Sea History 145 - Winter 2013-2014 by National Maritime Historical Society & Sea History Magazine

No. 145

NATIONAL N\,ARITIME HISTORICAL SOCIETY

SEA.

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SEA HISTORY

No. 145

WINTER 201 3-14

CONTENTS 14 British Strategy in the War of 1812: the Balance of Power in Europe and the Perils of a Peripheral War, by Andrew Lambert, PhD In recent issues of Sea History, we've been examining the conflict through both overviews ofthe war and its aftermath as a whole and through specific battles and events, but primarily from the American perspective. In this issue, historian Andrew Lambert looks at the war from the British side to give us a more complete context for a misunderstood war. The British were fighting two wars at the same time, and when Great Britain's chief diplomat was brokering a treaty with the Americans in Ghent in the fall of 1814, he was simultaneously working to influence the proceedings at the Congress of Vienna after the abdication ofNapoleon.

20 Charts That Tell a Story-Captain "Tiger'' Allen's Nautical Charts, by Warren Lammert The National Oceanic and Atmospheric Administration (NOAA) recently announced it will cease printing traditional paper nautical charts in 2014. The decision will change the way mariners have navigatedfor hundreds ofyears. With the loss ofthe paper chart will come the loss ofsimple notations navigators make on those charts, from plotting courses and positions to notes on anything and everything they might want to remember later: landmarks, local conditions, calculations, and events. Nowhere is the loss ofpotential information more clear than when one looks at the charts used by mariners ofyesteryear, examining their notations and realizing what we can learn from them.

MARINE ART:

Impressionists on the Water, by Daniel Finamore

34 A Ship Fiddler's Tale, by Dr. Louis Arthur Norton Retrace the unusual path ofJoseph Antonio Emidy, a native African captured as a boy and sent to Brazil as a Portuguese slave, who ended up in England as a classical musician, composer, and teacher of renown.

42 Making the Call-The Decision to Deconstruct Wtiwona, by Nathaniel Howe How a maritime non-profit, one formed specifically to save the historic Pacific schooner

Wawona, ended up choosing to scrap its own flagship is a case study worth examining for anyone interested in saving and preserving historic ships.

48 National Maritime Alliance Secures Federal Grants for Maritime Heritage, by Timothy ] . Runyan, PhD Almost twenty years after the National Maritime A lliance helped pass the National Maritime Heritage Act of 1994, the group has secured millions ofdollars for maritime heritage grants.

Cover: Regates

a Argenteuil, by Gustave Caillebotte, oil on canvas, 61 7/s x 46 1/s inches.

See pages 26-30 for more "Impressionists on the Uiater, "new at the Peabody Essex Museum. (Private collection; image courtesy Fine Arts Museums of San Francisco.)

DEPARTMENTS 4 DECKLOG

50 MARITIME HISTORY ON THE I NTERNET

5I 57 58 64

LETTERS

NMHS: A CAUSE

MARINE

SEA HISTORY FOR

IN MOTION

ART NEWS

Krns

SHIP NOTES, SEAPORT & MUSEUM NEWS CALENDAR REVIEWS PATRONS

Sea History and the National Maritime Historical Society Sea H istory e-mail: editorial@seahistory.o rg; NMHS e-mail: nmhs@seahistory.o rg; Web site: www.seahistory.org. Ph: 914 737-7878; 800 221-NMHS MEMBERSHIP is invited. Afterguard $ 10,000; Benefactor $5,000; Plankowner $2,500; Sponsor $1,000; Donor $5 00; Parron $25 0; Friend $ 100; Contrib utor $75; Family $50; Regular $35 .

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SEA HISTORY (iss n 01 46-93 12) is published qu arterly by the Na ti onal Maritime Histo rical Sociery, 5 John Walsh Blvd., POB 68, Peekskill NY 10566. Periodicals postage paid ar Peekskill NY 10566 and add'l mailing offices. COPYRIGHT ÂŠ 2013 by rhe National Maritime Historical Sociery. Tel: 9 14 737-7878. POSTMASTER: Send address changes to Sea History, PO Box 68, Peekskill NY 10566.

NATIONAL MARITIME HISTORICAL SOCIETY

DECK LOG 201 3 Mariner of the Year! Maine Maritime Museum Honors the Work of NMHS- Kaiulani Wheel Featured

n recognition of its leadership role in raising awareness of our nation's maritime heritage and the role seafaring has played in shaping civilization, Maine Maritime Museum has honored the National Maritime Historical Society with the 2013 Mariner of the Year award. MMM executive director Amy Lent stated, "Through the Society's efforts over the past half-century, the public's knowledge and appreciation of the preeminent role that maritime issues and activities have played in our nation's development, defense, and culture has greatly expanded . ... Our two organizations have been on almost parallel courses for the past fifty years. Founded less than a year apart, we each evolved from an original single purpose: to become leaders in educating the public about not just the maritime heritage of our state and nation, but to enlighten the American public about the continuing importance of maritime industries and activities today and into the future ." On 21 August, more than a hundred Maine Maritime Museum and NMHS members gathered in Longreach Hall for a reception where MMM chairman Clifford Russell presented NMHS chairman Ronald Oswald with the award. Guests were enthralled by presentations by Lincoln Paine, a former Sea History editor and current trustee of the museum, who discussed global maritime themes from his new book, The Sea and N MHS PHOT O Civilization: A M aritime History of the World. Senior curator Nathan Lipfert gave a presentation on a topic that both organizations are closely tied to-the unique ships' wheels of the Sewall fleet of square-riggers. MMM holds the records of A. Sewall & Co. of Bath, which built the NMHS flagship Kaiulani in 1899. In his search through Kaiulani's records, Lipfert located the bill of sale for the ship built immediately after the Kaiulani, the barque Atlas. Arthur Sewall & Co. had an invoice, dated 1 November 1900, from Hyde Windlass Company for a ship's wheel, noting that they had also provided the wheel for the The enduring symbol of the National Maritime previous Sewall vessel, the barque Historical Society is the surviving ship's wheel of Kaiulani. We were thrilled to learn the barque Kaiulani, which was built in Bath, about the document, which the Maine, by the Sewal/s, who fitted their ships with museum included as part of the very distinct ship's wheels. A close look at this phoaward. With such a strong tie to to ofKaiulani's wheel in 194 1 shows the pattern the museum, NMHS trustees of inlaid brass cascading star bursts. voted to lend the magnificent Kaiulani wheel, with its cascading brass stars motif, now at NMHS headquarters in Peekskill, to the museum, where it will be appreciated by many more visitors. We never underestimate the importance of those who sponsor work in the maritime heritage field. Nothing could happen without their generosity. We thank Bath Savings Institution , General Dynamics Bath Iron Works, Ronald Oswald, Howard Slotnick, Captain Cesare Sorio, Walter Brown, and Jean Wort for their generous support of this event. -Burchenal Green, NMHS President 4

