The H.M.S. (His Majesty's Ship) BELLONA was one of the most famous 74-gun ships of the British Navy. The 74-gun ship formed the backbone of the principal naval powers of Europe from the Seven Years War (1756 - 1763) until the end of the Napoleonic Wars (1815). In fact, compared with the less-armed lower classes, and the 80-gun ships, structurally unstable, the 74s were considered the ideal compromise between gun power and maneuverability. Launched from the French shipyards in the 1730s, the first 74-gun vessels, although structurally weak (like many of the ships built in France at that time), immediately showed their superiority in comparison with the British ships then employed in similar operative roles.
After the capture of several French 74s during the two Battles of Finisterre in 1747, the British Admiralty began in 1755, under the Surveyor Thomas Slade, the construction of the first ships of that type, the Dublin class. Three more ships, the Hero, Hercules and Thunderer, were ordered the following year.
The BELLONA, together with the Dragon and Superb, was commissioned on 28 December 1757; Slade's draught was produced on 31 January 1758. The construction of the BELLONA began at Chatham shipyards in the same year, on 10 May. The BELLONA, launched on 19 February 1760, sailed, on 8 April, to join the battlefleet which was then blockading Brest. In May 1761 she was detached to patrol off the River Tagus; on 13 August at 3pm, the BELLONA, in the company of the frigate Brilliant, sighted a small French squadron, constituted by the 74-gun ship Courageux and the frigates Malicieuse and Hermione . After a long chase, the following morning at 5 the BELLONA reached the Courageux and fought it, while the Brilliant engaged the two frigates. Two hours later, the Courageux, owing to the terrible damages suffered, struck her colours; severely damaged, neither of the British ships was in any condition to pursue the two frigates, so they were able to make good their escape.
Having been properly repaired, the BELLONA was fitted as a guardship at Portsmouth until 1770; in 1771 she sailed to Chatham; there, she was laid up in ordinary, with guns and rigging removed, until 1778, when she was docked and began a major repair. Particularly, the poopdeck bulwark was modified: 6 short-barrel guns of new conception, the first carronades, were fitted on it. In March 1780, her bottom was coppered for the first time.
In the same year, on 30 December, the BELLONA took part in the capture of the 44-gun Dutch ship Princess Caroline; then she cruised off Gibraltar, in the North Sea and the West Indies. From 1783 to 1791 she was laid up at Portsmouth again; after further repairs at Chatham, in 1793 she joined Admiral Howe's fleet in the Channel. Until 1797 the BELLONA operated in the West Indies again, against the French fleet, and in the Baltic; in 1801 she could take no part in the Battle of Copenhagen, because she was grounded just outside the scene of the action. She was employed in the blockade of Cadiz; then, the BELLONA was at Jamaica, at Portsmouth again and at Barbados. In 1806 she took part in the chase of the Foudroyant and the destruction of the 74-gun Impetueux, both French ships. Although more than 50 years from her launch were passed, the BELLONA served in the Navy until February 1814; she was broken up at Chatham in September 1814.
At least, two period models of the BELLONA are preserved; the models, both of which without masting, are different in many particulars: the oldest shows the framework, while the second, built approximately in 1778, presents the bottom covered with copper sheaths, and it was probably produced for King George III, in order to illustrate that innovation.
Our 1:100 scale reproduction is essentially based both on the general original plans of the hull, and on the reliefs of the second model, which shows the ship after the refit completed in 1780; this documentation has been integrated, particularly to define the rig, with various literary and ichnographical sources, such as complete models, period drawings and paintings.
In order not to hide (or compromise, as often happens even to the more skilled) the scenographic effect of masting and rigging, the model is conceived with 'rig at anchor', i. e. without sails.
Even though is presented some fixed characteristics, colouring was often determinated by logistical availabilities and the Captain's personal taste. Unless otherwise indicated, all the colours are mat.
Dirty white - Hull and rudder below the waterline (before March 1780). Copper red or oxidized copper - Hull and rudder below the waterline (after March 1780).
