Über ein scheinbar so bekanntes Modell wie die Victory sollte doch eigentlich alles bekannt sein ...
Mitnichten, denn je länger ich mich mit dem Schiff beschäftigt habe, um so mehr habe ich gemerkt, wie wenig eigentlich bekannt ist, und wie stark der allgemein dargestellte 1805er Zustand vom Aussehen des Schiffes bei Trafalgar abweicht. Und dann erst der Aufschrei bei der Präsentation des neuen "Ocker"-tons ...
In den letzten Jahren habe ich viel nach Originalquellen gesucht und in den letzten Monaten sind mir endlich viele Dokumente zu Augen gekommen, die ein langsam immer vollständigeres Bild ergeben. Persönliches vorläufiges Fazit: Die neue Farbe ist nur ein Klacks verglichen zum Rest ;-)
Plan as "planed" 6 June 1759 by Slade http://collections.rmg.co.uk/collections/objects/79919.html ZAZ0128 Scale: 1:48. Plan showing the body plan, sheer lines with inboard detail and quarter decoration, and longitudinal half-breadth proposed (and approved) for Victory (1765), a 100-gun First Rate, three-decker. The plan is badly damaged so parts of the half-breadth are missing. Signed by Thomas Slade [Surveyor of the Navy, 1755-1771] Date made 6 June 1759
Plan as build 1830 http://collections.rmg.co.uk/collections/objects/79911.html ZAZ0120 Scale: 1:48. Plan showing the body plan with sternboard decoration, sheer lines with inboard detail, decoration and figurehead, and longitudinal half-breadth for Victory (1765), a 100-gun First Rate, three-decker. Even though the plan is dated 1830, the plan illustrates the vessel prior to her 1800-3 'Large Repair' at Chatham Dockyard. The plan commemorates the death of Vice-Admiral Lord Nelson despite the plan representing the ship prior to when she was his flagship in 1803. There are also differences in gunport layouts when compared to the plan signed by Thomas Slade in 1759. Date made circa December 1830 Hinweis: Bis zum Great Repair mit 8 Heckfenstern dargestellt
Plan as build 1923 http://collections.rmg.co.uk/collections/objects/79912.html ZAZ0121 Scale: 1:48. Plan showing the body plan with sternboard outline, and inboard profile with some external detail for Victory (1765), a 100-gun First Rate, three-decker. The plan is titled 'Presented to the Royal Naval College Museum, Greenwich in 1925 by Mr Chas. H. Jordan M Inst NA". As part of this plan is an envelope containing press cuttings relating to the main plan. Numbered ZAZ0121.1 Date made Unknown
Modell Mid 19 Jh, http://collections.rmg.co.uk/collections/objects/66473.html LR0512 Scale: 1:60. A model of H.M.S Victory (1765) made entirely in wood that has been painted in realistic colours with metal fittings. The vessel is shown in a launching cradle on a slipway. The hull is painted white below the waterline with a closed black wale above. The remainder of the hull is varnished, and laid in individual planks. There are three gun decks and all the gunports are depicted in an open position, the inner faces of the gunport lids are painted red as are the insides of the gunports themselves. A decorative frieze is painted on a blue ground that runs the entire length of the hull just above main deck level. The figurehead is finely carved depicting George III, allegorical figures and a Union flag on the starboard side. Other bow details include a pair of whisker booms, a pair of catheads, one large admiralty pattern anchor, and one small anchor. The model does not have any masts but instead has three launching flag poles. Foredeck fittings include a bell and belfry, stove chimney, and a forward launching flag pole. The waist has been closed in and four beams support a ship’s boat equipped with a number of red-painted oars. Beneath the boat on the main deck are two sets of gratings. The upper deck fittings include the ship's double wheel painted red, and two companion ways that provide access to the poop deck. The poop deck fittings include a rectangular skylight, launching flag pole, hammock stowage rails, and provision for an ensign jack staff. The stern and quarter galleries, of which two are open, are elaborately carved and painted, and glazed in mica. The launching cradle and slipway is realistically depicted and there are six stabiliser poles attached to the port and starboard stern quarters and the sides of the slipway. Date made Mid-18th century
Modell Mid 19 Jh, http://collections.rmg.co.uk/collections/objects/66475.html LR0514 Scale: 1:60. A full hull model of the ‘Victory’ (1765), a 100-gun, three-decker ship of the line. The model is decked. Judging by its style and finish, this model would appear to be an early 19th-century example of the ‘Victory’ as built in 1765. It was originally in the Admiralty collection at Somerset House. Built at Chatham, the ‘Victory’ measured 186 feet in length (gun deck) by 52 feet in the beam, displacing 2162 tons burden. It was armed with thirty 32-pounders on the gun deck, twenty-eight 24-pounders on the middle deck, thirty 12-pounders on the upper deck, twelve 12-pounders on the quarterdeck, two 12-pounders on the forecastle and two 68-pounder carronades. The ‘Victory’, the flagship of Vice-Admiral Nelson at Trafalgar, is probably the best known of all the Royal Navy’s warships. This was the fifth incarnation of the name, and was built at Chatham and launched in 1765. It was not commissioned until 1778 and first served as Admiral Keppel’s flagship in an indecisive battle with the French off Ushant in the same year. It saw much service both in the American Revolutionary War (1775–82) and in the Revolutionary War with France (1793–1801). In 1803 it became Nelson’s flagship in the Mediterranean and carried him in his pursuit of Admiral Villeneuve across the Atlantic. It then took Nelson from Portsmouth to join, and take command of, Vice-Admiral Collingwood’s fleet that was watching the combined Franco-Spanish fleet at Cadiz in October 1805. During the subsequent battle off Cape Trafalgar, Nelson was mortally wounded by a bullet while standing on the upper deck. ‘Victory’ next served in the Baltic as the flagship of Admiral Saumarez and was withdrawn from active service in 1812. Taken to Portsmouth, it was selected as the permanent, and stationary, flagship of the commander-in-chief there, lying at moorings in the harbour. In 1922, under pressure from the Society for Nautical Research, it was brought into No. 2 Dry Dock, Chatham, where it was restored and re-rigged to its state at Trafalgar. See also SLR0515, SLR0516 and SLR0520. Date made Early 19th century Hinweis DF: mit Turbulenzrille
Modell Skeleton 18 Jh, http://collections.rmg.co.uk/collections/objects/66476.html LR0515 Scale: 1:180. A skeleton model of the ‘Victory’ (1765), a 100-gun, three-decker ship of the line. The model is depicted on the slipway under construction. Although the model has not been positively identified, the dimensions agree with those of the ‘Victory’. See also SLR0514, SLR0516 and SLR0520. Date made 18th century
alte Gallionsfigur, Replica von 1801-1802, SLR2530 http://collections.rmg.co.uk/collections/objects/68489.html Scale approx. 1:24. Model of the original figurehead on HMS Victory (1765), a first rate 100 gun warship. It has been carved from several pieces of boxwood which have been glued together to form one figurehead. There is a shoulder length bust of George III in classical dress, wearing a laurel leaf crown. Below, is a shield with the Union flag pre-1801, carved on and surrounded by putti. Behind the bust and shield, are two large female figures sitting on brickwork/castlations mounts, supported by figures representing the four continents. Behind the heads of these two figures are smaller, winged figures of Victory and Peace with a male lion beneath Victory, and a crowned and wreathed shield with a royal coat of arms beneath Peace. On the lower front edges, are two mythological/classical creatures: One appears to be a double headed dragon, the other a female figure or creature. Both have parts missing. Two standing putti complete the lower part of the figurehead and are holding the horn of plenty and a globe (?). There are several parts missing from the model, such as hands, faces, feet, foliage and wings. Date made 1801-1802
Prince of Wales (1794) http://collections.rmg.co.uk/collections/objects/80293.html ZAZ0502 Scale: 1:96. Plan showing sections through the roof, the profile above the waterline illustrating the roof frames, and the longitudinal half-breadth of the roof outline for Prince of Wales (1794), a 98-gun Second Rate, three-decker while building at Portsmouth Dockyard. The roof was to cover the ship from the weather and was so fitted to be moved when the ship was docked or being repaired. Date made 19 November 1792
Victory von 1779, „Sailing by the White Cliffs of Dover“ Künstler? Einzige mir bekannte zeitgenössische Darstellung der Seitenpforte, diese noch in der alten Form. f764t4039p62095n19_IBoGFagJ.jpg - Bild entfernt (keine Rechte)
Hier das moderne Modell in Portsmouth zu diesem Zustand:
Außer Konkurrenz da nicht sicher ob Victory:
Thomas Luny (1759–1837) Engagement Between Sir George Brydges Rodney and the Spanish Squadron, Commanded by Don Juan de Langara, Near Cape St. Vincent, January 16, 1780 http://www.rehsgalleries.com/thomas_luny...st_vincent.html Signed and dated 1782
Hinweis: ab hier kein Nachweis der Seitenpforte mehr! bis ca. 1828 Des weiteren Beakhead auf Ebene des Gundecks (nicht 2 Fuß erhöht wie heute), offene 2 Galerien.
