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List of longest wooden ships - Wikipedia Some Experience: Some experience with 1 vessel, or a similar model in another discipline (i.e. wooden airplanes, etc.); Experienced: Successfully built a few vessels.; Highly Experienced: Completely comfortable with wooden ship myboat274 boatplansulty is not a factor, and you have the confidence and skill level to take on anything (based on extensive experience). a new understanding of the ways ships were actually built at various times may be achieved. As a first step in this essay, I aim to apply this approach to the structures of English-built wooden ships about The topic of this article is not shipbuilding per se but rather ship structure. Jul 25, �� This is one of the most beautiful steamboats that sailed in the Mississippi River. Steamboats played a major role in the 19th-century development of the citi.
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In general shipbuilding, this part of the frame is an approximately horizontal platform extending to the ship's sides at the point where they begin to turn up towards the vertical. The shipbuilder made patterns from the design on the loft floor, which he used to choose the best-shaped timbers.

Ship's carpenters Ship carpenter ship's carpenter A petty officer, responsible to the chief officer, whose duties include the opening and battening down of hatches and cargo ports, and maintaining wooden masts, spars, and decks. A ship's carpenter can also work in a shipyard, building vessels. Originally a shipbuilding tool. The futtocks were scarfed, bolted, and fastened with treenails Treenail trunnel Commonly pronounced "trunnel" or "trunnels"; wooden spikes or pins, often made of locust wood.

Shipbuilders hoisted the finished frames into place one by one, atop the keel, forming the basic skeleton of the ship. To strengthen the skeleton, a second keel, called a keelson Keelson A second keel, built over the keel, on top of the floor timbers of the frames, to strengthen the vessel's skeleton. As additional structure was added to the ship, it became ready for planking Planking Lengths of wood fastened to the outside of a vessel's frames forming the outside skin, and attached to the beams to form the deck.

Long planks were bent length wise around the hull Not only did they have to be cut correctly to fit the hull, they had to have their edges prepared for caulking Caulk caulking, corking To drive oakum or cotton into the seams of a vessel's deck or sides, to make it watertight. After the oakum is driven in with a caulking iron or mallet, the seam is "payed" or coated with hot pitch or other compound to prevent the oakum from rotting. When all of the deck beams were in place, ship's carpenters laid the deck planking.

Another type of planking is called the ceiling Ceiling The inside planking of a ship. Despite its name, the ceiling acts as a floor to the cargo hold, and it provides additional longitudinal strength for the hull. Caulking makes the hull watertight. Oakum Oakum A caulking material made of tarred rope fibers. Named as such as the Phillipines were a primary source for this rot-resistant natural fiber rope, the most important maritime rope material before the advent of petroleum-based fibers like nylon and polypropylene.

The fibers are usually tarred as a preservative. The caulker drove a few strands into the seam with a caulking iron Caulking iron Used to drive caulking material into the gaps between the vessel's planking.

The mallet made a knocking sound that told the caulker how far the oakum was in the seam. After the seam was fully caulked, it was payed Pay payed verb To pour hot pitch into a deck or side seam after it has been caulked with oakum, in order to prevent the oakum from getting wet. Also, to dress a mast or yard with tar, varnish, or tallow, or to cover the bottom of a vessel with a mixture of sulphur, rosin, and tallow or in modern days, an anti-fouling mixture.

Ship joiners Joiner joinery A carpenter who finishes interior woodwork. Joinery is the interior woodwork. They built and finished the deck houses, the galley Galley joinery The kitchen on board a vessel. Read more was often very elaborate and required highly-skilled joinery work. Painters applied coatings to protect the wood. After the ship was launched, the crew became painters, for painting never ended.

Sometimes a vessel had a figurehead Figurehead A carved wooden statue or figure attached to the bow under the bowsprit of a vessel. The figurehead was mounted on the bow Bow Forward part or head of a vessel. While the hull was being built, spar Spar A round timber or metal pole used for masts, yards, booms, etc. After the Civil War, most spar timber came from the West Coast, which had a large supply of Sitka spruce and Douglas fir.

After squaring and tapering the timber, spar makers shaped the spar into an eight-sided timber and finished it round. Shipbuilders used shear legs Shear legs shears A temporary structure of two or three spars raised at an angle and lashed together at the point of intersection. Riggers Rigging The term for all ropes, wires, or chains used in ships and smaller vessels to support the masts and yards standing rigging and for hoisting, lowering, or trimming sails to the wind running rigging.

Running rigging lines move through blocks and are not wormed, parceled, or served. They are wormed, parceled, and served for water-proofing. To protect it from rot, rigging was given a waterproof cover, a process called worming Worming Running a small line up a rope, following the lay of the line.

Running rigging Running rigging The part of the rigging that includes the ropes that move the rig: move yards and sails, haul them up and lower them, move masts, and hoist weights. There are many kinds of blocks. You remember the beautiful white figured ash of the entrances from the promenade deck itself where you can see the sea? Well, in this long gallery is betula. It is white figured ash that has got to heaven. Not brown, not red�not satin, not silk�a wonder in sheen and swirling figure, on walls and ceiling.

Betula is actually the heart-wood of Canadian birch. These names may bewilder, but beauty cannot afford to be anonymous. Underneath the show-cases in this gallery are maple burr panels, pale and demure. Go across to the starboard gallery. The huge fawns and palms in this gallery are painted in gold and silver, but they were carved from Honduras mahogany.