Natural wood (or yellow ochre) - Hull and rudder above the waterline; bowsprit No. 306; masts No. 321, 346 and 361 (with taperead cheeks No. 325 and 349). Black - Main wale No. 62 and corresponding area of the stempost and knee of the head (keel No. 1); background of the figurehead No. 219; background of the trailboard No. 218; platform (No. 208/214f) and inner surfaces of the head (No. 195/199, 201, 204 and 205); knightheads No. 216 and stempieces No. 215; planksheer sectors (No. 128, 129 and 186) and fillet No. 130; timbers, knees, kevels, planks, heads and bulwark kevel bitts (No. 265/274 and 279/292); bulwark stanchions and handrails (No. 277f, 278f, 944f and 945f); timbers, knees, planks, columns and heads of deck rails (No. 158 /165, 173 and 174 ); pillars, cross pieces, bitts and belaying rack's of decks (No. 92/96, 118f, 134, 135, 142/145, 166, 167, 172, 175 and 176); chimney (No. 147/149); belfry roof (No. 150/152) and arm No. 157; half-guns, guns and carronades (No. 955/960); anchors and stocks (No. 962/964 ); mast trucks No. 316; caps (No. 313, 338, 345, 355, 360, 369, 375 and 377); topmast trees (No. 340/342, 356/358 and 370/372); tops (No. 327/336, 343f, 350/353, 364/367 and 373f); extremity of the jibboom No. 312; sectors of the bowsprit No. 306 and the jibboom No. 312, between the cap No. 313 and the hell of the jibboom itself (with elements No. 307, 308 and 310); sectors of the masts No. 344, 359 and 374, between the mast trucks and the lower edge of the octagonal areas for fitting the respective stays; sectors of the masts between the caps and the lower edge of the octagonal areas which support the trees No. 340, 356 and 370; sectors of the masts between the caps and the lower edge of the cheeks No. 322, 347 and 362 (with the cleats No. 309, cheeks and relative bibbs); mast hoops No. 324f; jackstaff No. 315; yards (with the cleats No. 379, 380, 384 and 385), stunsail booms (No. 388, 393, 396 and 398) and relative equipments (No. 389/391); mizzen yard No. 400.
Dark blue (or black) - Bow bulkhead (No. 33 and 34) and roundhouses (No.184); band between the moulding No. 58 and the planksheer No. 128, and until the moulding No. 70 (at stern, in correspondence with the poop deck No. 23), and relative sectors of the elements No. 220/222 and 947f; knees No. 301; quarter gallery roof No. 240 and fillers No. 52 (or eventual covering No. 244); background of the elements No.248 and 249; background of the taffrail (No. 45); background of the elements No. 229, 230 and 238; counter planking and corrisponding area of the rudder; false glazed sectors (doors, windows, binnacle, skylight and lanterns).
Light yellow ochre - Figurehead No. 219, ornamental sculptures and bass-reliefs in general (No. 217, 218 and 253/258); outer surfaces of the head (No. 199, 200 and 204/207); head cheeks, hawse holes, catheads and relative knees (No. 189/194); mouldings in general (No. 44, 54, 56, 58, 67, 70, 72, 185, 224/227, 236, 237, 242 and 243); curls No. 131; framing of the windows No. 228, 231, 245 and 250; letters in relief on the element No. 234f; lanterns No. 961.
Red - Strip No. 69; background of the elements No. 241 and 258 (facultative); bulwark inner surfaces (No. 78/81, 109 and 119); transom inner surface (No.43 or 120f); jamb of the gunports (with the elements No. 83); jamb and inner planks of the port lids; gun carriages; slides and shoes of the carronades.
White, buff (or light yellow ochre) - Element No. 25; pantry No. 84 and 85; bulkheads and relative pilasters (No. 37, 39f, 40, 74, 75 and 114/117); inner surface of the elements No. 27 and doors No. 41; deck lower surface (with the relative beams No. 42f and 100); gangway lower surface No. 125.
Natural wood - Decks and gangways No. 125; gun carriage trucks; running rigging blocks; belaying pins.
Glossy (or semi-glossy) natural wood - Binnacle No. 137/139; steering wheels No. 133 and relative roll No. 132; jibboom No. 312; masts No. 337, 344, 354, 359, 368 and 374.
