In der guten alten Zeit hatte der Schiffskonstrukteur hinsichtlich der Takelung schon seine Schuldigkeit getan, wenn er eine vollst ndige Segelzeichnung mit einem Verzeichnis der Abmessungen der Rundh lzer und allenfalls noch des stehenden Gutes angefertigt hatte. Die Ausf hrung der Beschlagteile konnte er dem Schmied und dem Schlosser, die der Bl cke dem Blockmacher und das brige dem Takelmeister und dem Segelmacher berlassen. Die vorerw hnten Arbeiten wurden in der Regel handwerksm ig betrieben, und dies ist auch der Grund, weshalb in keinem Buch auch nur einigerma en brauchbare Zeichnungen oder Skizzen ber die Einzelheiten der Takelung enthalten waren. Dies hatte sich um die Jahrhundertwende, als die Segelschiffe immer gr er wurden, ge ndert, und vor diesem Hintergund entstand dieses Buch. Autor war der damalige Direktor des Germanischen Lloyds, Friedrich Ludwig Middendorf, ein ausgewiesener Fachmann auf dem Gebiet des Schiffbaus. Gro e Segelschiffe waren sein Steckenpferd. Mit dem Buch verfolgte er akribisch den Zweck, die Literatur ber die Bemastung und Takelung der Schiffe fort zu f hren und dem Schiffbauer jener Tage alle erforderlichen Informationen in geb ndelter Form an die Hand zu geben, die er braucht. Heute stellt das Werk eine einzigartige Informationsquelle ber die Segelschiffahrt vergangener Tage dar, die weit ber technische Aspekte hinaus geht. Im ersten Teil des Buches finden sich die allgemeinen theoretischen Grundlagen, die zum selbst ndigen Entwerfen von Segelzeichnungen erforderlich sind. Im zweiten Teil sind von den verschiedensten Segel- und Dampfschiffstakelungen, die gegenw rtig bei deutschen Schiffen vorkommen, Abbildungen und Anleitungen zur Berechnung der Gr e der einzelnen Teile der Bemastung gegeben. Die Berechnungen sind m glichst bersichtlich gehalten, so dass sich auch der Anf nger leicht darin zurechtfinden kann. Im dritten Teil dieses Buches werden die verschiedenartigsten Beschl ge, Bl cke etc. durch Zeichnungen und Ski

The islands surrounding Scapa Flow made one of Britain's best natural harbours, while the location at the north of Scotland protected the approaches to the North Sea and Atlantic. The naval base was important during both wars but what makes Scapa Flow famous is its wrecks, the remains of a German fleet, which once numbered some 74 vessels, most of which were scuttled in 1919, as well as the war graves of HMS Royal Oak and HMS Vanguard. The wrecks of the navy ships still survive, along with eight German warships for which a second war came and prevented salvage. Now a divers' paradise, the wrecks of Scapa Flow bring divers from all over the world and employ many in Orkney itself. This is the story of the ships of Scapa Flow, their sinking and their salvage, using many previously unseen images of the recovery and subsequent removal of many of the German battleships and cruisers to Rosyth dockyard in Fife for breaking up.

Trammel's Trace tells the story of a borderlands smuggler and an important passageway into early Texas. Trammel's Trace, named for Nicholas Trammell, was the first route from the United States into the northern boundaries of Spanish Texas. From the Great Bend of the Red River it intersected with El Camino Real de los Tejas in Nacogdoches. By the early nineteenth century, Trammel's Trace was largely a smuggler's trail that delivered horses and contraband into the region. It was a microcosm of the migration, lawlessness, and conflict that defined the period. By the 1820s, as Mexico gained independence from Spain, smuggling declined as Anglo immigration became the primary use of the trail. Familiar names such as Sam Houston, David Crockett, and James Bowie joined throngs of immigrants making passage along Trammel's Trace. Indeed, Nicholas Trammell opened trading posts on the Red River and near Nacogdoches, hoping to claim a piece of Austin's new colony. Austin denied Trammell's entry, however, fearing his poor reputation would usher in a new wave of smuggling and lawlessness. By 1826, Trammell was pushed out of Texas altogether and retreated back to Arkansas Even so, as author Gary L. Pinkerton concludes, Trammell was "more opportunist than outlaw and made the most of disorder."

This is a masterly, immensely readable and totally convincing narrative of 500 years of this great and mightily important British industryIn fact, this new book describes with great insight and clarity the development, growth and decline of two industries: first, the highly skilled trade of crafting wooden sailing ships; and, second, the story of the iron and steel shipbuilding industry that took its place.At one time dozens of small yards were busy building the small wooden trading vessels that were the mainstay of British trade with the world, but with the advent of steam power, and of iron hulls, the British industry gradually became concentrated in a few great shipbuilding regions such as the North East, the Clyde and Belfast.

This book is a detailed comparative study of the decorative work - figurehead, topside ornamentation and stern gallery design - carried by the ships of the major maritime states of Europe in the zenith of the sailing era. It covers both warships and the most prestigious merchant ships, the East Indiamen of the great chartered companies. The work began life in the year 2000 when the author was commissioned to carry out research for an ambitious project to build a full-size replica of a Swedish East Indiaman, which produced a corpus of information whose relevance stretched way beyond the immediate requirements of accurately decorating the replica. In tracking the artistic influences on European ship decoration, it became clear that this was essentially the story of the baroque style, its dissemination from France, and its gradual transformation into distinct national variations in Britain, the Netherlands, Denmark and Sweden. It is an inherently visual subject and the book illustrates developments with numerous photographs of contemporary ship models, paintings and plans, as well as the author's own interpretive illustrations of details. As the first major work on the topic for nearly a century, it will be of obvious appeal to ship modellers and historians, but with comparative examples drawn from architecture and sculpture, it also makes a broader contribution to the history of the applied arts.

The author aims to give 'a concise and practical presentation of the processes involved in designing a modern yacht'.... so that the operations can be grasped by men without a technical education. ...There are chapters on displacement, the lateral plane, design, stability, ballast, the sail plan, and construction. A thirty-foot cruiser is made the basis of the calculations, and a number of tables is appended to abridge the figuring of important details. The book is illustrated with numerous outline drawings and plates. The book will undoubtedly be serviceable to everyone interested in the subject and possessed of enough technical knowledge to understand it. -N. Y. Times