FULMINANT by HAIIAPHNK - French stern castle

[druxey]

Like many of us, you wish for a 'way-back' machine to see how it actually was. All we can do is make an educated guess.

[HAIIAPHNK]

Mark, thank you for sharing your explorations and conclusions. In a way, I have encountered a very similar situation. However, while you decided to reduce the number of windows to achieve a more harmonious composition, I am considering increasing the number of windows from three to four. And the fact that my solution is turning out to be rather unsuccessful is precisely what is causing my confusion.

I don’t like the original three-window version by Beren, mainly because of the very long second window. But the alternative of splitting it into two doesn’t satisfy me either. I realize that over time, the concept of aesthetic taste has changed significantly, and what was not an issue for Beren now causes discomfort for me. But how do I determine where to stop and say, "This is the ideal solution"? For example, I used to perceive some of his other decisions differently. But now the time has come to examine them more closely.

Previously, when I looked at the eagles beneath the windows, I somehow thought that Beren was illustrating different levels of protrusions and that the oddly halved eagle was actually the figure placed in the central segment of the stern, where the wreath with the ship’s name is located. From the side, it is partially visible, and I believed this was what the artist intended to depict.

 

 

But now I see that it is something else entirely. It is actually positioned on the side castle. L'Ambitieux uses the same approach, but instead of a bird, there is an ornamental scroll. Budriot depicted it in the same manner, as if it were an accidental misalignment. To me, it looks like a clear mistake or a flaw. I cannot call such a composition a successful design. However, neither Beren nor Budriot seemed to have any issue with it. And if that was considered acceptable, how should I perceive my own discomfort with the elongated window?

 

 

There are many conflicting elements here that raise questions for me. If we compare the design of the transom and the side castle, we can notice discrepancies. For example, the upper frieze below the windows, where the lion heads are depicted, maintains roughly the same visual rhythm. From both the transom and the side projection, this line is executed in a fairly consistent manner.

 

 

However, at the lower level, where the eagles are located, the situation is completely different. The space between the eagles on the transom is filled with ornamental decoration. But as soon as this same strip transitions onto the ship’s side, everything changes. There is no decorative embellishment between the eagles—just emptiness.

 

 

Why? I could continue further, but that would take our discussion too far. I am trying to determine the best way to resolve these emerging questions, but so far, I have not found an answer that satisfies me.

[HAIIAPHNK]

33 minutes ago, druxey said:

Like many of us, you wish for a 'way-back' machine to see how it actually was. All we can do is make an educated guess

 

Oh, yes, you're right! A thousand times right! I'd give a lot if I could go back to that time for one minute and see the ships with my own eyes. The only thing that reassures me is that science fiction is not on my side. And as soon as I get my hands on a time machine, I'm going to regret it. ))))).

[HAIIAPHNK]

4 minutes ago, HAIIAPHNK said:

I'm going to regret it. )))))

 

Ouch! I've already heard that the labeling of emotions differs from country to country. And in America they don't understand the way Russians draw emoticons. So I'll explain, I wanted to depict unrestrained laughter. This does not mean that I read chat and cut my nails ). I hope the meaning of the joke is clear and I didn't make my posts even weirder. (emoticon that is embarrassed)