NATIONAL MARITIME HISTORICAL SOCIETY PUBLISHER'S CIRCLE: Peter Aron , G uy E. C. Maidand, Ronald L. Oswald OFFICERS & TRUSTEES : Chairman, Ronald L. Oswald; Vice Chairman, Richardo R. Lopes; President, Burchenal Green; Vice Presidents, D eirdre O'Regan, Wendy Paggiorra, Nancy Schnaars; Treasurer, Howard Slotnick; Secretary, Jean Wo rt; Trustees: Charles B. Anderson; Wal ter R. Brown; RADM Joseph F. Callo, USNR (Rer.); Thomas Daly; William S. Dud ley; David S. Fowler; William Jackson Green; Karen Helmerso n; Robert Kamm; Richard M . Larrabee; Guy E. C. Maitland; Capt. Brian McAllister; CAPT Sally Chin McElwreath, USNR (Rer.); James J. McNamara; Michael W Morrow; Richard Patrick O'Leary; Timothy ]. Runyan; Richard Scarano; Philip J. Shapiro; Bradford D. Smith; Cesare Sorio; Philip J. Webster; Daniel W Whalen; Trustee Elect: Roberta Weisbrod; Chairmen Emeriti: Walter R. Brown, Alan G. Choate, Guy E. C. Maidand, Howard Slotnick; President Emeritus, Peter Stanford FOUND ER: Karl Kortum (1917- 1996) OVERSEERS: Chairman, RADM D avid C. Brown, USMS (Rer.) ; Clive Cusslcr; Richard du Moulin ; Alan D. Hutchison; Jakob Isbrandtsen; Gary Jobson; Sir Robin Knox-Johnston; John Lehman; H . C. Bowen Smith; John Stobart; W illi am H. W hite; William Winterer NMH S ADVISORS: Chairman, Melbourne ' Smith; George Bass, O swald Brett, Francis J. Duffy, John Ewald, T imothy Foote, W illiam Gilkerson, Steven A. Hyman, J. Russell Jinishian, G unnar Lundeberg, Conrad Milster, Wi ll iam G. Muller, Stuart Parnes, Lori D illard Rech, Nancy Hughes Richardso n, Bert Rogers, Joyce Huber Smith SEA HISTORY EDITORIAL ADVISORY BOARD: Chairman, Timorhy Runyan; Norman Brouwer, Robert Browning, Will iam Dudley, Dan iel Finamore, Kevin Foster, John Jensen, Joseph Meany, Lisa Norl ing, Carl a Rahn Phill ips, Walter Rybka, Quentin Snediker, William W hite

NMH S STAFF : Executive Director, Burchenal Green; Membership Director, Nancy Schnaars; Accounting, Peter Yozzo; M arketing Director, Steve Lovass-Nagy; Volunteer Coordinator, Jane Maurice; Executive Administrative Assistant, Kelley Howard; Development Associate, Susan C hitwood; Sea H istory Press Sales Direcror, Karen Lunstead SEA HISTORY: Editor, Deirdre O ' Regan; Advertising, Wendy Paggiotta; Copy Editor, Shelley Reid; Editor-at-Large, Peter Stanford Sea History is printed by The Lane Press, South Burlington, Vermont.

SEA HISTORY 145, WINTER 20 13- 14

We Welcome Your Letters! Please send correspondence to:

LETTERS A Marin er's Grave John Rousmaniere's look at the tenants of Evergreens Cemetery in Brooklyn brought to our attention the many sailors who found their peace among friends after they crossed the bar. In the Linden Hill United Methodist Cemetery in nearby Q ueens lie the remains of another maritimer, the man who designed the world's greatest sailing ships. His ships were likely crewed by some of the same seamen of the 1840s and 50s in reaching the apex in the 500-year history of sailrhe first American extreme clipper ships built in New York. John Willis Griffith s designed the first clipper ship, Rainbow, in 1845. Her passage to China and back was asto unding, and a second ship built in 1847 truly amazed the seafaring community. Sea Witch made her first two passages home from Canton with records for swiftness never to be equaled-not even by sailing ships twice her size.

editorial@seahistory.org or by USPS to: Editor, Sea History, 7 Timberknoll Road, Pocasset , MA 02559 readers agree, I think the least we can do is to see that Joh n Willis Griffiths, marine and naval architect who died 28 April 1882 at 73 years of age, has a headstone to mark his remarkable life. MELBOURNE SMITH

West Palm Beach, Florida

Thoughts on the Battle of Lake Erie After O liver Hazard Perry climbed aboard the US Brig Niaga ra after Jesse Elliott FINALLY arrived on the scene during the Bard e of Lake Erie, he then engaged the hopeless, and by then helpless, HMS Detroit. The victory that fo llowed gave Perry the distinction of being the first person to tweet a victory statement. At least, I th ink his note to General Harrison was under 140 characters. ~ Of course, if Elliott had fo l- ~ lowed Perry at the outset of h is maneuver, there might not be a Niagara for Captain Rybka to command. PAUL

A few weeks ago I asked a friend, Matt Carmel, to make a rubbing for me from Mr. Griffirhs's gravestone in Queens. Imagine my shock when I learned there is no marker on his grave. One of the greatest sailing ship designers of all rime lies in an unmarked grave. William Crothers reported in '!he A merican-Built Clipper Ships, 1850-56, "Sea Witch had more infl.uence on the configuration of fast vessels than any ship built in the United States." And the great clipper ship builder Donald McKay wrote Griffiths, "You are a Master of your Profession, have no Superior in it." The missing gravestone was first reported by Adam Brodsky in the New Yo rk Post on 25 October. The response from his readers has been encouraging, with ideas and offerings of support to rectify this grave error of omission. If Sea History SEA HISTORY 145 , WINTER 2013- 14

DrcK McGAUGHY

Cedar Rapids, Iowa

J. GALANTI

Indianapolis, Indiana

COURTESY MELBOU RNE SMITH

1882) by Theodore Roosevelt. He claims that the British testimony was unanimous that it was to the American gunboats the British defeat was primarily due. I wonder whether Capt. Rybka may have any comment in that regard.