Glossy bronze - Bell No. 156.
Black (or very dark brown) - Rope lengths No. 311, 314 and 404; standing rigging and relative fittings (deadeyes, blocks, strops, lanyards, etc.).
Natural rope - Gun and carronade breechings No. 105f; anchor cables No. 966d; running rigging and relative block strops.
The pilasters No. 230, 233, 238, 247, 249 and 252 panels No. 229, 239 and 248, and timbers No. 235 could be painted white or light yellow ochre.
The elements No. 170 and 171, timberheads No. 202, channels (No. 300 and 302/305), pilaster No. 136, belfry (No. 153/155) and elements in relief on the skylight (No. 178/181) were black or light yellow ochre.
The waterway No. 82, coamings (No. 86, 140, 146 and 182), gratings No. 87 and 141, partners No. 89, capstans No. 90 and 91, standards No. 97, edges No. 121/124 and 127 could be indifferently painted red or black, or left in natural wood.
The ladders No. 168, 169, 298 and 299, booms No. 275 and mast wedges No. 326f were black or natural wood.
The bumpkins No. 318 and staff No. 376 (with the relative truck) could be glossy natural wood or painted black.
Both the components of the superstructures (linings, port lid outer planks, fenders, cleats, etc.) and the metal elements (hinges, scuppers, deadeye chains, collars, chain plates, rudder chains, eyebolts, etc.) were generally painted, unless otherwise indicated, according to the colours of the different areas on which they were collocated. On the surfaces in natural wood, the metal particulars were usually painted black (or using one of the colours already employed for the hull).
Note - The pictorial frieze painted on the coppered model is probably a purely decorative addition, realized for the presentation of the hull to the King. So we do not consider historically correct to reproduce it on the operative version of the ship.
The assembly kit, like the entire COREL range, contains everything necessary to accomplish the model (apart from glues). Plywood parts are supplied precut and requires only a light finishing with a file or sand paper. Whereas the elements obtainable from board should be simply cut by the model-maker, with some notches or gains at the most. Fittings are generally finished and ready for gluing.
Thanks to the high degree of preworking, it is possible to assemble the model more quickly than if starting from the construction plans, manual cutting of the components and separate purchase of the various accessories. Another advantage, not to be ignored, is the saving in money: if you were to calculate the overall cost for materials and fittings purchased separately, you would notice the difference; without forgetting that the buyer is often compelled to purchase elements in larger packs than strictly necessary.
Before starting, and not during assembly, it is advisable (particularly for less skilled modellers) to read this booklet carefully and study the construction plans. Besides giving a preliminary view of the progressive assembly phases and related problems, it will help to reduce the possibilities of breaking or damaging pieces, which are often difficult to find on the market. All the plywood elements, for example, are not available separately from the complete assembly kit, and must therefore be replaced by the model-maker, tracing the piece with carbon paper on material of the appropriate thickness and cutting it with a fretsaw.
On the plates each piece is marked with a number, which is obviously repeated in the instructions; the complete list of the elements, printed at the end of these assembly notes, constitutes the indispensable key to the illustrations.
The parts list enables the components to be identified and made correctly: the number and the name are followed by the material, the measures, the eventual catalogue number (for the purchase of parts damaged by the model-maker) and the symbol, useful to identify the piece in the kit. In order to interpret correctly both the capital letters, corresponding to the symbols, and the small letters, sometimes indicated after the number, refer to the following scheme:
Letter 'A'- It means 'fittings' and marks all the components already finished and ready for assembly (decorations, photoetched brass elements, guns, anchors, eyebolts, deadeyes, blocks, flags, etc.).
Letter 'C' - It means 'rope' and indicates the rigging and all the other details to be accomplished with lengths of rope.
Letter 'P' - It marks those wooden elements which are found in the kit 'preworked', that is already cut; generally, they require only a light finishing to be ready. It is useful anyway to check both the outline and the gains of pieces before assembly: in fact, there may be some small differences between the original drawings and the subsequent various photografic and printed reproductions, plates included. However, any difference would be extremely limited and never dangerous enough to affect the model assembly. An accurate piece check and prelimirary assembly, without glue, will reveal eventual faults, enabling you to cut off any excess with file or sand paper, and fill the gaps with small additions of material along the edges.