Plan Riders 1788 http://collections.rmg.co.uk/collections/objects/79913.html ZAZ0122 Scale: 1:48. Plan showing the inboard profile with riders for Victory (1765), a 100-gun First Rate, three-decker. The plan illustrates the ship after having had her masts repositioned during her 'Large Repair' at Portsmouth Dockyard. The plan was subsequently stamped Portsmouth Dockyard 5 August 1925, when it was used for the initial restoration of Victory. Date made Circa 1788
Plan Orlop 1788 http://collections.rmg.co.uk/collections/objects/79914.html ZAZ0123 Scale: 1:48. Plan showing the orlop deck for Victory (1765), a 100-gun First Rate, three-decker. The plan illustrates the ship after having had her masts repositioned during her 'Large Repair' at Portsmouth Dockyard. The plan was subsequently stamped Portsmouth Dockyard 5 August 1925, when it was used for the initial restoration of Victory. Date made Circa 1788
Plan Lower Deck 1788 http://collections.rmg.co.uk/collections/objects/79915.html ZAZ0124 Scale: 1:48. Plan showing the gun deck (lower deck) for Victory (1765), a 100-gun First Rate, three-decker. The plan illustrates the ship after having had her masts repositioned during her 'Large Repair' at Portsmouth Dockyard. The plan was subsequently stamped Portsmouth Dockyard 5 August 1925, when it was used for the initial restoration of Victory. Date made Circa 1788
Plan Middle Deck 1788 https://collections.rmg.co.uk/collections/objects/79916.html ZAZ0125 Scale: 1:48. Plan showing the middle deck for Victory (1765), a 100-gun First Rate, three-decker. The plan illustrates the ship after having had her masts repositioned during her 'Large Repair' at Portsmouth Dockyard. The plan was subsequently stamped Portsmouth Dockyard 5 August 1925, when it was used for the initial restoration of Victory. Date made Circa 1788
Plan UpperDeck 1788 ZAZ0126 https://collections.rmg.co.uk/collections/objects/79917.html Scale: 1:48. Plan showing the upper deck for Victory (1765), a 100-gun First Rate, three-decker. The plan illustrates the ship after having had her masts repositioned during her 'Large Repair' at Portsmouth Dockyard. The plan was subsequently stamped Portsmouth Dockyard 5 August 1925, when it was used for the initial restoration of Victory. Date made Circa 1788
Ölgemälde "The 'Victory' Sailing from Spithead" 1791, Robert Dodd; http://collections.rmg.co.uk/collections/objects/15167.html BHC3694 The 'Victory' is shown centre foreground, in port broadside view, under full sail. She flies the red ensign and the flag of Vice-Admiral of the Red, and the three-decker first-rate astern of her to the right is probably the 'Queen Charlotte'. It is not clear what event is being commemorated, but in the background the ships at anchor are arranged in lines, while in the foreground, the ships under sail appear to be part of a procession. This may be an interpretation of the Royal Review of the Grand Fleet at Spithead on 1 July 1791, when 'The Times' records that 'the Duke of Gloucester preceded by Lord Hood in his barge went out to Spithead'. They entered the two lines at the east end, going round the 'Magnificent' and were rowed down to the 'Victory', the yards and tops of the fleet being manned and the marines drawn up. On their coming aboard the Commander-in-Chief, the standard was hoisted at the maintop, when there was a royal salute from the whole fleet. They went afterwards on board the 'Hannibal'. The ships in the background are portrayed firing a salute. That said, the picture was exhibited at the Royal Academy in 1792 as 'His Majesty's ship 'Victory' sailing from Spithead with a division from a grand fleet'. This suggests the alternative possibility that it derived from the brief scare called 'the Russian armament' in 1790 when the fleet mobilized but was quickly stood down. The picture, engraved by Dodd, was also published by T. Simpson as a large print and under its exhibited title on 21 August 1792 (see PAJ2246). The same plate was reissued by John P.Thompson on 1 January 1806 (PAH6248). This time, however, there was a new title - 'His Majesty's Ship Victory under Sail from Portsmouth to the Downs with the Corpse of the Immortal Nelson' - a good example of opportunist recycling of an earlier image to capitalize on a much later event (11 December 1805). In this second printing the Union flags were not updated to the post-1801pattern, which suggests that Dodd may not have been involved in the reissue. Spithead is the sheet of water between the north-eastern shore of the Isle of Wight and the English mainland. It forms a deep, sheltered channel leading into Portsmouth Harbour and provides the main Naval anchorage outside the harbour for assembling fleets to sail, or for reviews. Dodd was an English marine painter, engraver and ship portraitist who was a prolific recorder of naval actions in the American and French Revolutionary Wars. The painting is signed by the artist and dated 'R.Dodd 1791' on the stern of the boat in the foreground. Date made 1791
Zeichnung Zustand 1792 http://collections.rmg.co.uk/collections/objects/110123.html PAD5972 Medium includes pen and ink.Date made 1792 Hinweis DF: mit Turbulenzrille und 8 Heckfenstern. Einige Vereinfachungen wie die Rüstbretter, richtige Anzahl der Ruderbeschläge aber falsche Positionierung derselben.