I very much enjoyed rhe fine article about the Barde of Lake Erie by Captain Walter Rybka in the last issue (Sea History 144). That battle is not sufficiently well known, in spite of the activity of the current brig Niagara that sails out of Erie, Pennsylvania. I was curious about something I read in '!he Naval Wa r of 1812 (published in

From Captain Walter Rybka: I suspect this was because the gunboats from near the ends of the line would have been hitting more with raking fire than broadside. Raking fire is proportionately more destructive. A broadside h it will come crashing through the bulwarks, dismembering whomever it touches and scattering jagged splinters at those in the vicinity, bur once it has passed thro ugh the thin line of a gun crew, the ball will likely cause no more casualties. Raking fire comes down the fu ll length of the deck. O ne ball can rake somebody's head off at each gun down the length of the ship and h as more chance of striking the side of a gun or carriage (more target area than when pointed broadside to broadside) and then wildly ricocheting around the deck, scyth ing th rough more men . Coupled with the fact that most of these guns were 24- and 32-pounder long guns, and that raking fire could not be readily returned, a heavy ball from one of these gunboats wo uld definitely get your attention.

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Please explain what are the two large poles, or spars, port and starboard on the bow of the brig Lawrence, as noted on the Peter Rindlisbaher painting on the cover of Sea History (144) Autumn 2013. ROBERT MACINDOE

Trappe, Maryland

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From Sea History: Of course! Below are the labels of the wooden poles you asked about. The go-to book for diagrams and explanations of how ships were designed, built, rigged, and handled is John Harland's Seamanship in the Age of Sail: An Account of the Shiphandling of the Sailing Man-ofwar, 1600-1860, Based on Contemporary Sources, published by the Naval Institute Press in 1984. It is still available in nautical bookstores and, of course, online. By this generation of square riggers, the square sail that hung beneath the bowsprit, called either the spritsail or the water sail, had been phased out, but the spar still had an important function, acting as a spreader for the guys that led out to the jibboom and flying jibboom.

to my ship as a "pirate ship" and suggest we "play" pirate, I remind them that pirates still exist and that they are still very bad people. I suggest that playing pirate is not much different than playing Nazi! Though the P. E. courses required for the M . l. T pirate certificate are good ones, perhaps the certificate could be changed to "Pirate Hunter." As the master of a sailing vessel modeled after vessels of the late 18th century, I am proficient in all of the M.l.T required "pirate" skills, which any officer of that era would be. ]oHN C. STONE

Master, S V Cutty Sark

USCG Ingham Regarding the article in the summer 2013 of Sea History about the USCG Ingham, there is an erroneous statement that might lead one to believe that the Coast Guard cutters were the only US vessels capable

OWNER'S STATEMENT Statement filed 9/30/ 13 required by the Act of Aug. 12, 1970, Sec. 3685, Title 39, US C ode: Sea History is published quarterly at 5 John Walsh Blvd. , Peekskill NY 10566; minimum subscription price is $ 17.50. Publisher and editor-in-chief: N one; Editor is Deirdre E. O ' Regan; owner is N at ional Maritime Historical Society, a non-

profit corporation; all are located at 5 John Walsh Blvd. , Peekskill NY 10566 . During the 12 months preceding October 2013 the average number of (A) copies printed each issue was 25, 196; (B) paid and/or requested ci rculation was: (1 ) outside county mail subscriptions 7,672; (2) in-county subscriptions O; (3) sales through dealers, carriers, counter sales, other non-USPS paid distribution 443; (4) other classes mailed through USPS 343; (C) total paid and/or requested circulation was 8,457; (D) free distribution by mai l, samples, complimentary and other 15,551; (E) free distribution outside the mails 627; (F) total free disrribution was 16,3 11 ; (G) total distribution 24,768 ; (H ) copies not distributed 428; (I) total [of 15G and HJ 25, 196; (])Percentage paid and/or requested circulation 34.2%. The actual numbers for the single issue preceding O ctober 20 13 are: (A) total number printed 24,891 ; (B) paid and/or requested circulation was: (1 ) outside-coun ty mail subscriptions 7,9 14; (2) in-county subscriptions O; (3) sales through dealers, carriers, counter sales, other non-USPS paid distribution 260; (4) orher classes mai led through US PS 240; (C) total paid and/or requested circulation was 8,4 14; (D) free disrriburion by ma il, samples, complimentary and other 15, 889; (E) free disrriburion outside the mails 120; (F) total free distributio n was 16,009; (G) total distribution 24,423; (H ) cop ies no r disrribured 468; (I) total [of 15G and HJ 24,8 91 ; (])Percen tage paid and/o r requested circulation 34. 5% . I certify that the above statements are correct and complete. (signed) Burchenal Green, Executive O irecco r, Na ti o nal M aritime Historical Society.

Certified Pirate (Hunter) Regarding the note in the last issue about the Massachusetts Institute of Technology's physical education classes in "Pirate Training," (Sea History 144, pp. 53-54), as a sailing ship captain and president of an educational non-profit who uses a classic sailing ship as a vehicle to teach maritime history, science, and math to middle school students, I am concerned that an institution like M. l. T. would make light of pirates. When my student sailors refer

of escort duty in the North Atlantic. "Until the United States entered the war, the Battle of the Atlantic was fought by the Royal Navy, the Royal Canadian Navy, and a few Polish, Norwegian, and FreeFrench escorts." This statement is not entirely true. With the outbreak of war in Europe in 1939, Franklin D. Roosevelt authorized the "Neutrality Patrol," where US warships would assist in escorting convoys to and from the Iceland area. On 10 April 1941 , USS Niblack (DD