Letter 'R' - It indicates that the piece cannot be found precut in the kit: the model-maker has to obtain it, by simple operations, from the board or other material indicated.
Letter 'd' - It follows the number of some rigging and indicates that the rigging is 'double': one on the right and one, symmetrical and identical, on the left of the model.
Letter 'f' It indicates that the element is 'facultative': therefore it can be omitted without over prejudicing the hysterical authenticity or the final effect of the model (generally, the accomplishment of these details might present difficulty for beginners).
There are, both on the plates and in the list, other small letters, explained in the respective assembly notes.
The model may be assembled with a few tools that are easy to be found, such as a hammer, some small files of different sections and gradations, a pair of thin-jawed pliers, a pair of scissors, a fine knife, some sheets of sand paper of various grades, some wooden blocks on which to fix the sand paper (see Plate 8, Fig. E), a can of vinyl glue and a small tube of high-strenght adhesive, e.g. for metals (cyanoacrylate).
Wooden parts must be generally joined together with slow-drying vinyl glue, so that they can be removed and repositioned, even after the glue has been applied. For the particulars in 'unstable balance' a rapid-drying wood adhesive can be used. Two-component glue for metals (either slow or rapid-drying, depending on the nature and position of the pieces) is recommended for difficult or resistant joints, as well as to fix different materials (for example: wood-brass). The metal parts on which this glue is to be applied must always be degreased with acetone or solvents. Those surfaces on which stronger adhesion is required, must be roughened with file or sand paper; this operation is also recommended for painted elements, from which the coat of colour must be removed, until the original material is reached, in those points where the glue is to be applied.
Any type of adhesive, particularly in the most visible areas of the model, must be applied in small amounts, in order to avoid unpleasant excesses or drippings. To retain the glued pieces until they have dried, it is useful to keep, clean and on hand, a good supply of nails, drawing pins, metal clips, pegs, rubber bands, and adhesive tape.
Photoetched brass elements are connected to a single support by means of small portions of material; due to the extremely reduced thickness, it is advisable to treat the whole plate with great care, and isolate the single parts from it only at the moment of finishing and relative assembly. The pieces can be detached from the support by simple rotation; however, the operation can be done more safely and accurately using a pair of scissors and filing the connecting points. Once isolated, the piece must be first positioned on the model, to check the outlines with any underlying elements or spaces, and to calculate exactly the relative bending points. Eventual small imprecisions can be corrected with scissors or, very carefully, with a file of suitable section.
The elements marked with the letter 'R' (No. 319, 324f, 389, 391 and 964) must be obtained by cutting the longer strips to the required length (which may vary with the greater or minor' tapering ' or finishing with sand paper of the underlying piece). Any perforation, or enlargement of hole already made, can be simply effected using a hammer and a thin pointed steel pin or nail, taking care to place the plate on a bench or metal surface, to prevent bending.
When the piece is shaped perfectly (with the necessary bendings) it is advisable to decide upon the optional finishing. Those who want to paint the model have only to apply the forementioned colours. The model-makers who wish to finish everything 'in view', can colour the brass elements with gold paint, or polish them with very fine abrasive paper or special preparations, on sale everywhere (preferably after treating the etched surfaces with black paint or dark mordant, following the instructions given below).
Due to the planned combination of various tones of wood, it is possible to finish the model 'in view', treating it with clear varnish, wax or special preparations for wood (any mordant must be applied before finishing or polishing the elements). However, in order to obtain a more historically correct reproduction, it is advisable to paint the model: this is particularly recommended for younger model-makers, who have an irreplaceable experience in colouring plastic models. Contrarily to what some people assert, painting a wooden boat is not more difficult: enamels, acrylic or oil colours can, in fact, be used, preferably mat or 'satin', but never glossy (unless otherwise indicated). Apart from the hull and other particularly extended areas, painting (and any 'ageing') must be accomplished before glueing the pieces. Working on a porous material, it is advisable to apply on wood a thin coat of sanding sealer or well-diluted gray anti-rust paint, sanding, if necessary, before the application of the final colour; then proceed using the techniques and hints proper to plastic model-making (coating , drying times , masking , etc.).
