture of the original model.

Source: Traité de manoeuvre et de matelotage, George S. Nares, 1868
 
The attachment of a stirrup to the jackstay can be seen in the next detailed pictures.



Finally a picture of the middle of the yard.


Except for the blocks for the clewlines and buntlines and the professional attachment of the stunsail booms, the main yard should then be fully equipped.
I would not have thought that so many rigging elements would have to be attached to a yard. I learned a lot from the research I did on the internet and relevant specialist literature. In the lower yards that follow, the production of the equipment should be all the faster. For the topsail, topgallant and royal yards, on the other hand, some detailed information is required that still needs to be obtained.
Sequel follows …
 

Hello,
it is done!
The interior of the fore castle is ready. But first I had to build the 26 12 pdr ready and some smaller things, like the ashtrays for the ovens and the fire place.

The galley cowl:

All guns now roped and installed.  Next is the gun lids.

The fore jeer bitts:

The subject of period colors often comes up on this forum and, fortunately, John has an info-graphic for that as well.

And some additional insight:
 

WHITE—I think they mostly used lead white for mixing hull paint. Guy says "calcium oxide," quicklime, which, along with calcium carbonate (chalk), made whitewash. I know they used whitewash sometimes in ship's interiors, but I don't think it's sturdy enough for exposure to wind and waves. Also doesn't cover as well. Lead was a superior mixing pigment, dried fast, was cheap, opaque, and was permanent as hell.

BLACK—lampblack.  Lampblack was also known as "vine black" because the French had to do something with all those old grapevines. Burnt them to ash and made dry pigment out of them.

RED—red ochre, basically red clay. Vermilion (mercury sulfide) was made from cinnabar. It could only be synthesized in small quantities and was very expensive. Almost in league with ultramarine.

YELLOW—yellow ochre. More clay.  Lead-tin yellow (lead-tin oxide) was the lightest and brightest yellow. Orpiment (arsenic sulfide) was up there with it. Naples yellow (lead antimonate) wasn't common in the middle 1600s because it hadn't been synthesized yet. A natural form of Naples yellow was dug from the side of Mt. Vesuvius, but as you can imagine, it wasn't common.

FAUX GOLD—was yellow ochre with painted-on lead-tin highlights and red ochre in the shadows and undersides. Sometimes they painted over it with Burgundy pitch (spruce resin) and brass or copper powders to give it a metallic lustre.

BLUE—this is the big one. Guy says it was "copper carbonate mixed with sulfur." Partially right.  In all your posts and in all the other discussions about the blue used on 17th-century ships, I haven't seen anyone mention blue verditer. Blue verditer was the synthesized version of azurite (copper calcium carbonate—which had been the most important blue paint pigment in the middle ages). Blue verditer was made by some alchemical mixing of chalk with copper nitrate. You can watch YouTube videos about hobbyists making it with their home chemistry sets. The synthetic pigment was manufactured in France and the Low Countries, and cheap and common enough in the 1600s that it was used as wall paint.

Verditer comes from verd de terre, because natural azurite was to some degree mixed with malachite (copper carbonate hydroxide) which was green. The natural pigment was more or less greenish blue, but the less malachite in the mix, the more blue it got.
 

 
It's not used much any more because the pigment reacts chemically with the low pH in linseed oil and turns dull green or black. Works best with non-oil binders. (I used to have a Winsor-Newton tube of blue verditer watercolor.) It also greened or blackened with age, but ship paint obviously never lasted that long. Interestingly, it also turned black with exposure to sulfur or hydrogen sulfide. 

Somehow—I don't know how, chemically—but it was often mixed with lead white and somehow that made it compatible with oil paint. (Lead is pH neutral, maybe that buffered the acidity of the oil.) That's why there's all the light blues in Versailles. It was also mixed with lampblack to darken it. When I decided on the light and dark blue hues for my ship, I started with verditer.
 

@Mic_Nao
@druxey
 
Thank you very much for the nice comments.
Thanks also to everyone else for the LIKES.
 
Continued: Equipment of the lower yards - footropes and stirrups - Marchepieds et étriers
The arrangement of the footropes on the yards should be given as realistic an appearance as possible. In this respect, it is desirable to bring the stirrups vertically downwards and to let the drawn-through ropes of the footropes sag in their natural form.
In order to achieve this on a model scale, of course, a little help has to be given.
When making the yards, I initially made the main yard with incorrect yardarms. With this leftover yard I have already carried out tests on the arrangement for the jackstay. Now it serves me once more for experiments regarding the footropes. In this respect, I made provisional footropes and stirrups and installed them at the test yard.
After the ropes, which have been coated with diluted white glue, have dried and draped accordingly, the footropes look like the following picture:


In the right area of the yard it does not seem to be quite optimal and overall the sag is too big in my opinion, but I think that with this method I can achieve a good result for the model.
Soon...
   

The forecastle waterway:

Hello,
the carpenters where very busy today and build the walls for the kitchen. So, when I made the pictures, they where at there way home.

Thanks for the LIKES, I'm very glad you like it.

Continuation: Equipment of the lower yards - footropes and stirrups - Marchepieds et étriers
In the meantime the ordered brass tubes with various diameters arrived. In this respect, I found out that matching thimbles with ø1.8 mm for the jumpers can be made from brass tubes with ø1.1 mm.


The stopper knots presented another challenge. To prevent the footropes from being pulled through the thimbles, for example, so-called "Turk's head knots" were woven in.
How are these knots to be depicted reasonably realistically in 1:48 scale?
Simple overhand knots do not look very good. After a number of attempts, I found a solution that looks reasonably acceptable in my eyes, as shown in the following picture.


On the next picture the footropes and stirrups are ready for the next step.


The stopper knots were now placed in the appropriate places as described before, and the stirrups were pulled in between. The original footrope was actually covered with leather between the stopper knots to prevent shame.
Four stirrups were sufficient for the lower beam lengths of a corvette.


Before I attach the footropes to the yard, I consider how to achieve the most realistic hang. From the top of the yard to the footrope a distance of about 1.05 - 1.10 m should be chosen. This way, the sailors could support themselves well with their feet and work hanging belly-down over the yard.

To be continued ...
 

There are still distress washes to apply and some touch-up to do, but things are progressing.
 
The upper stern balcony is finally rounding into form:



The balcony rail completes my circumference around the ship with a band of ultra-marine.  Maybe I will get to fixing this part in-place tonight.
 
There is still quite a lot of work to do with the head and the head grating, itself, but it is all finally coming together.  Yesterday, I made a new pair of seats-of-ease, which are sized according to the space available to them, and reflect the imperfect geometry of my custom head structures:


I have subsequently drilled the waste holes in these, but I wanted to tweak their fit to the model before I did so.  Here they are in their places:


Here is the forward grating terminus in-place and re-touched:

Can anyone spot my homage to modern seamanship and navigation, from starboard:

to port:

It’s a little subtle on this side, but don’t overthink it 😉
 
My greatest satisfaction rests in the fact that I created enough space below the headrails to craft reasonable headrail supports:


As I often say, this is all something of an imperfect approximation, but it is a significant upgrade over the stock kit.
 
As a bonus, John Ott has put together a highly informative info-graphic on the statuary and colors of the stern:

As always, thank you for your interest, your comments and likes, and for stopping by.
 
More to follow!

I have started on the castle deck:
 

Hello,
I was't really active at the shipyard the last days, because of the first really spring days with 20°C and sunshine. Now we are back in the reality with 7°C and rain! But slowly the galley get ready. Today the shipwright inspected her and was satisfied.




So I think I could glue her fast and start with the kitchen in front of her.