Ölgemälde "The 'Victory' Leaving the Channel in 1793" Monamie Swaine, http://collections.rmg.co.uk/collections/objects/15169.html BHC3696 BHC3696 The 'Victory' is shown broadside to port, going down Channel to windward with Rudyerd's Eddystone Lighthouse distantly visible beyond her stern. She is shown flying the flag of Lord Hood as Vice-Admiral of the Red (red at the fore), as she heads outward-bound with her squadron in 1793 for the Mediterranean, where she was Hood's flagship at the Siege of Toulon and the invasion of Corsica. Hood had been promoted to Admiral of the Blue by the time he returned in November 1794, and on the left 'Victory' is shown again, leading the return of his squadron. In the main view 'Victory' also flies a Union jack on her bowsprit and a red ensign, as do other ships of the outward-bound squadron following her. The 'Victory' was floated out of dock at Chatham in 1765 and the picture shows her as built except that she has been coppered. This process first took place in March 1780, when the bottom of the ship below the waterline was sheathed with 3923 sheets of copper to protect her hull against ship-worm. The name 'Victory' is present on the stern. In 1797she was Sir John Jervis's flagship at the Battle of Cape St Vincent and in 1801-03 had a major rebuild at Chatham that enclosed her stern galleries and gave her a new figurehead. She then went to the Mediterranean as Nelson's flagship, up to and including at the Battle of Trafalgar in 1805. Monamy was the son of the better-known Francis Swaine and grandson of the even more famous Peter Monamy, after whom he was named. He was active from about 1769 to 1774 and, if this painting is by him, into the 1790s. As an artist he specialized in still-life and genre, although he exhibited two marine pictures at the Free Society of Artists in 1771 and 1772. Date made circa 1795 Hinweis: Letzte Darstellung mit Besenrute
Thomas Luny (1759–1837) HMS 'Victory' Raking the 'Salvador del Mundo' at the Battle of Cape St Vincent, 14 February 1797 http://collections.rmg.co.uk/collections/objects/11977.html BHC0485 This painting is one of a pair with BHC0486, showing the Battle of St Vincent, 14 February 1797. The end of the year 1796 found the British forced to abandon the Mediterranean, since Admiral Sir John Jervis's Mediterranean fleet was outnumbered in ships of the line by 38 to 13. Early in 1797, however, the French and Spanish fleets were separated without having followed up their advantage. On 1 February Admiral Don José de Cordova left Cartagena for Cadiz with 27 of the line. Jervis, whose fleet had been reduced to ten of the line determined to intercept him but before that happened he was reinforced by Rear-Admiral William Parker with five of the line. In the event, the performance of the British ships more than made up for the disparity in numbers and four of the Spaniards, including two first-rates, were taken. The painting shows the commencement of the action, at the point when the 'Victory', 100 guns, raked the 'Salvador del Mundo', 112 guns, causing her to strike her flag. The 'Salvador del Mundo' is shown in the right foreground, in starboard-bow view, her stern swathed in the smoke of the 'Victory's' broadside, from which protrudes the port bow of that ship. In the left background a group of ships, in starboard-quarter view, bear down upon the enemy, while in the right background another group is in action. The painting is signed and dated 1798. The artist was the son of John Clevely the Elder and the twin brother of John Clevely the Younger. Both brothers became painters having worked in Deptford Royal Dockyard. He was appointed Draughtsman to Prince William fourth Duke of Clarence (later William IV) and then became Marine Painter to George, the Prince Regent (later George IV). He specialized in battle scenes such as this and exhibited at the Royal Academy from 1780 to 1803. The Museum holds more than thirty of his drawings. Date made 1798
Außer Konkurrenz da anachronistisch und wie bei Pocock üblich mit offener Galerie: Ölgemälde "Nelson's Flagships at Anchor" 1807, Nicholas Pocock, http://collections.rmg.co.uk/collections/objects/12588.html BHC1096 A composite picture showing five of the ships in which Nelson served as a captain and flag officer from the start of the French Wars in 1793 to his death in 1805. The artist has depicted them drying sails in a calm at Spithead, Portsmouth, and despite the traditional title, two of them were not strictly flagships. The ship on the left in bow view is the 'Agamemnon', 64 guns. It was Nelson's favourite ship, which he commanded as a captain from 1793. Broadside on is the 'Vanguard', 74 guns, his flagship at the Battle of the Nile in 1798 flying a white ensign and his blue flag as Rear-Admiral of the Blue at the mizzen. Stern on is the 'Elephant', 74 guns, his temporary flagship at the Battle of Copenhagen in 1801. She is flying the blue ensign from the stern and Nelson's flag as Vice-Admiral of the Blue at her foremast. In the centre distance is the 'Captain', 74 guns, in which Nelson flew a commodore's broad pendant at the Battle of St Vincent, 1797. Dominating the right foreground is the 'Victory', 100 guns, shown in her original state, with open stern galleries, and not as she was at the Battle of Trafalgar in 1805. She is shown at anchor flying the flag of Vice-Admiral of the White, Nelson's Trafalgar rank, and firing a salute to starboard as an admiral's barge is rowed alongside, amidst other small craft. The painting is one of a series of six paintings created for a two-volume 'Life of Nelson', begun shortly after Nelson's death in 1805 by Clarke and McArthur and published in 1809. They were engraved by James Fittler and reproduced in the biography with lengthy explanatory texts. The artist placed considerable importance on accuracy, referring to his annotated drawings and sketch plans in the production of his oil paintings. Pocock was born and brought up in Bristol, went to sea at the age of 17 and rose to command several merchant ships. Although he only took up painting as a profession in his early forties, he became extremely successful, receiving commissions from naval commanders anxious to have accurate portrayals of actions and ships. By the age of 80, Pocock had recorded nearly 40 years of maritime history, demonstrating a meticulous understanding of shipping and rigging with close attention to detail. Date made 1807
Nachdem im Oktober 1797 bei einer Inspektion des Schiffes strukturelle Schäden festgestellt wurden, stellte man die Victory außer Dienst und strich sie von der Schiffsliste der Royal Navy. Bis 1799 diente sie als Lazarettschiff, so ähnlich wie dieser Zweidecker hier. Wieder kam ein Dach darüber, der Innenausbau wurde komplett entkernt und neu gemacht, Fenster in die Stückpforten eingesetzt und dicke Fender an den Seiten angebracht.
http://collections.rmg.co.uk/collections/objects/81700.html ZAZ1909 Scale: 1:96. Plan showing the outboard profile and section for 'Triumph' (1764), a 74-gun Third Rate, two-decker, as hulked and fitted as a Lazaretto with a roof. Signed by Edward Churchill [Assistant to Master Shipwright, Plymouth Dockyard, 1803-1813; Master Shipwright, Plymouth Dockyard, 1815-1829]. Date made 7 April 1814
Dann drohte der Guten das Schicksal noch weiter Dagradierung zum Gefängnisschiff / Prison Hulk. Diese Umbauten hätten einen Rückbau zum Kriegsschiff nicht mehr zugelassen. Eine Impression dieses Schicksals gibt das Gemälde der Prison Hulks auf der Themse.
http://collections.rmg.co.uk/collections/objects/13401.html BHC1923 In this powerful painting, the line of prison ships forms a dark diagonal across the image from the left foreground to the centre of the picture. Behind these ships, to the south-east, lies the town of Portsmouth, its skyline visible against the sky in the centre, with Gosport to the right and the entrance to the Harbour in the centre. To the right other ships, with pennants flying, are also anchored 'in ordinary' (reserve) in the Upper Harbour, including what appear to be two large Spanish prizes. In the foreground small craft have been depicted with their sails billowing in the stiff breeze. A swathe of pink cloud dominates the picture and symbolically progresses from dark immediately above the hulks to a more brilliant light above the channel leading to the open sea and France. The loss of the American colonies in the 1770s as a place to send prisoners condemned to transportation, created an acute shortage of prison space. There was not time to build more prisons so as a temporary measure some ships were converted into prison hulks, which could easily be made secure although the conditions aboard their often-rotting hulls were tough. It was during the French Wars of 1793 to 1815 that the greatest use of hulks was made to accommodate additional prisoners of war. They included the artist, Louis Garneray, who was captured from a French privateer and was one of a family of artists. Garneray later wrote three popular autobiographies recounting his adventurous double career as a sailor, sometime corsair, and an artist. After leaving home aged 13 to go to sea, he quickly discovered that captains wanted him to depict their brave deeds, which he did until he was captured by the English in 1806. From then until 1814 he was detained in the harbour at Portsmouth, imprisoned on various 'pontons' (prisons made from the hulks of captured and disable French ships moored in the mud) but somehow managed to paint and sell his work for a pittance. This helped improve his conditions in captivity, in the way that many other prisoners also did by making ship models or other handicrafts. He produced a larger version of this painting on canvas in 1814. When Napoleon abdicated, the British freed their prisoners and Garneray returned to Paris, continuing to work as an artist. See also the two other versions in the collection, BHC1924 and BHC1925. Date made circa 1810
Für die Victory kam die Rettung in letzter Sekunde durch zwei andere Schiffsunglücke. Durch den Verlust von zwei Dreideckern in kurzer Folge – die HMS Impregnable war gestrandet und die HMS Queen Charlotte abgebrannt – war kurzfristig Bedarf an einem Dreidecker, so entkam die Victory diesem Schicksal und ging zurück in die Werft.