However, to obtain the maximum realism it is possible to 'age' the model, using again the techniques of plastic modeling (patina, encrustations, rust, oxidation, wear and tear areas, etc.). On the surfaces painted with enamelsor oil colours , a discrete patina can be obtained by applying sepia or neutral gray tempera diluted with oxen gall (available from fine arts shops), or milk; a rub with a damp cloth before the paint is completely dry will remove colour from the projecting parts, but the paint will remain in the grooves and less accessible zones, creating a chiaroscuro effect. For the gilded decorations, read the following instructions: dilute in a can a few dark mordant with some drops of vinyl glue, until a rather fluid solution is obtained; spread it plentifully with a brush on the whole decoration (projecting parts included); before the solution is dry, rub the decoration with a damp cloth, to remove the paint from the projecting parts; when the drying process is over, the projecting elements will jut out from the dark paint (the same effect can be obtained also with black enamel , wiping it with a cloth soaked in solvent) .
To trace the waterline, first place the model in sailing trim (that is with the waterline parallel to the work bench) on its definitive cradle; it is then indispensable to fix a pencil horizontally on a wooden block, so that the projecting point of the pencil is at the same level as the waterline (with respect to the work bench). Then, holding the model firmly on the cradle, draw the waterline round the whole hull, moving the block always in contact with the workbench, and keeping the pencil point constantly on the hull.
To finish gilded decorations, it may sometimes be necessary to make a slight adaptation with a file (due to a small casting imprecision or previous error in the assembly or alignment of elements by the model-maker), and this may ruin the gilded patina in the zone concerned. It may also happen, although it is rather rare, that the gilded surface is uneven or blackened in some parts.
In both cases, it is sufficient to touch it up with gold enamel of the same shade, obviously for metal. The translucid effect of the surface can be obtained with appropriate transparent paints; in this case, it is best to touch up the whole decoration, to guarantee a uniform patina. Complete touching up of the element with gold paint will also be indispensable when the abovementioned operation does not obtain a colour perfectly identical to that of the rest of the surfaces.
To accomplish the flags, proceed as follows; isolate the elements, cutting them in the middle of their external white borders, so that the fabric does not fray; you can apply them to their respective supports by wrapping the special sector (printed in white along one of the margins) round the staff, or by eliminating this sector and simply fastening the flag to its support with thin thread.
Whereas, we suggest to the more exacting model-makers to place the flags on halliards No. 943f, rigged between the respective mast truck No. 316 (through two small holes aft of the support) and an eyebolt No. 942f, that could be optionally positioned on the respective top, on deck or at the foot of the support itself (see detail on Plate 14).
In order to give the flags a more realistic appearance, we would advise you to wet the fabric (the silk-screen printing guarantees the stability of the colours) so as to remove the starch and create artificially some creases by hand; the 'trim' achieved can be maintained by "dunking" the flag into a thinned solution of P.V.A. glue, when shape has been achieved (dry with hair dryer). This method is suitable to obtain 'stretched' flags, thus reproducing the effect of the wind.
It is important to read the following notes to assemble the model correctly: in fact, it is impossible to accomplish the work on the exclusive basis of the illustrations and personal experience. One more hint on assembly times: do not rush to complete the model, but take your time, checking the parts already built, planning the following operations carefully and, most important, respecting the drying times of the glues.
