Ship models

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On ship models, rigging and sails are considered an important aesthetic component representative of a vital functional element. These materials are often the first part of the ship model to experience damage. Traditionally, damaged, desiccated, or period-inappropriate rigging and sails were often removed and replaced as part of the restoration process. This historic practice of re-rigging and replacing sails still remains common in the field of ship model restoration on an international scale within both private and institutional collections. However, the ethics of performing full and even partial restoration on the textile components found on these unique objects must be carefully considered, especially in regards to miniature scale and non-technical ship models. This paper will describe the recent conservation treatment of the textile portion of the Thetis, a 1:150 scale (estimated) fully-rigged model of a 24 gun, three deck frigate in the collection of the Rijksmuseum. This treatment will explore the material and ethical considerations associated with a partial conservation treatment of ship model rigging and sails on miniature, non-technical ship models. As there is little to no formal literature regarding the in situ treatment of these components, this treatment will also provide a suggested practical methodology for the in situ conservation treatment of ship model rigging and sails.

This thesis describes the construction of two models of La Belle, a light frigate constructed in France during the late seventeenth century. The archaeological remains of La Belle are important as a unique example of a little understood vessel type and as an informative example of several construction techniques that were in use in the French shipyards at the end of the seventeenth century.


Using data recorded during the excavation and conservation of the original ship's timbers, historical documents, and contemporary drawings and models as guides, various configurations of La Belle's structure were created to determine her probable appearance. Whenever possible, the original materials and construction techniques were closely approximated to determine their effect on the overall appearance of the ship. Many of the artifacts excavated from the original vessel were reproduced in scale and incorporated into the model to determine their influence on the layout of the ship's structure.


The resulting model provides not only a picture of a specific ship type, but also, a glimpse into the technologies that existed at the time La Belle was constructed. The vessel may have been small in comparison to other naval vessels of the 17th century, but her contributions to our knowledge of shipbuilding and ship design are immense.

As the theme for this issue of the Museological Review suggests, museums exist as part of a 'web of relationships'. Therefore, it is imperative that museum professionals embrace this interrelatedness and continue to cultivate inter-museum and multidisciplinary partnerships and programmes, especially on an international level. Although collaborative efforts surround particular collections within the museum, they may be of great benefit to the wider fields of conservation and museology. This is because they provide a means to share experiences and knowledge while offering each museum an opportunity to further refine their own research and conservation goals as well as promote their own collections and programmes. Using the collaboration between the Rijksmuseum and the National Maritime Museum in Greenwich regarding ship model conservation, this paper will illustrate the importance of initiating and developing collaborative programmes to amplify institutional messages regarding the importance of preservation, conservation, technical analysis, and professional development opportunities, which are among the fundamental aspects of good museum practice. As the theme for this issue of the Museological Review suggests, museums exist within a 'web of relationships' where individual museums are part of and affected by a wider global community and international dialogue. Museums have evolved to encompass a diverse range of responsibilities: as such, they enlist various specialists to assist in their many functions. Especially in the fields of object-based research and analysis, conservation, educational outreach, and professional development, a collaborative approach is not only preferred, but often required. Such cooperative programmes and initiatives are beneficial for numerous reasons. They not only provide a means to share and develop experiences and knowledge, but also offer individual museums the opportunity to promote their own collections and programmes. Collaboration may result in institutional messages regarding the importance of preservation, conservation, research, and professional development being amplified and disseminated to the broader field. Even the prelude to the formation of these partnerships are important, as they allow institutions to define, develop, and further refine their own goals regarding research, conservation, and educational outreach. Using the collaborative initiatives and programmes surrounding ship model conservation developed by the Rijksmuseum in Amsterdam and the National Maritime Museum in Greenwich as the lens for this discussion, this paper will illustrate the importance of inter-museum and multidisciplinary collaboration, especially on an international level. To accomplish this, a brief overview of the complex issues surrounding the conservation of ship models will be provided. The ship model collections of both the Rijksmuseum and the National Maritime Museum will be introduced, as will the significance of technical analysis, preservation, and conservation within the museum setting. The importance of collaborations and the formation of new collaborative programmes between the Rijksmuseum and the National Maritime Museum surrounding the field of ship model conservation will be discussed. Finally, a reflection of the importance of these multidisciplinary and inter-museum partnerships will conclude that above all, it remains imperative that museum professionals continue to work together to share knowledge and advance practice within the fields of museology and conservation.

This Masters Dissertation seeks to examine a fifteenth century model of a carrack, known as the Mataró model, which now resides in the Maritime Museum of Rotterdam.  The purpose of this examination is to determine how reliable, and to what extent, this unique artefact is in revealing the development of the European ship of exploration throughout the fifteenth and early sixteenth centuries.  To achieve these aims, this study will entail a comparative analysis of the model with the primary and secondary evidence currently available.  The examination will trace the origins and function of the model, and include the findings of numerous studies, particularly those concerning the model’s stability and sailing qualities, made upon it to date.  These findings, and an overview of European ships and shipbuilding in the fifteenth and early sixteenth century, will then be compared with the iconographic, documentary, and archaeological evidence relating to this period of maritime history.  The significance of this examination for the discipline of maritime archaeology lies in its approach.  For the first time, the model will be directly compared with the archaeological evidence, consisting of a sample of five shipwrecks, selected on the basis of their age, and associated features.

A survey of naval power at the beginning of the steam era giving brief details of the major warships of all navies with some introductory remarks on each. Notes on the data appear after the bibliography. Third edition with new material on the Battle of Navarino. As reprinted in 2017 (with minor revisions).