Im Dezember 1805 hat Turner das Schiff nach der Ankunft in Sherness besucht und gezeichnet. Die Darstellungen sind mittlerweile über das Archiv der Tate-Galerie abrufbar. Werden aber scheinbar von den Verantwortlichen in P. zurückgehalten, da sich sonst die Umbaukosten des Museumsschiffs verdoppeln würden ;-) Deutlich erkennbar sind gebaute Back, Verkleidung Poopdeck und wie schon vorher erwähnt keine Seitenpforte.
The ‘Victory’: Port Side 1805 http://www.tate.org.uk/art/artworks/turn...ort-side-d05489 D05489_10.jpg - Bild entfernt (keine Rechte) Of the two port-side views of the Victory in this sketchbook – the other being folio 17 (D05487; Turner Bequest LXXXIX 29) – this is the most likely to have been used for Turner’s picture The Victory Returning from Trafalgar, possibly shown at Turner’s Gallery in 1806 (Yale Center for British Art, New Haven, Connecticut);1 see Introduction to the sketchbook for a discussion of the picture. The starboard view on folio 16 verso (D05486; Turner Bequest LXXXIX 28a) and the cloudy sky on folio 17 verso (D05488) are also likely to have contributed to the picture.
The ‘Victory’: Port Side, Smaller Vessels Alongside 1805 http://www.tate.org.uk/art/artworks/turn...longside-d05487 D05487_10.jpg - Bild entfernt (keine Rechte) Faded from exposure in the First Loan Collection. Finberg’s entry, written when the leaf was out of the book on this national tour, noted; ‘Probably connected with the subject of “Nelson”, if not actually one of the leaves of this sketchbook’. Despite Finberg’s reservations, the leaf surely belongs to this sketchbook. Finberg’s note must refer to Turner’s picture The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory (Tate N00480),1 exhibited at Turner’s Gallery in 1806, for which see the Introduction to this sketchbook. The more likely connection, together with the starboard view of the Victory on folio 16 verso (D05486; Turner Bequest LXXXIX 28a), another port-side study on folio 18 (D05489; Turner Bequest LXXXIX 30) and the sky study on the verso (D05488), is with The Victory Returning from Trafalgar, also possibly shown in Turner’s Gallery in 1806 (Yale Center for British Art, New Haven, Connecticut).2 See Introduction to the sketchbook and entry for D05486 for the picture and associated work. In this drawing, Turner concentrates on the bows, deck and stern and shows smaller vessels alongside.
The ‘Victory’, Starboard View towards the Stern 1805 http://www.tate.org.uk/art/artworks/turn...s-of-the-d05482 D05447_10.jpg - Bild entfernt (keine Rechte) For Turner’s picture, The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory (Tate N00480),1 exhibited at Turner’s Gallery in 1806, see the Introduction to this sketchbook. This is a slighter sketch already anticipating the more careful study of the composition drawn across folios 14 verso and its own recto (D41427–D05481; Turner Bequest LXXXIX 26), for which see full catalogue entry. Showing the quarterdeck of the Victory and on her right the French ship Redoutable (see also chiefly folio 10, D05457; Turner Bequest LXXXIX 11), it was originally bound as a double-page spread with what is now folio 11 (D05460; Turner Bequest LXXXIX 13), which extends the composition further to the right to include the British ship Temeraire.
The ‘Victory’: Fore Part of Starboard Side 1805 http://www.tate.org.uk/art/artworks/turn...ard-side-d05486 D05486_10.jpg - Bild entfernt (keine Rechte) Together with the port-side view of the Victory on folio 18 (D05489; Turner Bequest LXXXIX 30), perhaps another on folio 17 (D05487; Turner Bequest LXXXIX 29) and the sky study on folio 17 verso (D05488), this is probably the origin of Turner’s picture showing Nelson’s flagship in three positions, from port, starboard and bows, usually known as The Victory Returning from Trafalgar, possibly shown in Turner’s Gallery in 1806, and bought by Walter Fawkes (Yale Center for British Art, New Haven, Connecticut).1 See Introduction to the sketchbook for discussion of the picture, its title and subject matter. Turner also made a drawing of a similar composition, probably intended for engraving in the Liber Studiorum but not used (Tate D08183; Turner Bequest CXVIII c). Finberg states that ‘the margin’ had an instruction by John Ruskin to ‘Lay down by moistening only’. In the present arrangement of the book this appears on a stub to which folio 20 (D05448; Turner Bequest LXXXIX 3) is attached.
The ‘Victory’: From Quarterdeck to Poop 1805 http://www.tate.org.uk/art/artworks/turn...-to-poop-d08275 D08275_10.jpg - Bild entfernt (keine Rechte) Inscribed and signed by Turner in ink ‘Quarter deck of the Victory. J M W Turner’ bottom right, ‘Guns 12 lbs used in the ports mark’d x’ lower centre and ‘x’ beneath seven of the gun ports beneath the poop deck. Also inscribed by Turner in pencil ‘Splinter hitting mark’d | in pencil | 9 Inch thick’ top right and ‘x Rail shot away during the | action’ middle right. Further inscribed by a later hand in pencil on the mount (see main catalogue text) Stamped in black ‘CXXI S’ bottom right Bequeathed by Henry Vaughan 1900 One of two large studies of the deck of the Victory; for the other see Tate D08243; Turner Bequest CXX c. Like most of the sketches in the Nelson sketchbook (Tate D05446–D05490; D40701–D40705; D41427; Turner Bequest LXXXIX) these were made when the Victory had returned from the Battle of Trafalgar and was at Long Reach off Sheerness; see Introduction to the sketchbook for her movements. Like the other large drawing, this one must have been made before 1 January 1806 when de-rigging began as some rigging and the mizzen mast are still in place. The view is from the port side of the quarterdeck towards the poop deck. Captain Hardy’s cabin is shown knocked out for refit, which also gives some idea of how the ship appeared when cleared for battle, with the cabin partitions struck down. As well as the splinter marks and damaged rail, Turner’s annotations indicate (correctly) the twelve-pound capacity of the guns that would then have been installed, the cabin windows becoming extra ports, although these guns have been removed together with those on the quarterdeck. The guns on the poop deck remain in place. Like the other large drawing, the sheet bears evidence of having been folded several times. Unlike it, however, it was worked over more carefully in pen, ink and watercolour, perhaps as a gift to Turner’s early mentor Dr Monro (died 1833) to whom it apparently belonged, as well as to his friend and patron Samuel Rogers (died 1855) before passing into the collection of Henry Vaughan. The drawing is laid on a grey mount with red ink lines and inscriptions by a later hand in pencil, stating ‘Dr. Monro’s Colln | S. Rogers’ Clln’ bottom left, and otherwise mainly repeating Turner’s own notes; ‘Quarter Deck of the Victory. J.M.W. Turner | Guns 12 lb used in the Ports marked ‘x’ | paper mark 1793. Picture painted in 1808’ bottom centre, and ‘Splinter Hitting marks in pencil | 9 inches thick | Rail shot away during the action’ bottom right. Watermarked ‘1793’
The ‘Victory’: From Poop to Quarterdeck 1805 http://www.tate.org.uk/art/artworks/turn...rterdeck-d08243 D08243_10.jpg - Bild entfernt (keine Rechte) One of two large studies of the deck of the Victory; the other is Tate D08275; Vaughan Bequest CXXI S. Like most of the sketches in the Nelson sketchbook (Tate D05446–D05490; D40701–D40705; D41427; Turner Bequest LXXXIX) these were made when the Victory returned from the Battle of Trafalgar for repair; see Introduction to the sketchbook for her movements. This drawing is further confirmation that Turner went on board soon after she arrived at Long Reach off Sheerness, and before 1 January 1806 when de-rigging began, as her masts and rigging are still in place. However her guns – normally twelve twelve-pounders on the quarterdeck – appear to have been removed already. As in several drawings in the sketchbook, Turner is looking over the starboard side of the poop down to the quarterdeck. The same view appears in Turner’s picture, Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory (Tate, N00480), exhibited in Turner’s Gallery, 18061; it overlooks the section of the quarterdeck where Nelson was killed. In the 1974 Royal Academy catalogue, it is wrongly described as ‘from’ the quarterdeck. The drawing shows several figures, unrelated to the picture and perhaps other visitors to the ship. Some appear to be women. The handling is quick and spontaneous, suggesting a sketch made on the spot, but the sheet is too large to have been used thus without firm support. It bears evidence of having been folded into eight sections.