In order to assemble the model more easily, we suggest to prepare a temporary slip, obtained by fixing on a chipwood plate 'a' (base approx. 15x50cm, thickness approx. 1,5-2 cm) two pieces of board 'b' (section approx. 10x10 mm) at a distance of 5 mm (Plate 8, Fig. A; elements 'a' and 'b' are not supplied in the kit). After the abovementioned check of the cut of parts, fit together without glueing, in the following order, the keel No. 1, bow fillers No. 2, frames from No. 3 to No. 15, stern fillers No. 16, counter timbers No. 17 and 18, stern frame No. 19, deck sectors No. 20/23, and elements No. 25, 26 and 27, checking carefully the gain, alignment and respective angulation. Dismantle everything and, after eventual corrections, open facultatively the two stern gunports, and glue elements No. 16 to the frame No. 15 (see life-size drawings on Plate 7, and Plate 8, Fig. B); rough-shape fillers No. 2 and 16. Then unite with long-drying glue all the elements included until No. 23, constantly checking alignment; for this purpose, we suggest to mark the middle axis of decks, along which the model-maker will have to use temporarily pins or nails that will secure the whole structure. When dry, shape and glue piece No. 24 (adding, details No. 74 and 75), and elements No. 25, 26, 27 and 28 (Plate 8, Fig. C and D); apply abundant glue along the joint-edges of pieces, and let it dry. Check with some boards the total course of the hull; if these boards do not run perfectly on all frames, make the eventual corrections with a file or sand paper fixed to the abovementioned wooden block. If any frame is too small, glue a piece of board of appropriate section along its short edge to build it up.
Then 'taper' towards the bow, fillers No. 2 and frames from No. 3 to No. 7 and, towards the stern, frames from No. 9 to No. 15, and elements No. 16, 19, 25, 27 and 28, being careful not to damage both the keel No. 1 and the edges of elements No. 17 and 18. This operation, while inappropriately defined here (to be effected with sand paper fixed to a block of rectangular section along the convex and straight zones of the structure, and with sand paper on a cylindrical block along the concave zones), consists, in practice, in eliminating those sharp edges which would not allow subsequent planking to adhere perfectly to the sides of frames or other components (see details on Plate 8, and still Plate 8, Fig. E).
Carefully make, in the elements No. 3 and No. 20, the hole for the bowsprit No. 306; glue, in correspondence of the stern edge of the poop deck No. 23, three pieces of board No. 29, shaping them, when drying process is over, as illustrated (still Plate 8, Fig. D and E).
The planking consists of two layers of superimposed boards, staggered as much as possible: one internal for support, and one external finishing layer, obtained by combining woods of different sections and tones. Amidships, the two planking are approximately parallel, but still proceeding towards bow and stern, while the first planking follows the course of the decks (and, consequently, of the gunports), the second runs parallel with the upper limit of the bulwark, determining the characteristic curving of the wales and mouldings.
The first planking boards No. 30 also serve as a guide and support for the half-gun supports No. 31 and 32; these supports, if correctly placed, also enable an easy squaring of the vertical margins of the gunports, the width of which, in fact, coincides with the size of the internal hollow of the supports.
The correct application of the planking requires 'tapering' of the boards, i. e. gradual sharpening towards bow and stern. The exact degree of reduction, which should be made to the boards is theorically calculated by dividing the side edges of the frames by the same number of 'whole' boards located on the edges of the main frame No. 8; it is not necessary, however, to divide all the frames: it is sufficient to mark the number of 'whole' boards on the frames No. 5 and 12, regulating approximately on the others (for this purpose, observe, for guidance, the planking illustration on Plate 5, Fig. B). For the second planking, it is also necessary to insert some triangular 'stealers' boards 'a' at stern (still Plate 5, Fig. B). The excess portion, for both the boards to be 'tapered' and the stern triangles, may be removed with a cutter knife and a metal rule, or with sand paper fixed to a prismatic block of wood (see detail on Plate 9). Although it is not strictly necessary, we recommend to 'taper' also for the first planking, all the boards to be placed under No. 30b; besides training the beginners, this operation will ease and greatly improve planking application a suitable plank nipper is essential to curve planks as necessary (available from model shops).
The preventive curving of the boards, indispensable in the model, can be obtained with the proper tool or using any source of heat (candle, hair-dryer, etc.).
Before proceeding with the hull covering, cut from the special U-shaped boards 28 lengths measuring about 17 mm of the larger type No. 31, and 12 lengths measuring about 15 mm, of the smaller type No. 32 (erase one side from the supports that have to be placed against the frames; see details on Plate 9 and Plate 5, Fig. A).
