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Showing results for tags 'sails'.
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My New topic for consideration is this ship: I use the term loosely simply because that if such a vessel set sail ...like the Mary Rose she would sink within hours. For a few years now I have tried to make sense of this thing and I cannot. Perhaps there are some sailors or people that sail in the rooms. I have spent spent two years excavating this ship in search of a solution and whilst I know you all think I am a little "challenged" to some extent here are my thoughts and observations: I initially could not understand the balance of this ship so I tried to understand it by reverse engineering it and notwithstanding the numerous comments I expect to get back from you re: artistic licence I think something is seriously wrong with it. Let me start by saying that I know absolutely nothing about large ships except for rudimentary common sense. Before again the wolves descend may I please take a line or two of your time to tell you why it is important to me. Of course the primary reason is that I do not think the reverse on the bun penny is as it was supposed to be. The design I believe to have initially been prepared was a thing of beauty. In truth it is stunning. In these posting on the bronze reverse I am not trying to rubbish them but there are some incredible mistakes. I would like to be able to use the observations to ask for dialogue on the matter which again requires some leap of faith and your own observations. I have around about 400 specimens, which show these features perhaps more of these early bronze coins from 1860 to 1863 and I have used the observations from these to unpick this riddle. A ship must be stable in the water and it is a delicate balance to ensure that the force of harnessing the wind in the sails must be evenly distributed in order to project the vessel in a straight line or to jibe zig zagging to catch less strong winds. I used to be a windsurfer and new all too well that if my boom came over the mid point too much I would be lifted and thrown over the sail and the sail would descend on me ..an unnerving experience and as a rooky it happened hundreds of times. Wind if captured must be controlled especially when you consider the size of the sails and rigging and the mast have to compensate. Well on this ship it rarely if ever does the balance is always wrong. The central mast is rarely central and the worst character at the stern of the ship is so off centre that the net result that one gust of wind and either the mast would break or the ship would keel over. The rudder: on some specimens a rudder has been added to the keel to try to balance the image. The Stern has been chopped away on most specimens which often leads to a most bizarre thing. Let us assume that the back of the ship if flat straight and if it is the Golden Hind (and yes I know there has never been proof) but let us imagine, then it should be tiered either it is or it isn't (but that comes later). However what we get on this ship that is modelled is something that I do not believe any artist would do. There are two pointed sections on the stern often separated by a large section which has been removed. The frontal one which is the one we see first is a mm or two to the right of the mast at the stern. The jib sail I think this is and it can be used ( I think) to add to the directional movement of the ship. But it is off centre. and oftentimes just hanging in mid air. Now of course many of you will know that on many the central sails to the left of the ship are often missing. But I would like to draw your attention to something that at first I never even noticed. The sails that are there have each of them a small cross which appears darker except for the sail closest to us. It appears to have some kind of emblem (later). Also much of the rigging and the cross masts do not appear to work together. For those of you now screaming and swearing at me "ARTISTIC LICENCE" artistic license is a device which allows something to have a degree of artistic ambiguity but a great artist can simplify a scene whilst sticking to the rules of perspective , artistic licence is not as many seem to think an excuse to be lazy it requires the same level of thought to enable something within the constraints of the new material as it does to get it "fully artistically perfect". The keel of the ship is quite obviously deeper than the present one, there are on every penny and half penny a series of scars deep half way down in the sea. The shape and form perfectly fits an alternative modelling I believe that the ship was originally much larger and originally the back of the ship was flat. I have even found one some specimens the outline of the head of the hind at bother the bow and the stern. This was a large ship and the sails originally went much higher and there is something very strange going on to the left of the ship. I find it difficult to make sense of this scar that exists many of the early bronzes of the 1860's. Hidden but still plainly obvious on many examples are the crosses in the sails.. The Scars that these lost ships leave behind after they are "removed" can be seen down the side and into the left leg of Britannia and in the field between the extant ship and the leg. Above the extant ship in the blank field remnants of the crows nests and sails can be found and eventually I will show you the images. One of the most ridiculous parts of the extant ship is that silly streamer that drifts off the central mast. Let me look at this now If as the perspective shows it is fluting in the wind it must be away from us thinner but it really is , at one point I thought I could argue that if this is flitting off on a south westerly wind the sails should follow that which might mostly likely make them bulge in the centre , but that need not be the case and allowing for artistic licence I cannot argue this as yet. The flattened back of the ship (which is lost) shows a clear reticulation or "castling" and there are a number of adornments that are often present which I presume are lamps of some kind and the Windows. There is a removed plaque which I have tried to interpret over and over again and is some kind of animal. We have to look at the failing in extant ship and look at it with a critical eye or else this whole concept of discovery is lost to us. If we accept without questioning the numerous pieces of evidence which point to an alternative then we sadly fall into passive and this to me seems a little mundane. I am not trying to make the subject of collecting coins interesting I am simply trying to understand why a great artist gets it wrong. This is a man who spent 7 years at the Royal academy worked alongside his father and Pestrucci then shared the post of senior engraver. This is not a man who gets it wrong.