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424), a newer G leason-class destroyer, depth-charged a German U-boat off the Iceland coast. This was the actual first action between US forces and the German Navy, or Kriegsmarine. On 31 October 1941, USS Reuben fames (DD 245), an old Clemson-class destroyer, was torpedoed and sunk with heavy loss of life. USS Niblack stopped to pick up survivors and, while holding their position they were squarely in the "sights" of the U-boat. After the war, it was related that Erich Topp, captain of the U-boat, decided not to sink the Niblack because they were engaged in a humanitarian action . So, there were, in fact, other US vessels doing escort duty in the Atlantic PRIOR to the US forma lly joining the war on 8 December 1941. I have had the pleasure of meeting a crewman that served aboard USS Niblack during this period. He was aboard when the U-boat was depth-charged off Iceland and later when the Reuben James was sunk. He related how the "8-knot convoys took forever to get anywhere" (eight knots was the fastest speed of the slowest ship in the convoy) . Also, he talked abo ut heavy weather, when the Niblack rolled so far over that they weren't sure if she' d right herself again; he recalled that they were so far on their sides that they actually walked on the bulkheads instead of the deck. I've had rhe privilege to hear rhe stories you often read about in books from navy vets firsthand. Stories relating to life in the navy, pre-World War II through Vietnam eras . World War II fleer sub actions, the horrors of POWs under the control of Japanese captors, crewmen of USCG Itasca "drinking beer with actor Caesar Romero in Dutch Harbor" (he was a Coastie before WWII), stories of the 36-ft. Coast Guard motor lifeboats" best lifeboat they ever made," according to an 18-year USCG veteran who served in them after his stint in the US Navy in WWII. I believe the omission about the escorts was just an oversight in the otherwise nice article about the cutter Ingham . Hopefully, there will be more articles like this regarding ship's histories. There are many more stories to be written! ROBERT BURNS

South Lake Tahoe, California

SEA HISTORY 145, WINTER 20 13- 14

Around the Cabin Lamp How John Hightower Won a Restoration of Spirit for South Street "You really should make time to see me-I'm trying to give y ou some money. "

t was John Hightower on the The New York Times ran a phone, pursuing his strikingly afstory that yeartided ''A Restorafirmative style of bringing support to tion of Spirit," celebrating the new ventures from the New York State work of dedicated volunteers led Council on the Ans. 1he ensuing by Jakob Isbrandtsen, one of the grant resulted in a new exhibit, "The museum's founders and former Destruction of Lower Manhattan," g chairman, who had come out for the newly-fledged South Street ~ of retirement to take personal Seaport Museum. The photographs ~ charge of the work. Volunteers of the demolition of old New York ~ are still coming to work on the sent shivers down the spines of those ~ shipsatSouthStreetandsharein of us who were working to save the E crewing the ones that go to sea, historic waterfront from which the ~=~~ ยง so it seems things are indeed set modern city grew. As museum presi"'-..!.--"'-"--- - - - ' ยง for a genuine working revival. dent, I was hardly enthusiastic about John Hightower (center) discusses ship preservation with Prince It's sad to record that displaying these harrowing scenes, Philip ofEngland's Maritime Trust and the author (left) at the John was fired from the mubut this was early in 1968 when the faunch ofthe Wavenree restoration in 1980. seum in 1984 after four yea rs museum was confined to a former of progress on the Seaport's fish stall in Schermerhorn Row. Eager to expand, we accepted the fl ags hip, and our efforts in NMHS were rewarded by getgram because it included rem to double our exhibit space. I was ting the boot too. But, surely, what's more important is to stunned to see the public's reaction to these scenes of destruction remember and perhaps- just perhaps- be inspired by, John juxtaposed with our exhibit and project model of the proposed Hightower's generous and welcoming spirit, which evoked a South Street Seaport. I still believe the dra ma of those photos splendidly effective response from volunteers and indeed from the provided much of the steam that drove our winning the first people of New York, without whose support our ships and the contested Landmarks case in New York later that year-saving message they carry have no future in this city born of the sea. Schermerhorn Row from imminent destruction. I learned both Today, the future of the museum still hangs in the balance, the value of current top ical exhibits and the value of John's ideas, with Captain Jonathan Boulware, rhe museum's former ship which were often pursued in an urbane and almost offhand way. manager, now serving as its acting president. He is the first presiJohn died at age 80 in July this yea r, having gone on to dent since mysel f to have any real experience in deep-water sail, achieve a notable renovation of The Mariners' Museum in New- and he faces a stern challenge to re-esrablish the seafaring culture port News, Virginia, capped by the design of a dramatic exhibit of in South Street. Alan Villiers once said, as he was standing on the the recovered remains of USS Monitor. There was appreciative Wavertree's quarterdeck in South Street, that saving these ships is talk at his memorial reception in New York this past September at least as hard as it was to sail them round the Horn. over this and his earlier achievements at the State Council, the Working with volunteers, Captain Boulware h as the schooMuseum of Modern Art, and the Norwalk Aquarium-bur little ners Lettie G. Ho ward and Pioneer actively sa iling, along with the was said about his great achievemem-saving the tall ship Waver- harbor rug W 0. Decker. He's also re-opened the Cape Horner tree for the museum at South Street. Peking to visitors, who have been flocking aboard in droves. The This defining moment in the ship preservation movem ent city's Cultural Affairs Deparrment has appropriated some $6 miloccurred soon after John took over as president of the museum in lion to refurbish the Wavertree. Bur the museum has urgent need 1977, when, in another epochal phone call, he asked the National of a funding stream, because the Economic Development Corp., Maritime Historical Society for help in saving the museum's Aagsh ip, the city agency under whose control it fun ctions, has cozened excluded from Seaport blueprints drawn up by the developers the successive museum administrations into yielding control over museum trustees had invited to take over that role. We succeeded Pier 15 and other valuable properties for quick cash. This was an improvident sacrifice of capital assets originally donated to the in raising $1.5 mi llion for the ship, half in cash and the rest from in-kind donations and the hard work of volunteers recruited by city by the museum's founders, then leased back ro the museum NMHS under the slogan: "Dirty Work. Long Hours. No Pay." on 99-year leases, which Mayor Lindsay and I signed-for public This succeeded in attracting the right people-people who learned purposes. how to handle red-hot rive ts to bui ld a deck house out of steel The volunteer gro up Save Our Seaport has record s of donated by Bethlehem Steel for less than a quarter of the price these public policy arrangements, and NMHS has developed quoted by the shipyard for a deck house w ith imitation rivers. The plans of the kind we worked on during John Highrower's spirrestoration saved the Wavertree by rransform ing her from an em pry ited regime. We now ask you to comribure your views, which hu lk to a sailing ship with traditionally rigged lower masts await- we sh all convey to the incoming city administration for acing completion of her rig. (A fuff account of this effort is given in tion in 2014. -Peter Stanford, NMHS President Emeritus Sea History 34, pp. 7-11.) pstanford@optonline.net