The lounge itself � a vast, lofty hall � is stupendous. The walls are of maple burr � a rosy maple burr � and the ceiling and ornamental recesses are masur birch which looks pale, delicate and cool, so that one almost misses its mottled figure in all the height and distance. Tables are of maple burr surrounded with walnut and sycamore. This is a majestic wood. The cabin writing-room you and I might ignorantly call it the first class writing-room is subdued: chestnut oak walls, and white ash burr on the tables.

They are fitted with pink pear-tree letter boxes and banded in the same cheerfulness. Then in the passage that leads to the observation lounge and cocktail bar, over the elm dado, subduing the elm doors, is a maple burr that blazes like an Eastern sunrise.

Look well at that maple burr. It has puzzled many experts. In generations we shall not find its equal. The cocktail bar and observation lounge itself unbends to funny pictures, but the walls are of maple, figured almost like a tiger oak though rather lighter. The bar is of striped macassar ebony, golden and black, and the plinth of the gallery and the banding that cuts the maple walls into long panels is made of a weirdly mottled wood � rust-red ovals, spheroids and circles on a pale ground.

This is unknown in botany. This is a forest monster. Is it cedar or mahogany? They call it cedarmah. Left: The port aft corner of the room. Right: The bar with A. The drawing-room is not exotic. It is very sophisticated and feminine. The tabletops and the backs of the chairs are maidu burr. Look at the prim little curls in this wood.

They would be the despair of a hairdresser of the First Empire. I cannot pour out endlessly the names of every shade of wood at every turn of every passage, at every staircase, almost every stair. You would be exhausted, deafened, and you might miss some beauties altogether.

Rest for a little in the library where there is just a soft blending of light and dark oak burr and pollard oak and combed oak with a band�no more� of macassar ebony at the table bottoms and observe how the brown-greys and the grey-browns conduce to quiet reflection. See here into the mood your Victorian great-grand parents liked to call a brown study�. But I think you ought to visit the tourist and even the third class public rooms, after a short rest. Then in the main tourist lounge, when you have ignored the peculiar greenish leather walls, note the bands of sycamore, maple burr and thuya, then maple burr, and so to sycamore again.

What is thuya? That puckered, pleasing, pale gold wood on the outside of the doors is maple�quilted maple again.

Evidently the tourist passengers have not been overlooked. In these entrances are four very charming nymphs, carved in willow. I should have thought the cabin passengers might have enjoyed them � but no matter.

The tourist smoking-room? Of course. A lovely figured burr of British brown oak � relieved by Indian golden padouk. Third class? In their garden lounge is a garden scene in marquetry that is really lovely. In their smoking-room is a hunting scene, too, in coloured woods.

The walls and the passages are richly veneered�. Beauty on this ship is displayed for everyone. The cabins and suites in the cabin part of the ship you and I, remember, would probably call them in our ignorance first class deserve a book to themselves.

It is quite impossible to do them detailed justice here. And as at the back of this hasty description is a more detailed list of woods to be found throughout the ship, I will not attempt the impossible.

But I must note a few of these private rooms that I particularly liked. I shall take them at random, and if you follow me � since you have seen the staircases � by all means take a lift. Indeed, you must see the lift because although they are called elevators they are very fine with white ash burr roofs, and walls deep red with elm burr, banded at the top in walnut. The background is oak.

One tree is rich walnut, the other olive ash, and you can pick out if you are clever white birch, dark birch, pear-tree, blistered maple, oyster ash, plain ash, light walnut. The rooms themselves are beautiful, but less remarkable.

The entrance to suite M65�67 [ sic ] is rosy pear-tree � like a rising sun at Suez � and a walnut cat sleeps through all the splendour. There is a dado of vividly striped corbaril wood. The main bedroom M67 is panelled in masur birch, which here is as speckled as a speckled hen. M69 is white ash, beautifully figured like a thousand swirling whirlpools. Oaken pillars frame the entrance to a dining-room, M71, with sliding doors of a pale ash that shows an amazing olive figure. In this room are tables of Bombay rosewood curl � a very rare wood of glorious deep purple.

At such a table one would be compelled to drink Veuve Clicquot. In M73 is a table of Queensland maple butt, a glory of pink satin figured as no weaver could imagine, and shining as no satin could shine. M77 has an entrance of weathered sycamore where an extraordinary effect has been attained by exploiting a natural stain in the wood.

Inside is weathered sycamore � deep Wooden Model Ship Building Kits 65 cream-coloured � with a wonderful curl in its figure. The furniture of walnut and sycamore is a harmony of soft tones. The furniture of olive ash burr salaams to it.

Some cabins have fabric walls with beautiful veneered dadoes. Some have painted walls with lovely wood below. You can see nearby a cabin of very plain old with horizontal lines � a cabin absolute harmony, waiting, a perfect background for some very pretty person.

M50 is a charming little room, all in white sycamore, with quaint little natural, fish-like markings here and there. Only one cabin I did not like. You may disagree with me, M The entrance is pleasing enough. It is fiddle-mottled walnut, decorated with two old carved oak figures, one representing St.

East Indian satinwood is too often distorted by native cabinet-makers into inconvenient furniture. Anyway, it carries here unnecessary paintings in blue lines or are they green? The beds are very purple � bubinga, I believe. For my part I should choose A Its walls are Queensland maple butt, rosy as the morning and figured like an ancient tapestry. The furniture is blistered cedar. Nobody has built a ship like this before.

Nobody before has thought of using the simplicity of nature to create beauty. This is the ship of beautiful woods, and it is more than that.

It is the ship of beauty.

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