Study for ‘The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory’ 1805 http://www.tate.org.uk/art/artworks/turn...s-of-the-d05482 D05482_10.jpg - Bild entfernt (keine Rechte) For Turner’s picture, The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory (Tate N00480),1 exhibited at Turner’s Gallery in 1806, see the Introduction to this sketchbook. This is a slighter sketch already anticipating the more careful study of the composition drawn across folios 14 verso and its own recto (D41427–D05481; Turner Bequest LXXXIX 26), for which see full catalogue entry. Showing the quarterdeck of the Victory and on her right the French ship Redoutable (see also chiefly folio 10, D05457; Turner Bequest LXXXIX 11), it was originally bound as a double-page spread with what is now folio 11 (D05460; Turner Bequest LXXXIX 13), which extends the composition further to the right to include the British ship Temeraire.
Study for ‘The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory’ 1805 http://www.tate.org.uk/art/artworks/turn...s-of-the-d05475 D05475_10.jpg - Bild entfernt (keine Rechte) Drawn with the sketchbook inverted, this is a rough sketch of the composition and arrangement of ships for Turner’s picture, The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory, exhibited at Turner’s Gallery in 1806 (Tate N00480;1 see the Introduction to this sketchbook). Showing the quarterdeck of the Victory and to her right the French ship Redoutable (see chiefly folio 10, D05457; Turner Bequest LXXXIX 11), it extends leftwards on to folio 30 (D05476; Turner Bequest LXXXIX 23) to include the Spanish flagship Santissima Trinidad (see folio 21 verso, D05458; Turner Bequest LXXXIX 12). Another slight sketch of the composition, now divided and bound as folios 15 verso and 11 (D05482, D05460; Turner Bequest LXXXIX 26a, 13), was originally a double-page spread, and there is another across folios 27 verso–28 (D05471– D05472; Turner bequest LXXXIX 20a–21). A more careful study of the composition is drawn across folios 14 verso–15 (D41427– D05481; Turner Bequest LXXXIX 26), for which see full catalogue entry.
The ‘Victory’, Starboard Side, Smaller Vessels Alongside 1805 http://www.tate.org.uk/art/artworks/turn...longside-d05452 D05452_10.jpg - Bild entfernt (keine Rechte) This ship appears to be the Victory with the jury masts as fitted during her stay at Portsmouth on her way back from Trafalgar (see Introduction to the sketchbook for her movements). The small detail of the topmast sketched at upper right would thus show the jury rig. The ship is apparently at anchor as anchor chains are visible at the bow. She is riding very high in the water, indicating that heavy materials have already been removed.
Study for ‘The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory’, and Other Studies 1805 http://www.tate.org.uk/art/artworks/turn...s-of-the-d05472 D05472_10.jpg - Bild entfernt (keine Rechte) Drawn with the sketchbook inverted, this is a continuation of the rough sketch on folio 27 verso (D05471; Turner Bequest LXXXIX 20a) for which see catalogue entry. It extends the composition to the left to include a smaller ship and the huge hull and lofty stern cabins of the Spanish flagship Santissima Trinidad, whose famous four tiers of guns are indicated (see also folio 21 verso, D05458; Turner Bequest LXXXIX 12). In Turner’s picture, The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory, exhibited at Turner’s Gallery in 1806 (Tate N00480;1 see the Introduction to this sketchbook), the Union Jack belonging to a British ship otherwise largely obscured by smoke is visible to right of the Santissima Trinidad’s stern. It flies near the Spaniard’s mizzen gaff, not her jib boom (which would be attached to the bowsprit).
Diagram of the Quarterdeck of the 'Victory' with Positions of Nelson and Others at the Battle of Trafalgar 1805 http://www.tate.org.uk/art/research-publ...ons-of-r1139279 D05469_10.jpg - Bild entfernt (keine Rechte) Possibly not by Turner, but sketched for him by an eye-witness and then annotated by him. Turner’s inscriptions identify the individuals or groups whose positions on deck are marked in the diagram. From the top these are: ‘Eight men cannon’d’, ‘Adiar [sic]’, ‘Scott’, ‘Nelson’ and ‘L. Rotly’. The group of eight was a mass casualty. The named men are: Captain Charles Adair, of the Royal Marines; John Scott, Nelson’s secretary; Nelson himself; and Lieutenant Lewis Roatley (or Roteley), Royal Marines. Scott was killed shortly before Nelson on virtually the same spot, his blood staining the Admiral’s clothes. Roatley appears standing at the back of the group behind the wounded Nelson in Turner’s Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory (Tate N00480;1 see Introduction to the sketchbook for the picture and related works), and is marked as number 11 in the accompanying key (Tate D08266; Turner Bequest CXXI K). For Roatley see also folio 27 (D05470; Turner Bequest LXXXIX 20).
Pocock Nov 1806 https://www.royalcollection.org.uk/colle...4/h-m-s-victory O(E) 477: Inscribed at the back 'His My Ship Victory 100 Guns, Admiral Lord Nelson's Ship at the Battle of Trafalgar' with details of tonnage, draft, etc., & 'The Design by Mr Pocock No.12 great George Street Westminster 20th Novr. 1806.' Description O(E) 477: Inscribed at the back 'His My Ship Victory 100 Guns, Admiral Lord Nelson's Ship at the Battle of Trafalgar' with details of tonnage, draft, etc., & 'The Design by Mr Pocock No.12 great George Street Westminster 20th Novr. 1806.' Keine Seitenpforte, Poop scheinbar mit Schanzkleid und Back nicht klar zu erkennen. Klassischerweise hat Pocock anachronistische Darstellungsfehler wie hier die noch tief gesetzten Rüsten.
'Victory' http://collections.rmg.co.uk/collections/objects/112979.html PAD8828 A starboard-broadside study of the hull of the 'Victory'. It is so inscribed by the artist, with unexplained figures. The inscription in the bottom right corner '(at Trafalgar – by Pocock)' is much later and by another hand. It simply means that the ship is shown in her Trafalgar state following her rebuild in 1803. Despite the absence of mooring cable, it may be a drawing done while she was laid up in the Medway after the battle. Her lower masts appear to be still in place but there is no sign of standing rigging or bowsprit. PAD8830 is a similar study of the 'Courageux'. Exhibited: NMM Pocock exhib. (1975) no. 102. The paper is noted as bearing a fragmentary cartouche watermark including the date 1802. Date made circa 1806 (?)