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NMHS: A CAUSE IN MOTION Maine Maritime Museum-an Incredible Place to Visit

he Maine Maritime Museum has its roots in a small gro up setting out to create a book about the local shipbuilding history. The Marine Research Society of Bath established a Bath Marine Museum in 1962, and the foundation they laid culminated in the acquisition of the Percy & Small Shipyard on the banks of the Kennebec River. The small gro up and its museum, renamed the Maine Maritime Museum in 1975 , has grown and evolved into a unique and wonderful institution. Its exhibits tell the story of Maine's rich shipbuilding and seafaring past through well-interpreted models, paintings, artifacts, figureheads, and dioramas. While it focuses on regional history, just as Maine's ships were launched and sailed from its jagged coastline and sailed on voyages across the world's oceans, the history the museum interprets reaches well beyond and tells the story of worldwide commerce and voyaging. From its docks on the river just twelve miles from the open ocean, the museum offers a variety of lighthouse and wildlife cruises on the Kennebec and Sasanoa Rivers and Merrymeeting Bay. A behindthe-scenes trolley tour of the famous Bath Iron Works to see the US Navy's newest high-tech destroyers being built is

something not to be missed. The museum preserves the Percy & Small Shipyard, builder of turn-of-the-century huge sailing ships, including the schooner Wyoming, the largest wooden sailing vessel ever built in the United States. The Donnell House, a shipyard owner's Victorian home, has been fully restored and is interpreted as it was in 1892. Down on the museum's waterfront docks, visitors can board the Grand Banks fishing schooner Sherman Zwicker, providing a unique hands-on experience.

The Lobstering House interprets the history of this important industry on the Maine coast. MMM welcomes over 45,000 visitors annually. It has an active events and seminar schedule and offers a wealth of history in its archives and worldclass research facility. Astounding every visitor is the newly erected sculpture of the Wyoming, with flags flying at the apex of 120 feet depicting the masts, the largest public work of art in New England. Pictures cannot do it justice-only by standing near it can

just down the street from the museum is the famous Bath Iron Works. 1he museum now offers trolley tours of the shipyard, builder of the modern US Navy Arleigh Burke-class destroyer and, most recently, of Zumwalt-class destroyers. BIW launched the lead ship of this class, USS Z umwalt (DDG- 1000), in October 2013. BIW is a secure defense establishment and access is strictly limited; the tours through MMM are the only way for the public to tour the facility.

In the summer months, visitors can join museum staff on a variety of river cruises to area lighthouses along the Kennebec River. Longer cruises visit light stations beyond the Kennebec, including this one at the Cuckolds Light Station, a rocky islet at the entrance to Boothbay Harbor. Under the National Historic Lighthouse Preservation Act of 2000, the property was awarded to the Cuckolds Fog Signal and Light Station Council, a community-based organization that is restoring the structures and property for public use.

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At 426feet LOA, the schooner Wyoming was the largest wooden sailing ship ever built. (above) Wyoming about to be launched. (below) On the very spot where she was built in 1909, MMM has erected a modern sculpture evoking the size and spirit of the vessel.

. you get a true feel for its immense size. Approaching the museum grounds from the water, you will experience an OMG moment imagining the size of the ships that were built and sailed from here to faroff destinations, carrying men and cargo around the world ... and back. -Burchenal Green, President

The Maine Maritime Museum exhibits a wide range of art and material culture for visitors young and old. (right) A family checks out the interactive exhibit, Beyond

the Breakers: Lighthouses, Life-Saving, and the US Coast Guard, which tells the story ofthe Coast Guard and earlier agencies through artifacts from the service and tours to USCG vessels and light stations.

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Curatorial Holdings In addition to the inspired exhibits, historic ships and buildings, educational programs, and boat and lighthouse tours, the Maine Maritime Museum has an impressive library and special collections, offering a wealth of resources for anyone seeking to research aspects of Maine's maritime history. MMM is a repository for 21,500 objects, including 500 paintings , 7,000 shipbuilding tools, and 550 ship models, as well as navigational instruments, ships' parts, furnishings, fishing gear, engines, dioramas and textiles. Its campus comprises nine historic buildings-seven of them on the National Register ofHistoric places-and features other historic structures, like wharves, a pitch oven, and 130 small craft. Its library collections include 17,000 books, 134,000 photographs in 300 collections, millions of original manuscript documents in 562 collections, more than 4,000 small manuscripts, circa 42,000 sheets of ship plans, over 2,000 maps and charts, plus periodicals, newspapers, audio and video recordings, motion picture film, microfilm, and oral histories. Some of the most remarkable collections of objects are from the families of shipbuilders, ship owners, and shipmasters. Examples include the fabulous paintings and half-models of the Houghton family of Bath, the shipbuilding tool chests of the Bowker family of Phippsburg, ship plans from Bath Iron Works, and the ship visit files of the Chase Leavitt Co. of Portland. The papers and records of the shipbuilding and ship-owning Sewall family may be the largest non-government collection of marine records in the country. The chart collection contains the personal chart groups of many Maine shipmasters. (See pages 20-24 for an article on the nautical charts once owned and used by Maine sea captain Zaccheus Allen.) 11

The 2013 National Maritime Historical SocietyAnnualAwards Dinner What an Evening-What a Night! by Burchenal Green, NMHS President

n rhe mag nificent venue of rhe New York Yachr Club on this brisk O ctober night, garhered a cross-secrion of leaders in and ardent supporters of the m aririme field. Educators, w rirers, presidents of m aririme museums, shipping m agnares, boar builders and sailors, historians, anists, cruise company executi ves, documernarians, and many from all other walks oflife who support m aritime heritage, congregated in a flurry of conversations and exchanged ideas. Is ir this interchange thar makes rhe NMHS annual awa rds dinners so successful ? The wa rm hospitality and impressive history of the NYYC? The inspirational voices of the USCG Academy Cadet Chorale? The compelling speeches by the awardees? There is a chemisrry to the evening thar is bigger than any of rhese compo nents.