As we said before the first planking boards No. 30 serve to hold and line up the blind-gun supports; during the application of such boards it is indispensable to follow the scheme supplied. For this reason, in the figures the number of some boards is followed by small letters, indicating the placing priority. After further verification of the overall course of the structure, first glue, in the position illustrated (in correspondence with the lateral edge of main deck No. 21), the board No. 30a; then place, 10 mm below the previous one, the board No. 30b. Now glue, up against the internal face of the boards which you have just placed, the supports No. 31; always referring to the illustrations supplied, join boards No. 30c and 30d to the structure, placing the relative supports No. 32. Then glue the lengths No. 30e and 30f, placing between them the last supports No. 32. Strengthen with glue the points of union between the boards, frames and supports No. 31 and 32; fill with lengths of board No. 30 all the empty spaces left between the half-gun supports, resting up against the lateral edges of the abovementioned supports (still Plate 5, Fig. A; and Plate 9, Fig. A) . Using boards No. 30 again, complete the planking of the hull, proceeding upwards until the end of the frame timbers and downwards until the keel (from No. 30b onwards, glue the boards starting from the fillers No. 2); at stern, it is better not to cover the keel No. 1, stopping along the lower limit of frames No. 12,14 and 15. It is advisable to apply the planking progressively on both sides of the model, glueing a pair of boards on either side; during this operation, fix the boards to the frames and keel with pins or nails, to be removed only when the glue has hardened. The boards should not be glued only to the frames, but also to each other, especially for the bulwark above the decks.
When the planking is finished, fill the eventual depressions with lengths of boards (the use of a putty is not advisable); after drying out, eliminate the portions of excess boards beyond the edge of elements No. 3, 27 and 28; smooth the whole surface of the hull with sand paper on a block of wood, removing any excess glue and eventual humps. At stern, thin down as much as possible the thickness of the last lower boards, in order to obtain a continuous and uniform surface between the planking and keel; it would also be advisable to shape now, very carefully, the upper edge of the bulwark.
At this point, if the job has been carried out correctly, the gunports corresponding to the supports No. 31 and 32 should be well delineated and squared-off, only to be finished; then, referring to the planking strakes, trace the outline of all the other gunports (still Plate 5, Fig. A).
Using, as illustrated, the boards No. 33/36, cover the frontal area of the frame No. 3 and the deck No. 20, so that the successive second planking hides their heads (Plate 9, Fig. F and Plate 2, Fig. B).
Bevel facultatively the stern lower edge of the poop deck No. 23 (Plate 4, Fig. A); cover, with lengths No. 35 and 36 again, the balcony No. 26; assemble and fit the element No. 37 (suitably divided for the introduction), adding particulars No. 38/41, and the false beam No. 42f; then glue carefully, after checking, the stern transom No. 43. When dry, cover the upper area of the transom using, as illustrated, boards No. 44 and 45 (Plate 9, Fig. B and E).
Assemble, without glue, both the quarter galleries (elements from No. 46 to No. 50), placing them on the model temporarily; after suitable corrections, join them to the hull with P.V.A. glue, so that the pieces can be removed and repositioned (Plate 9, Fig. C). When the drying process is over, 'taper' the edges of the frames No. 47/50 and cover the sides of the galleries using, as illustrated, boards No. 51 (Plate 9, Fig. D). Referring to the suitable life-size drawings, shape the elements No. 52 progressively, checking them on the model several times; finally, glue them into position.
After having rectified the relative edges, close (also covering the corresponding area of pieces No. 52) the two lower stern counter bands with boards No. 53, trying to keep their concavity; after drying out, remove any excess and cover the counter bands again using, as illustrated, boards No. 54 and 55 (still Plate 9, Fig. E); then polish the surfaces.
The application of the second planking should be carefully carried out, following the progressive order of the boards. Begin glueing the first moulding No. 56, the position of which should be taken with precision from Plate 5, Fig. B (it is advisable not to cut the mouldings and wales in correspondence with the gunports, removing any excess later on), then boards No. 57 (facultatively interrupted between one gunport and another), second moulding No. 58, boards No. 59, wale No. 60, boards No. 61, main wale No. 62, elements No. 63 and 64, false wale No. 65f (superimposed on the lower No. 61), then all the boards No. 66 ('tapered' and preventively curved), until the keel.
Always referring...
Miet42