During the period of activity of Ole Judichær (1690-1727), sources in the form of lines plans, ship models and construction documentation are preserved in the Danish National Archives and the Royal Danish Naval Museum. While some of these sources have been studied in other contexts, they have not been studied in conjunction. Using as study case the model of Prinz Wilhelm, the first ship to have been officially designed by Judichær, in conjunction with sources in form of lines plans and historical documents, and applying archaeological methodologies, an explorative study of the construction and design of a Danish warship at the end of the 17th century is possible.

En el S. XVI mares y océanos se habían convertido en ajetreadas zonas de paso, confrontación, exploración, etc. por las que pululaban armadas, corsarios, piratas, comerciantes y aventureros tanto de coronas europeas como de reinos norteafricanos y orientales. La corona española centraba su interés en controlar las rutas comerciales, puertos, etc. tanto en las Américas como en el Mediterráneo y Norte de España, para proteger esos mercados tanto de la flota Otomana y los berberiscos en el Mediterráneo como de corsarios y demás enemigos en el Atlántico y pacifico, lo cual determino el sistema naval y defensivo que iba a emplear el imperio.

This is the final proof of an article published in the Rijksmuseum Bulletin in september 2020. The article focuses on the oldest model in the museum's collection, a 44-gunned ship with the inscribed date '1648'. I ask the question whether it is indeed possible that this is a ship of one of the urban 'directies' as posited in the literature.

Contents :
Introduction
Boat models : morphological characteristics and attempt towards identification
Boat models : context and function
Neolithic watercraft: raw materials and technological possibilities of construction
Neolithic boats: environment
Neolithic boats: uses
Conclusions

Introduction
Maquettes d'embarcations: caractères morphologiques et essai d'identification
Maquettes d'embarcations: contexte et fonction
Embarcations néolithiques: matières premières et possibilités technologiques de construction
Embarcations néolithiques: environnement
Embarcations néolithiques: utilisations
Conclusions

The paper examines the available evidence about Neolithic boat models and boats for inland or maritime navigation in Greece and the surrounding regions. It is the first part of the paper: Marangou Christina 1996: From Middle Neolithic to Early Bronze Age: Consideration of early boat models. In H. Tzalas (ed.), Tropis IV, Proceedings of the 4th International Symposium on Ship Construction in Antiquity (Athens 1991), Athens, 277-293.

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This photogrammetric model of a Chinese Yangtze River boat was created as an author’s experiment. The sail of the model was created in different modeling software, then the model was re-imported into PhotoScan to create textures. Also, green-screen studio was applied to capture bottom surfaces to be structured in a single process

This boat model is a one of the Spencer Collection. The Spencer Collection was built in China between 1934 and 1940, and offered to Texas A&M University in 1974. It was made by a professional model builder from the port of Yichang, on the Yangtze River. It is composed of 29 boat models, all built after watercraft types that sailed on the Yangtze River. A book has been published by Joseph E. Spencer about this collection

Die Bedeutung von Schiffsmodellen für die Vermittlungsarbeit des Deutschen Schiffahrtsmuseums ist kaum zu überschätzen. Vor diesem Hintergrund ist es nur folgerichtig, unsere Schiffsmodelle auch im Hinblick auf die angestrebte Digitalisierung bzw. digitale Präsentation der Sammlung zentral zu berücksichtigen. Seit März 2017 befasst sich daher das neunmonatige, vom Bundesministerium für Bildung und Forschung geförderte Projekt „Schiffsmodelle als Wissensspeicher zur Untersuchung des maritimen Erbes“ mit den Möglichkeiten, Grenzen und Perspektiven einer digitalen 3D-Erfassung dieser spannenden Objekte.

Seit März 2017 befasst sich das Deutsche Schifffahrtsmuseum/Leibniz-Institut für Maritime Geschichte in Bremerhaven mit der 3D-Erfassung und -Visualisierung ausgewählter Objekte aus seinem ca. 3.000 Exemplare starken Bestand von Schiffsmodellen. Der Beitrag beleuchtet die technischen Herausforderungen, die sich mit der Digitalisierung dieser in Gestalt, Komplexität und Funktion extrem breit gefächerten Objekte verbinden. Er zeigt außerdem die inhaltlichen und gestalterischen Perspektiven auf, die durch sie eröffnet werden. Ein besonderer Schwerpunkt liegt dabei auf den ‚Schichtungen' von Virtualität, welche in der digitalen Dopplung von Objekten entstehen, die ihrerseits wesentlich Abbild und Stellvertreter sind.

This story is about one sailor who had a close relationship with nature. He had a natural skill for sketching. Based on his sketches and paintings of his environment, executed during his time as a prisoner of the Japanese, while working on the Thai-Burma Rail Line, along with Weary Dunlop and many many others, he was always close to nature. He noticed nature. Some survived and many did not. Ray did survive, returned home to his family, and lived to age 95 in Melbourne, Australia. Permission to publish this story has been given by David van Kool (chairman) of the Editorial Committee of Volunteers of the Australian National Maritime Museum, (ANMM) Pyrmont, Sydney, NSW. It was first written by me for All Hands, quarterly magazine of the volunteers, and produced by them, to share their experiences with fellow volunteers, and hence restricted in circulation to those volunteers. There are about 1,000 such volunteers, with about 500 in Sydney, the remainder distributed around Australia. My duties as a volunteer with the ANMM in Sydney, involves meeting visitors and explaining and demonstrating how models ships are built, and attempting to answer all types of questions about them. I am one of a team of about 8 or more. To share the answers to many of the visitor questions we hear, a regular series of: Q & A at the Model Ship Building Bench, has been appearing in All Hands.

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