Livesay Dezember 1806 Wenn ich es richtig interpretiere heißt dies: "Victory Dez 1806, had two boats lowerd down astern during the whole action" Schön zu sehen sind folgende Details: Es wird das Heck so gezeigt, wie wir es heute kennen. Die 3 Federn des Prince of Wales fehlen natürlicherweise, es ist leider nicht erkennbar, was sich an deren Stelle befindet. Der Schutz über dem Hennegatt hat eine komische rundliche Form. Zwei Heckpforten passt auch :-) Folgende interessanten Beobachtungen: - ab hier 9 Heckfenter, die äußeren Fenster sind etwas dunkler hinterlegt. Soll dies bedeuten, dass sie blind waren? - Auf dem Poop sind seitlich Strukturen wie eine gebaute Schanz zu erkennen. Können je nach Sichtweise als nur Hängematten aber auch als eine festere Verkleidung interpretiert werden. - Keine Heckdavits, Seitendavits sind auch nicht dargestellt - Warum Dez 1806, das Schiff kam Dez. 1805 zurück und auch in dieser Zeit soll Livesay nachweislich dort gezeichnet haben.
Robert Dodd 1807 f198t4217p66623n2_aHykqgKf.jpg - Bild entfernt (keine Rechte) The Victory 1st Rate", aquatint and etching by Robert Dodd after his own original, published by the artist, 1807 NMM ref PAG9421 (Diese angegebene NNM-Nummer ist online nicht auffindbar.) Aus The Victory of Seapower - Winning the Napoleonic War 1806 -1814 von Caxton Editions
Auch zu dieser Zeit keine Darstellung der Seitenpforte und der Davits.
Ab hier sind runder Bug und die Seitendavits dargestellt
Schetky, John Christian, 26 August 1824 HMS 'Victory' in Portsmouth Harbour, 1824 https://collections.rmg.co.uk/collection...cts/150847.html PAI0907 No. 19 of 73 (PAI0889 - PAI0961) Drawing inscribed along the upper edge of sheet 'Victory – Portsmouth Harbour – Victory August/26th/ 1824', and in the lower right 'The ship canted while this was being made – and is therefore/much too long -.' Schetky made a number of drawings of 'Victory' as she lay in Portsmouth harbour. In December 1823 Turner wrote to Schetky requesting help with his large painting of the battle of Trafalgar which George IV had commissioned in 1822: ‘If you will make me a sketch of the 'Victory' (she is in Hayle Lake or Portsmouth harbour) three-quarter bow on starboard side, or opposite the bow port, you will much oblige’. Date made 26 August 1824
Schetky, John Christian, 27 April 1827 [sic: 24.04.1824?] 'Victory' in Portsmouth Harbour, 1827 [sic: 1824?] https://collections.rmg.co.uk/collection...cts/150849.html PAI0909 No. 21 of 73 (PAI0889 - PAI0961) Drawing inscribed in the upper right 'Victory April 27 – 1827 – Portsmouth Harbour.' Schetky made a number of drawings of 'Victory' as she lay in Portsmouth harbour. In December 1823 Turner wrote to Schetky requesting help with his large painting of the battle of Trafalgar which George IV had commissioned in 1822: ‘If you will make me a sketch of the 'Victory' (she is in Hayle Lake or Portsmouth harbour) three-quarter bow on starboard side, or opposite the bow port, you will much oblige’. Date made 27 April 1827 Hinweis: Die Handschrift könnte auch 1824 heißen, dann wären beide Zeichnungen zusammen entstanden.
CIRCLE OF LT. ROBERT STRICKLAND THOMAS (BRITISH, 1787-1853) A Royal Occasion at Portsmouth Harbour, with ships of the Blue Squadron being moored by paddle tug This interesting view of Portsmouth almost certainly shows H.M.S. Victory at anchor and flying the flag of an Admiral of the Blue, with vessels of a Blue squadron being moored nearby. The design of the tug, with its very tall funnel, and the costumes of the onlookers suggest a date of about 1830. The significance of the Royal Standard shown flying over a merchant's warehouse is, at present, unexplained although it has been suggested that the officer shown may possibly be William IV, either as King or as Duke of Clarence, before his accession, in the undress uniform of Admiral.
H.M.S. Victory, after being laid up at the end of 1812, served briefly as a Guard ship for six months from June 1823, before being made Port Admiral's flagship from January 1824, with a permanent mooring in the harbour where she remained until dry-docked in the 1921.
The eventual introduction of steam-powered ships into the Royal Navy during the first half of the nineteenth century was a saga of epic proportions. Almost to a man, the naval establishment - still basking in the afterglow of Trafalgar - took the view that "the wooden walls of old England", which had been good enough for Nelson, would remain good enough to protect the British Isles well into the future despite significant technological advances. Steam, dirty and expensive as it was, was regarded with utter disdain and even the most strident efforts of the few forward-thinkers in the 'Senior Service' could only manage to produce one solitary exception to this entrenched opposition, the tug. Recognising the enormous value of being able to disregard both wind and tide, the Navy built its first tug, the Comet, at Deptford in 1822, and thereby began the tradition which still survives today in every naval dockyard in the world. https://www.charlesmillerltd.com/Catalog...1010/page1.html https://www.charlesmillerltd.com/Catalog...0/lot0016-0.jpg
Edward William Cooke 1828 f764t4039p62095n33_CNfsIkhL.png - Bild entfernt (keine Rechte) „HMS Victory in Portsmouth Harbour with a coal ship alongside“ von Edward William Cooke zeigt 1828 ein scheinbar noch vollständiges Rigg. Spätestens seit hier ist die Seitenpforte wieder belegt, allerdings eine Öffnung weiter hinten als im ursprünglichen Plan.
Das klassische Foto f764t4039p62095n30_mPulsdWI.jpg - Bild entfernt (keine Rechte)
Die Bilder zeigen Turners in Gemälden meist übertriebenen Höhen. Interessant ist bei dem dritten Bild die blaue Schanz, keine Seitenpforte dargestellt.
The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory 1806–8 http://www.tate.org.uk/art/artworks/turn...-victory-n00480 N00480_10.jpg - Bild entfernt (keine Rechte) Turner made close observation of the ships shown here, but the painting of the battle in which Admiral Nelson died is not simply detailed reportage. Sails and cannon smoke arrest the eye, creating a claustrophobic backdrop, while the action appears to thrust outwards. The viewer is confronted by both the chaos of battle and the intimate tragedy of Nelson’s final moments. A contemporary reviewer termed this a ‘British epic picture...the first picture of the kind that has ever...been exhibited’. Passend zu den Skizzen aus dem Tate-Skizzenbuch.
