2. BUILDING OLD-TIME SHIP MODELS

General Introduction to the Subject—Various Ways briefly indicated, with notes on technical Requirements and Skill—Tools and Materials needed are few and simple to manipulate.

The building of old-time ship models is one of the most fascinating of hobbies, the work is clean and simple, can be carried out practically anywhere by either sex, without fuss, bother or mess; the result is a picturesque reminder of the spacious days of romance and high endeavor. What stirring tales of derring do, what stupendous feats of human endurance are called forth when we recollect the names of Cabot, Columbus, Diaz, Raleigh, Drake, Frobisher, Sir Richard Grenville and the epic fight of the little Revenge against tremendous odds. Models of such ships should therefore catch something of this spirit of high endeavor, should reproduce the charm, the beauty, the rugged masculinity of those old ships that played so high a part in the development of the world as we know it to-day.

How is this desirable result to be attained? To that question the answer is necessarily involved, so many factors contributing their quota to the ensemble. Primarily, the attainment of character, atmosphere, feeling, that indefinable something that conveys to the mind an impression of the original, that property which makes the onlooker forget it is a model; conjuring up visions of the past, populating the decks with armed men, with quaintly clothed seamen, making the very air seem salt-tanged, and bringing to the ears the swish and splash of open water. That is efficient model making, because it puts life, virility, strength, vigour and understanding into the work. Such qualities can only be realised by a mentality that appreciates them, and consciously or unconsciously expresses the mental vision through the media of well-wrought material.

With all expressive craftsmanship the work can only express that which the mind appreciates, and thus the first great factor in successful model craft is to visualize the ship, not the model; to picture the hull straining in a sea-way, not to think of it as an inert thing reposing on its stand. Imagine the bellowing canvas of the sails with taut ropes singing in the wind, the rigging straining to the rising gale, and believe me, your model will be good work, will be full of expressive life and vigour.

Never mind if a line here is a little awry, if a tiny detail is missing, or something else is wrong; make the model express what you feel to be the real ship and there will be no need to be ashamed of your craftsmanship. This glorious power of self-expression is not, however, given to all; in some it may be latent, awaiting only its opportunity. How often have you, my reader, wished to sail away to the Spanish Main in pursuit of treasures rich and rare? If you have—or do—then vou have a latent power of self-expression which by your model work can be enormously developed.

To others the provision of working drawings, clear in­structions and numerous reproductions of work in progress will prove of more practical aid—all such are amply catered for in this book.

The second great factor in good model work is correct proportion. This is of much greater importance than mere slavish adherence to detail. A shapely, well-proportioned boat relatively badly made always appears more realistic than one exact in every detail but lifeless, the sort of craft that never could be imagined as sailing away in a spirit of adventure.

On the other hand, it would never do to let our feelings run away with us to the detriment of good workmanship. Fortunately, there is nothing very intricate in the mere doing of any part of the work on a ship model; each piece is a simple product if the work is carried out on logical progressive lines, one part added to another until the whole is complete.

Nor is it necessary to have a very expensive set of elaborate tools, the chief items being generally found in every home, certainly in every handyman's outfit.

The chief items are a small tenon saw, an ordinary hammer and pliers, a very small hammer for driving pins, a hand vice, small bench vice, hand drill and a few small twist drills, a small plane, a few chisels and gouges, a spokes have, some sandpaper of various grades, tweezers, small pliers, several tubes of Seccotine or Tenasitine, a packet of assorted pins, a box of water color paints and brushes, or for the larger models a supply of "flat" oil colors.

A few drills, files and punches as well as a hack saw for metal work are helpful, while if a simple turning lathe is available it can be used when making gun barrels, and doing other circular work. The whole cost of such an outfit, without the lathe, should not exceed a sovereign.

As regards materials, much can be done with good grade cardboard of different thicknesses; "Bristol board" is highly desirable, it costs a little more than other kinds but is well worth the extra outlay. For masts and spars, the round-sectioned wood ranging from J in. diameter upwards and known variously as "dowel rod," "ash sticks," or curtain rod is most useful; it can generally be had from ironmongers and from dealers in fretwork supplies.

For many small pieces a prepared timber sold as "strip wood" is invaluable, being made in various sizes from about ⅛ by ¼ in. to 1 by ¼ in. and in square sections up to \ in. square.

Good yellow pine is the best for laminated hulls and for decks, although some makers prefer white holly or sycamore for decks as the color is rather better.    Mahogany is extensively serviceable for deck erections, but is not in such good style as oak which was the material chiefly used on old ships. Oak, ash and cedar are the best materials for a rib and plank hull, that being one which is made up of separate parts in the same way as the original.

Of the metals, brass sheet strip and wire are indispensable for the smaller fittings, while zinc can often be used with good effect as its natural color somewhat resembles that of iron.

Fig. 6. Royal Albert.

Plaster-of-Paris, gesso, and plastic wood are other materials that are very useful on some of the elaborately modeled parts, while for figure-heads ivory or bone is quite a useful material, supplies being derived at small cost from the handles of disused tooth brushes. Sewing cotton, thread, silk, human hair, horsehair and finely plaited lines of all kinds are necessary for the rigging; white silk, voile and papers are employed for the sails. On small models, little brown beads can often be used in a very effective way to represent the blocks used on real ships. In short, any convenient and homely material can be pressed into service if it is suitable.

Practically speaking, there are four great types of ship model, and a corresponding number of ways of making them; these are the small waterline models, dealt with in Chapter III., scenic models described in Chapter IV., representative scale models, of which the Royal Albert shown in fig. 6 and described in Chapter VI., and onwards is a splendid example. Finally there are the exact scale models, complete to the most minute detail; the construction of which are practically impossible for the novice and can only be successfully produced by highly skilled craftsmen.

Fig. 7. Cardboard Model of the.  Revenge.

The representative scale model is, or should be, the great aim of every amateur craftsman, and such models can be made in various ways; the masts, sails and rigging can be complete in detail, or may be somewhat simplified. The hull is perhaps the most difficult, it can be built up with a keel, frames and separate planks; can be made on the laminated system described in Chapter V., or can be carved from the solid. It is also possible to make an excellent model from cardboard, and the Little Revenge, the famous ship of Sir Richard Grenville, illustrated in fig. 7, is a case in point; the whole of the hull, planking, decks, deck fittings and many other parts are made from cardboard, the masts and spars are wood, the sails of paper, cotton and beads being used for the rigging. Pictorial models of this kind are remarkably realistic, and make attractive ornaments.

Fig. 8. Two Contemporary Mediaeval Ship Models.

They are one of the best types for the novice to attempt as a first essay in old-time ship modeling. Then there are a vast number of so-called scale models which are commercially made in quantities; some of them are quite nice, others the reverse, and most of them are sadly lacking in character. Herein lies the chief justification of modelling, the representation of character allied with as scrupulous an adherence to detail as circumstances permit.

Choice of subject has some bearing on the method of construction; for example, fig. 8 represents two very simple forms of mediaeval ships which would look well as waterline models. They represent types of boat in almost universal use in the Northern hemisphere during that period.

An entirely different type of craft, common in Eastern waters about the same time, is the galley which would make an attractive scenic model. Decorative models intended for display in the home are generally based on Elizabethan practice, they having the merits of spectacular effect, a gorgeousness of coloring and incontrovertible romantic charm.

A French warship, circa 1638, would make an admirable representative scale model, and its construction could follow the methods in Chapter VI. and onwards, which describe in detail the building of a ship of the period 1700, a model fit to grace any home and delight the heart of a ship lover.

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