This year's awardees join Norma and Peter Stanford, NMHS president emeritus (font row), trustees, and master ofceremonies Richard du Mo ulin to celebrate their achievements in maritime heritage. (back row, l-r) Richard du Moulin, Ronald Oswald, Rick Scarano, Rear Admiral Sandra Stosz, Stanley Birge, Richardo Lopes, and Stan Ho ney).

and shipping executive-and good friend to NMHS- Richard du Moulin presented the award to Cunard Line, which was accepted by Cunard's VP for North America, Stanley Birge. It was particularly moving to h ave Joanne O 'Neil, widow of beloved NMHS trustee David O 'Neil, and their daughter Jacqueline O 'Neil Boutin, to present the David A. O 'Neil Sheet Anchor Award to Richardo Lopes. We were also most gratified when each recipient, in his and her own way, acknowledged the imponance of the work of your Society in preserving our mariri me heritage and paying it forward to the next generations . .

The NMH S Awards D inner is held at the incomparable New York Yacht Club.

Each year, rhe Sociery recognizes exemplary wo rk in rhe m aririme field , to both honor ir and to inspire others to emu la re the awardees. This mi ssion is a silent guest in the room. Amid rhe good time, rhe laughrer and conversation and delectable food is the knowledge for so many people who care deeply abour preserving our maritime herirage, that we a re honoring those dedicared to it. A nd we lisren to the rem arks of the recipients wirh care: how NMH S vice chairman Rick Lopes was drawn to dedicate his ra lents a nd rime to preserving and promoting our maririme tradirions through the interests of his farher and grand fat her before him; whar inspires US Coast G uard RADM Sa ndra Stosz in her pursuir to educate the next generation of Coasr G uard officers and

how her career path was influenced by the strong women who helped pave the way for women in the Coast Guard; why the historic passe nger liner company C unard is committed to ocean travel for the life-enhancing experience ir can provide to the public; how Sran Honey combined hi s passions for sail racing and engineering into a pioneering rechnology that would transform rhe way we watch and understand the modern America's C up competitions. We were especially fonunate this year to have Am erica's C up champion a nd comm entator Gary Jobson present the NMHS Distinguished Service Award to Stan Honey, and Robert ] . Flynn, ch ai rman of the Coast G uard Foundarion, to present the award to Rear Admi ral Sandra Stosz. Yachtsman

(l-r) Richardo Lopes, Joanne O'Neil, and Jacqueline O'Neil Boutin

We are grateful to our corporate underwriters, Carnival Co rporation and Howard Slotnick, and to our many sponsors. We thank A. G. A. Correa & Son whose gorgeous handwoven turkshead silver bracelet set the tone for o ur auction , and to all who donated the great array of items we offered. Thank yo u for helping make the evening a resounding success . .t

SEA HISTORY 145, WINTER 2013- 14

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British Strategy in the War of 1812by Andrew Lambert, PhD he War of 1812 was a curious conflict with at leas t three different interpretations of the outcome: the old American claim that it was a victorious "Second War of Independence," Canadian Prime Minister Stephen H arper's Canadian triumph, and British am nesia-for them 1812 was all about Napoleon marching on Moscow. By any calculation, Great Britain was very busy in 181 2, which was why President Madison decided on war. The Royal Navy was running a truly global war to maintain control of the seas, while the British army was committed to the liberation of Spain, the security of Britain and Sicily, and the construction of an Indian Empire. Most of the British troops in the Americas were tied up in the Wes t Indies. British strategy was global, over-stretched and underresourced. Consequently, the new conflict with the Americans was most unwelcome, and the government in London would have been content to accept a status quo ante peace at any time before the abdication of Napoleon in April 1814. They simply wanted the war to go away, so they could address the main problem, the peace and stability of Europe. In 181 2 the British Government took several months to accept that the Americans were serious, delaying vital strategic measures, including the economic blockade. Furthermore, every subsequent shift in British policy wo uld be driven by the same overriding European imperative. From early 1813, the cabinet effectively ignored the war, leaving a profoundly unenthusiastic First Lord of the Admiralty, Lo rd Melville, to direct a minor naval war, alo ng with Earl Bathurst, Secretary of State for War and the Colonies, another minister with more pressing duties, in his case supportin g the war in Spain. The loss of three fri gate actions in the autumn of 1812 caused a minor sen sation, before the brilliant Shannon-Chesapeake action restored British preeminence at sea. Instead, British concerns in 1813 were dominated by the crisis and collapse of Napoleon's German empire. Battles at Lutzen, Bautzen, and Dresden, Austrian accessio n to the coali-

tion, and the titanic battle of Leipzig only emph asized that the American wa r was a trifling, tedious distraction. The big event of the year for British strategy was the collapse of Napoleonic Spain. The battle of Vitoria enhanced British diplomatic leveragewith other European powers, and ended the need for American grain and flour. The British government largely ignored the American war because the convoy system succeeded in reducing commercial risk and loss to manageable levels, while intelligence sharing between Lloyds and the Admiralty ensured there were no unpleasant surprises. Rear Admiral George Cockburn's 1813 C hesapeake raids began the process of taking the initiative on the littoral, and closing the American cruiser ports. Although they paid the war little attention, British ministers were always looking to conclude this annoying side show. By late 1813, they accepted that the limited war strategy ofisolari ng and targeting the Southern a nd mid-Atlantic states by economic blockade and coastal raids had nor broken the Un ion. Consequently, they stepped up pressure on Washington by translating the viral naval blockade of New England into an economic offensive, and increased the scale and tempo ofcoastal raids. Even so, British options were limited. As long as Napoleon remained in power, few British soldiers could be spared for America, while fresh theaters were opening in Northern Europe. As Napoleon retreated westward, the British saw an opportunity to destroy his naval arsenal and fleet at Antwerp. This was the overriding British strategic interest; in comparison, reinforcing Canada or attacking America was insignificant. Antwerp, the casus belli in 1793, had become a major French naval base, the fixed point around which the British developed their war aims and strategy. Yet, w ith the main army in Spain, the Cabinet could only find a paltry 11,000 men-the operation failed. If Britain lacked the military force to secure existential war aims in nearby Belgium, there was no prospect that men could be found to pursue altogether less important aims in America. Nevertheless, the troops occupied Belgium when