The Battle of Trafalgar (1822-24) http://collections.rmg.co.uk/collections/objects/12057.html BHC0565 Wikipedia en This is Turner’s only work by ‘royal command’ and the largest and most publicly controversial painting of his career. George IV gave him the commission late in 1822 on the advice of Sir Thomas Lawrence, President of the Royal Academy. It was to form a naval pair with Philippe-Jacques de Loutherbourg’s 1795 view of The Battle of the Glorious First of June 1794, in a patriotic post-war redecoration of the State Rooms at St James’s Palace. Lawrence and George Jones – both Turner’s friends – were also represented, the former by his portrait of King George III and the latter by paintings of Wellington’s victories at Vittoria and Waterloo. Turner did an unusual amount of practical research for this work, which is his most complex tribute to Nelson, of whom he was a great admirer. He already had sketches of 'Victory', made on her return to England with Nelson’s body in December 1805 for his earlier 'The Battle of Trafalgar', painted in 1806-08. For this picture he borrowed a plan of the ship from the Admiralty and asked the marine artist J. C. Schetky, at Portsmouth, to make further sketches of her there. Also unusually, he did two preparatory oil studies (now in the Tate). The finished work combines a number of incidents from different times in the action, within a more symbolic conception. Nelson’s presence, mortally wounded, is only implied in the highlighted crowd around 'Victory’s' mainmast. This powerful absence is prefigured by the smallness of Nelson’s figure, and those around him, beneath similarly towering masts, in the 1806-08 picture. The small human scale is also a response to de Loutherbourg’s painting, since both in different ways contrast a mass of vulnerable figures with the great floating fortresses in which they are contesting national dominance on a mutually hostile sea. In 'The Harbours of England' (1856, p. 16) Ruskin grasped this elemental component when he likened the uncontrollability of the ship’s sails, as Turner shows them, to ‘as many thunderclouds’, most of 'Victory’s' falling with her foremast and at the same time as Nelson. Also symbolically, the falling mast bears his white vice-admiral’s flag, while the code flags spelling ‘d-u-t-y’ – both the last word of his famous Trafalgar signal and the last coherent thought he spoke (‘Thank God I have done my duty’) – are coming down from the mainmast. On the right is the French 'Redoutable', from which Nelson was shot, surrendered and sinking, although she in fact went down in the storm after the battle. British seamen in the foreground boats raise a cheer, unaware of the tragedy behind in 'Victory', herself shown on an exaggerated scale as a dominating symbol of British sea power. Other men try to save friends and foes alike from a darkly heaving sea, in which a tangle of floating rigging resembles a monster’s head and a Union flag is spread out above, as if to cover the fallen. Below the surface loom fragments of Nelson’s motto, ‘Palmam qui meruit ferat’. This can translate as ‘Let him who has earned it bear the Palm’, or, in the circumstances, ‘the price of glory is death’. That the cost is equal for the common sailor as much as the admiral is thrust into the viewer’s face by the dead seaman arching out backwards from the picture plane, in the centre, at what would have been original eye level in St James’s Palace. In imposing recession beyond 'Victory' on the left are the Spanish four-decker 'Santissima Trinidad' and the 'Bucentaure', flagship of Admiral Villeneuve, overall commander of the enemy Combined Fleet. Further left, the French 'Achille', 74 guns, is on fire with the bow of the 'Neptune' just coming into the frame. Her sister the 'Fighting Temeraire' , as Turner called her in his famous picture of 1839 is on the far right, lost in smoke apart from her white ensign. On delivery in 1824 the painting provoked court criticism for its non-chronological approach to Nelson’s victory, and its powerful allusions to the blood price of Britain’s triumph, at Trafalgar and more generally in becoming the world’s dominant sea power. Ambassadors used to classically heroic treatments are said to have sneered at it and seamen, including Sir Thomas Hardy, 'Victory’s' captain, have always criticized it on technical grounds. Turner himself later considered the picture spoilt by the eleven unpaid days that he spent at St James’s adjusting it to the views of Admiralty men and he credited the King’s naval brother, the Duke of Clarence (William IV from 1830), with the only sensible comments, despite a sharp exchange with him at the time. While George IV, when Prince of Wales, had acquired the cooler and more conventionally theatrical de Loutherbourg in Carlton House, Turner’s fierily spectacular but ambivalent pendant proved an embarrassment at St James’s. It was also probably mismatched there – at least to the King’s polished taste – with the adjacent works by Jones and his favourite portraitist, Lawrence. In late 1829 he presented it, with the de Loutherbourg, as his final gifts to the Naval Gallery at Greenwich Hospital. It has been at Greenwich ever since, and remains to some extent a focus of recurring division between ‘sea dogs’ and art historians, admirers of Nelson and of Turner. Date made 1822-24 Auch wenn Jahre später entstanden, so hatte Turner doch das Schiff nach Trafalgar gesehen und gezeichnet. Wie üblich verzerrt Turner die Dimensionen und ordnet auch das Historische dem Künstlerischen unter.
Das es immer gut ist Quellen zu hinterfragen zeigt sich an den beiden Modellen der Vic im NMM, die immer wieder - und nicht nur bei mir - für Verwirrung gesorgt hatten. Beide mussten immer wieder für die Diskussion von Heck, Seitenpforte, Back und Poopdeck herhalten.
A contemporary full hull model of the Victory (1765) http://collections.rmg.co.uk/collections/objects/66474.html SLR0513 http://collections.rmg.co.uk/mediaLib/58...89684/large.jpg Scale: 1:48. A contemporary full hull model of the Victory (1765), a 100 gun first rate, three-decker ship of the line. Model is decked. Depicted after extensive refit (her so-called "large repair") completed in 1803, prior to the Battle of Trafalgar. Model also shows further modifications which were proposed after Trafalgar which were not carried out. Date made circa 1805
Mir kam schon immer einiges an den Proportionen komisch vor, jetzt hat es endlich geschnackelt, die Positioniereung der Pforten im Heckbereich war der Schlüssel für mich. Wenn man den Plan ZAZ0196 der Dreadnought (Neptun-Klasse) drüberlegt, passen diese jeweils perfekt. http://collections.rmg.co.uk/collections/objects/79987.html ZAZ0196 http://collections.rmg.co.uk/mediaLib/56...61820/large.jpg "Plan showing the body plan, sternboard outline with some decoration detail, sheer lines with inboard detail and figurehead, and longitudinal half-breadth for 'Dreadnought' (1801)
Die Victory als First Rate hat eine bedeutend größere Länge und daher einen größeren Abstand der letzten Pforte zur Seitengalerie. Hier bei den kürzeren Second Rates gibt es eine ganz andere Verteilung der Pforten, auch rutscht deshalb die Seitenpforte unter die Rüsten, weshalb entweder eine Doppeltreppe verwendet werden musste oder die Pforte entfiel. Auch zeigen beide Modelle und die Zeichnung das modernere und schlankere Scheg. Evtl. erklärt sich auch durch die geringere Klasse die Anzahl von nur 8 Heckfenstern anstelle der 9 wie seit Livesay dokumentiert.
Hier noch der Vollständigkeit halber der Victory-Plan über dem einen Modell - und man merkt sofort, dass den Modellen zusätzlich noch eine Stückpforte pro Deck fehlt ... Das ist ein weiterer sehr starker Hinweis auf die Vermutung dass die Modelle eher der Neptun-Klasse oder einer anderen Second Rater Klasse gehören und nicht die Vic darstellen. ZAZ0121 http://collections.rmg.co.uk/collections/objects/79912.html f198t2690p34546n2.jpg - Bild entfernt (keine Rechte) Neben dem ganz anderen Winkel des Hecks ist hier die fehlende Stückpforte hier rot angezeichnet. f730t4729p82752n4_PXKGzFjc.jpg - Bild entfernt (keine Rechte)
Das Modell ist auch in Goodwins Büchern als Victory abgebildet. Da hat er sich wohl auch täuschen lassen !?!
Das abgebildete Modell zeigt übrigens den Namen "Victory" am Heck und auch die Gallionsfigur stimmt. Meine persönliche Vermutung: Da es scheinbar kein zeitgenössisches Modell der Victory gibt, hat wahrscheinlich jemand ein Modell der Neptun-Klasse umgebaut. Ob dies eine Fehlzuordnung aus Unwissenheit war oder die falsche Klasse als "Best Guess" billigend in Kauf genommen wurde wird man wahrscheinlich nie wissen ...