Napoleon abdicated in April 1814-which is why the Anglo-Am erican peace was signed in G hent. In 1813, British strategists had few options. They had to keep up the naval blockade on the far side of the A tl antic to deny American cruisers and privateers access to the sea, while an economic war wreaked havoc on the American treasury, but limited military manpower meant that anything beyond holding the Canadian frontier, the dominant military effort, and Cockburn's brilliant, extemporized, sma ll-scale high-tempo raiding on the C hesapeake was simply impossible. At the same time, a rising tide of insurrection across the Spanish Caribbean and Latin America was challenging the security of the British sugar isla nds. As a result, too many troops were tied down in West Indies garrisons, ostensibly against the improbable risk of an American attack, but in fact to calm the nerves of politically powerful planters who feared a slave uprising. The political weight of the West Indies remained strong: the Ministry depended on the planters' votes and their profits, remitted in specie, to retain political power and fund the European war. British strategy would be bound by such calculatio ns until Napoleon had been defeated. Strategy to fight America was bound by ch ains of sugar and gold to the defense of West Indian commercial and territorial power. West Indian complaints prompted Melvi lle to remove Admiral John Warren from his command of the West Indies and North American Stations and replace him with Vice Admiral Sir Alexander Coch rane, Governor of Guadeloupe. Great Britain would not risk the sugar islands for some fleeting advantage on the American mainland. In consequence, the scale of coastal operations would be severely limited until Europe was at peace. Over the autumn and winter of 1813, Foreign Secretary Lord Castlereagh spent every waking moment trying to keep the latest European coalition pulling together, using a combination of British econom ic aid, military hardware, and diplomatic pressure. These tools were all the more vital because Wellington's military successes

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-the Balance of Power in Europe and the Perils of a Peripheral War in Spain and France paled into insignifica nce alongside the massive allied armies gathering on the Rhine for the invasion of France. The central E uropean perspectives of Austrian C hancellor Metternich, Czar Alexander I, and the Prussians, along with the parochial concerns of Swedish Crown Prince Bernadotte, led them to view Iberia as a mere sideshow and the Am erican wa r as a distraction and a weakness they could exploit to limit British influence. Lo rd Castlereagh 's diplomacy was dominated by Britain's refusal to compromise on the issue of maritime belligerent rights, the very core of the A nglo-Am erican struggle. He recognized that Russia was anxious to re-open the subject-and not to Brita in's adva ntage-when a post-war E uropean Congress assembled to redraw the maps and charters of the world. A nticipating a future clash w ith Britain, Russia wanted to push the American/ French claim that neutral ships made the cargoes neutral- thereby disarming sea power. This h ad been the purpose of the Russian offer to broker peace in 1813. Cas tlereagh m ade the British position very clear and did not hesitate to issue a scarcely veiled threat. "Great Britain may be driven out of a Congress but not out of her maritime rights, and if the continental Powers know their own interes ts they will not hazard this." He also crushed Napoleon's malicious suggestion tha t the A m ericans sho uld be invited to any congress. In September 1813, Cas tlereagh restated the British position . There wo uld be no con gress until m a ritime rights had been take n off the agenda, and he wo uld not allow the American war to be discussed at a general European settlement. In December 1813 , the cabinet instructed Castlereagh that if the E uropea n powers raised the subject he could state that Britain was prepared to m ake peace with the United States on the principles of the status quo ante bellum. These terms had been available, in fac t, from the first day of the war-the A mericans wo uld sign them on 24 December 1814. To this end, Castlereagh carefully courted Austria as a counterweight to Russia, making concessions to Vien na on Central E uropean issues beyond the reach of sea power. The Anglo-Austria n accord pre-empted

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Robert Stewart, Viscount Castlereagh was the British foreign secretary charged with brokering peace negotiations between Great Britain and the United States at the close of the war of 18 12, while simultaneously serving as Britain's chief diplomat in the Congress of Vienna, which redrew the political map ofEurope in 1815 at the close ofthe Napoleonic wars. French , American, or Russian attemp ts to alter the rules of war at sea. Having secu red their freedom to deal w ith the U nited States and m ari time questions w itho ut E uropean interference, the British could wai t for Madison to recognize th e inevitable. America n obduracy meant negotiations wo uld begin only afte r Napoleon had abdicated. From an Am erican perspective, it seemed obvious that once Great Britain escaped the overriding demands of the E uropean war, a bankrupt and beaten United States could not hope to secure improved terms. H avi ng ag reed to talks, the British Vice Consul forwarde d the American mail bag to London, to be opened and deciphered by the Post Office's secret "Black C h amber."

The Americans con ceded Britain's core war a ims-marit ime belligerent ri ghts and impressment-at the start of negotiations: h avi ng failed to conquer Canada, they had nothing to trade. The only question for the British was how far the blockade and coastal operations could be translated into more positive outcomes. The cabinet showed little interest in anything beyond that. Castlereagh 's aim had been to keep the American and European conflicts in separate, hermetically sealed boxes. H e had no intention of allowing any E uropean power to take a role in the process . By contras t, Britain had little ability to influence the negotiations at G hent by military force. Three weeks after the end of the European conflict, Melville advised Castlereagh that the Admiralty was short

of rroo p ships. Amphibious operarions on rhe A merican coasr wo uld rie down a la rge fl eet of such ships, because rhe rroops had to be based afloat. British troop numbers at Bladensburg and Bahimorewere restricred by the logistica l demand s of a floating a rmy.

War on the Frontier Following rhe defear of rhe economic wa r in the Atla nti c, A merica's only srra regic option in 1814 was yet anorher invasion of Canada. H aving mustered 27, 000 regular troops across the country, plus mili ria, to oppose 12,000 British troops in Canada, any hope of an effecrive srraregy was ruined by quarrels over priorities at Niaga ra a nd W ashington. The A merica n campaign was better handled than those of 1812 and 1813, bur no m ore successful. By winter all the A mericans were once again back on US soil, bur rhey were saved fro m wo rse by the ignominious debacle that overtook the la rgest Brirish land operation of the wa r. General George Prevost, the cautious Gove rnor General of Lower Canada, h ad been ordered to advance to Lake C hampla in with 11 ,000 regulars. Before attacking rhe heavily outnumbered American defenders of Plattsburgh, New York, on the wes tern side of the lake, he di rec red his naval fo rce to attack rhe American squadro n. The Briti sh were defeated decisively, and Prevost, who had m anifested no enthusias m fo r the operation, retreated to Canada. His fa ilure helped persuade rhe British to accepr the sratus quo in the negotiations ar G hem .