The Fall of Nelson, Battle of Trafalgar, 21 October 1805 Denis Dighton (1792 – 8 August 1827)
http://collections.rmg.co.uk/collections/objects/12044.html BHC0552 An impression of the mortal wounding of Nelson on the upper deck of the 'Victory', painted many years after the event. On the right, Nelson is portrayed at the moment he falls on his left side. Captain Hardy, with his back to the viewer, advances to assist Royal Marine Sergeant Secker, who is already at Nelson's side. In the centre foreground, Midshipman Pollard aims with a musket, to return the fire of the French marksman who shot Nelson, and a marine to his left also prepares to fire. In the midst of the action, the artist has shown that very few of the crew are aware that Nelson has been hit. In the immediate foreground, a sailor who has been shot falls backwards on to the deck. In the left foreground, a gun is being sponged and primed by its crew, while beyond it another is being fired. A group of marines fire over the port gunwale towards the Franco-Spanish 'Santissima Trinidad', 140 guns, while a corporal and marine carry off one of the officers, possibly Captain Adair of the marines, who was killed. In the left background, gun-crews operate the port fo'c'sle guns. In the left centre of the picture, beyond the gunner in the foreground, a powder monkey has been hit and clutches his left hip, in a gesture imitating that of Nelson. Behind him lies a dead sailor. Two sailors work on the halliards at the bottom of the mainmast. In the barge are three marines, one dead, one firing into the 'Redoutable', 74 guns, and one priming his musket. Beyond them are figures and smoke on the fo'c's'le. To the right of the mainmast, marines fire over the gunwale in the starboard waist towards the 'Redoutable' whose crew are visible through the smoke. The artist has mistakenly shown the high solid gunwales and round bow of the 'Victory', modifications made some years after Trafalgar. Their introduction was influenced by the heavy casualties suffered in the battle. Date made circa 1825 Historisch unkorrekt, am Besten am runden Bug zu sehen.
The death of Nelson at the Battle of Trafalgar, Drummond, Samue 21 October 1805 http://collections.rmg.co.uk/collections/objects/12039.html BHC0547 Nelson was struck by a musket ball fired from the French Redoutable at approximately 1.30 pm. Mortally wounded, he was rapidly carried below so that the men around him would not lose heart. Drummond’s composition here pays homage to imagery relating to the deposition from the Cross. On the left in the foreground, Nelson is held by two sailors and a marine who descend the companionway, apparently from the quarter-deck to the middle deck in this case. A dead marine lies on the lower level on the left and an injured sailor next to him, the latter being attended to by a soldier kneeling over him. A musket, discarded hat and other objects are carefully arranged on the deck in the foreground. These still-life motifs also appear in the other versions by Drummond. On the right, on the quarter-deck, English sailors and marines are engaging the French on the left, where the Redoutable is placed. Several figures have turned on the left to look towards the group carrying Nelson. Drummond has concentrated on the vertical thrust and strong diagonals created by the figure of the sailor on the right with his back to the viewer and the sailors on the left shown priming the gun. The sails billow and swirl around the smoke to frame the composition and enhance the dramatic effect. This is one of a number of other variations by Drummond on the same subject (see also BHC0547, BHC0543, BHC0551 and PAF5982) and may relate to his large Death of Nelson exhibited at the British Institution in 1807. It is the image which, in a slightly more upright version, Drummond himself published as a mezzotint in October 1809 (copy in the BM). The artist exhibited a picture of this title in the Liverpool Academy exhibitions of 1812 no. 109 and of 1813 no. 26. Date made 1806 Hinweis: Historisch nicht korrekt, aber zeitgenössisch und insofern interessant, da hier die ausgeräumten Kabinen und die in der Literatur immer wieder erwähnt mittig zusammengestellten Leitern gezeigt werden.
The 'Victory' in Naples Bay, 25 June 1804 http://collections.rmg.co.uk/collections/objects/100707.html PAF5880 The sixth in a series of ten drawings (PAF5871–PAF5874, PAF5876, PAF5880–PAF5881 and PAF5883–PAF5885) of mainly lesser-known incidents in Nelson's career, apparently intended for a set of engravings. Pocock's own numbered description of the subject in a letter of 2 June 1810 (see below) is: '6. "Victory" Naples Bay Morning.' It shows Nelson's last significant appearance off Naples when Commander-in-Chief in the Mediterranean before the Battle of Trafalgar. For the rather complex circumstances of the commissioning of these ten drawings, and Pocock's related letters, see 'View of St Eustatius with the "Boreas"' (PAF5871). Signed and dated in the lower left. Exhibited: NMM Pocock exhib. (1975) no. 51. Date made 1810
The 'Victory' with the fleet off Stromboli, January 1805 http://collections.rmg.co.uk/collections/objects/100712.html PAF5885 The fifth, but seventh in order of events, in a series of ten drawings (PAF5871–PAF5874, PAF5876, PAF5880–PAF5881 and PAF5883–PAF5885) of mainly lesser-known incidents in Nelson's career, apparently intended for a set of engravings. Pocock's own numbered description of the subject in a letter of 2 June 1810 (see below) is: '5. Victory off Stromboli, Moonlight', though it no longer looks like a night view because over-exposure to light has bleached out the blue pigments. This can be clearly seen at the edges, where a previous mount has protected the paper and the original dark blue tone. Nelson's vice-admiral's flag as commander-in-chief in the Mediterranean before the Battle of Trafalgar flies from 'Victory's' foremast head. This subject, of the fleet passing the erupting volcano (the most northerly of the Lipari or Aeolian Islands, north of Sicily), was previously dated 22 June 1804: this is unlikely, since Nelson was then heading north from Malta to Naples via the Strait of Messina, arriving on the 25th. It more probably shows to show his fleet in late January 1805 heading south-west from Cagliari, Sardinia, towards the Strait, through which it passed southward on the 31st, looking for Villeneuve's escaped Toulon squadron at the start of the pre-Trafalgar chase. Carola Oman's 'Nelson', for example (ch. 22) specifically mentions Stromboli being seen in eruption during this passage. Pocock either took the view of the volcano from a print or a sketch by Lord Manners, to both of which he refers in related letters: though a little confusing, these suggest that this is one of two versions of the same subject which he did, leaving his unidentified client to make a choice and return the other. For the rather complex circumstances of the commissioning of these ten drawings, and the letters, see 'View of St Eustatius with the "Boreas"' (PAF5871). Signed and dated (indistinctly) by the artist in the lower left. Exhibited: NMM Pocock exhib. (1975) no. 50. Date made 1810
The day after Trafalgar; the 'Victory' trying to clear the land with the 'Royal Soveriegn' in tow to the 'Euryalus' http://collections.rmg.co.uk/collections/objects/100710.html PAF5883 The eighth, but last in order of events, of a series of ten drawings (PAF5871–PAF5874, PAF5876, PAF5880-PAF5881 and PAF5883–PAF5885) of mainly lesser-known incidents in Nelson's career, apparently intended for a set of engravings. This and PAF5881 are exceptions in terms of their subject. Pocock's own numbered description of it in a letter of 2 June 1810 (see below) is: '8. Storm the Day after the Battle the "Victory" under Courses Endev[ourin]g to Clear the Land. The "Royal Sovereign" in Tow by the "Euryalus" &c. &c.' The view is towards the coast of Spain off Cadiz, with the lighthouse at Rota in the centre left distance, and 'Victory' heading towards it in stern view over the tow-line. To the right are disabled enemy ships, including prizes, some being cast away in the post-Trafalgar storm. For the rather complex circumstances of the commissioning of these ten drawings, and Pocock's related letters, see ' View of St Eustatius with the "Boreas"' (PAF5871). PAF0021 is a related pencil drawing by Pocock of the same subject. Signed and dated by the artist in the lower right. Date made 1810
Hinweis: Alle Pocock-Werke zeigen anachronistische Fehler wie die alten offenen Galerien und tiefer liegende Rüsten.
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01.01.2016 16:30 (zuletzt bearbeitet: 07.01.2016 01:24)
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