General George Prevost Peace Talks A fter Napoleon's abdicarion, the American war became a source of growing diplomatic embarrassm ent for rhe Brirish government. It left Brirain looking weak and distracted just as her European pa rmerswere about to setde the political fu ture of the continent. Peace would allow rhe British to focus on the bigger questions rhat were to be sertled at the Vienna Congress. In his instructions to the British Commissioners at G hent early in 1814, Cas d ereagh foc used on m aritim e rights, impressm ent, and rhe naturalizarion of seam en. The right to search neutral mercha nt ships on the high seas in wa rrime, he instrucred, "can never be

given up." To give rheAmericans an easy way o ut, he suggesred rhat, as peace in E uro pe rendered the subject academic, ir could be d ro pped . Indian lands, border rectification, and rhe Newfo undl and fishery were open for discuss ion. 1l1e British negotiators were to srress rhat A merica had started the war, and refused to discuss blockade, captures m ade under the O rders in Council, and other m aritime issues. The Am ericans conceded m aritime righrs and impressment ar the ourser-even if rhey had to be reminded of the fac r a few months larer- altho ugh they were allowed some small comfort over Indian lands and the Canadi an frontier, rhesewere, compa ratively speaking, trifles. H aving set the param eters, Castlereagh left London fo r the headquarters of the allied army bearing down on Napoleon. In the summer, reports that W ashing ton had fa llen were linked to a him that the A m ericans should understand that the British "wish[ed] to terminate the present unfo rtunate conresr on principles honourable to bo rh parties," so far as the rerms did not risk the security of His M ajesty's dominions. This las r point was becoming more importa nt- during his lengthy journey across E urope, Castlereagh had been studying Brirish economic policy and "rhe growing value of Canada." H e recognized that Canadian timber, forest products, and grain could reduce British dependence on Russia, amo ngs r orher benefits. By 1 Seprember 1814, rhe Brirish knew the U nited States was bankrupt, but rather than press their adva ntage for territori al gain or humiliating rerms, they preferred to res tore the E uro pean state system a nd rebui Id Atl antic trade. O n 11 September 1814, Prime M inister Lord Liverpool observed , "I cannot believe rhar, with the prospect of bankruptcy before them, the A meri ca n Governmem wo uld nor wish to m ake peace, if they ca n make terms which would not give a triumph to their enemies ." 1l1e enemies he had in mind were the Federalists. W ith an eye on opinion in Parlia ment, Liverpool was a nxious that the bla me fo r any brea kd own fell on the " impudent" Americans. Hewell understood that Brita in's

(left) The Battle of Plattsburgh: General Prevost's defeat on Lake Champlain affected the outcome of British and American negotiations at Ghent in thefall of 1814. 16

SEA HISTORY 145, WINTER201 3- 14

Robert Jenkinson, Lord Liverpool roo m for m aneuver was limiced by che Vienna negociacions and che w idespread feeling among European powers th acBritish interests at the Congress could be ignored because of che American wa r. While Earl Bachurst favored an Indian buffer state, Liverpool recognized the impossibility of m aking terms ro cover semi-nom adic peoples. In mid-September 1814, mini sters sensed the circumsta nces might perm it some useful minor border recrificacions of a stracegic character, but instability in France and uncertainty at Vienna m ade peace imperative. Bardes and outcom es at Washingron, Baltimore, and Placrsburg mattered because Britain needed peace with America to secure the benefits of peace in Europe. The deach of Roberr Ross and the humiliating fiasco ac Pl attsburgh broke the spell of A nglo vicrory, bringing a n air of rea lity to British thin king. Prevosr's debacle at Platts burgh proved huge ly emba rrass ing and, far worse: ic broke the run of success that was pressurin g the A merica ns imo concessions. Victory in Vermom was hardly going to win the wa r, but it mighc have been enough to make the Am ericans concede. Instead , che defeat at Plattsburg cost the British a ny leverage for border rectifica tion or attempts to create an India n territory. Liverpool moved quickly to limi t the damage: che Chem commissioners muse ensure thac the A mericans understood Britain wo uld rec tify recent fa ilures a nd p rosecute the wa r wich more vigor.

SEA HISTORY 145, WJNTER 2013- 14

In rruch, Liverpool was bluffi ng; he had m any reasons to avoid anot her year of wa r. H e was nor oprimi stic che Americans could be bro ughc to see reason , d ireccing che cabinet to pl a n on the basis char che war would continue, and he was especially a nxious thac Russia and Fra nce might exploic che con fli er. No r was he convinced the country wo uld be happy fi nd ing another ÂŁ10,000,000 "fo r the pu rpose of securing a better fro ntier fo r Canada." If Europe had been seed ed, he could have faced the A merican con fl ict "with some degree of confidence," bu t the need to prepare for the new sess ion of Pa rliam ent with so much rem ainin g uncertain preyed on his mind. The m os t press ing concern-securing a fresh governmem loan on suitable terms-would be impossible as long as the Am erican war continued , and Europe rem ained unsettled. His o utlook was dominated by the ala rm ing state of France; credible intelligence sugges ted Bo napartist fa natics pla nned to assassin a te th e Duke o f Wellin g ton , ch e A mbassado r in Pari s. To re m ove the duke from Paris without excicing suspicion, Liverpool considered sending him to Vienna to provide military advice to Castlereagh or to comma nd in Norrh America, "with full powers to ma ke peace or to continue the war, if peace should be fo und impraccicable, with renewed vigour." H e had little do ubc that Wellington

Arthur Wellesley, 1st Duke o/Wellington

wo uld p refer the V ienna appoimment. W hile always ready to do his duty, che d uke was anything but enthusias tic. Liverpool did nor insist. W ith in months, Wellington wo uld be che C hief British envoy at V ienna, and rhen Commander in C hief of an allied army ac Waterloo. America Concedes The key to Briri sh victory lay not in military mighc, but in the slow, rem orseless pressure of the naval economic blockade. After December 1813,Am erican econom ic warfa re, both internal measures to block exports and attacks on British seaborne trade, were simply irrelevant. By co nc rasc, the New England blockade beginning in the summer of 1814 immediately pu shed up commodicy prices by 4 0%, devastacing nacional reve nue and sending much of the capiral into factor ies or across the border into Bricish government bo nds. O n 4 October, the United States government was in solvent. O n 11 Nove mber, it defa ulted on paymem s due on the national debt and the Lo uisiana Purchase . The national credit racing hit an all-time low, the full consequences of which were only avoided by the Treaty of G hent. In June 1814, A lbert Gallatin acknowledged chat the best terms available wo uld be stacus quo a nte. Attacks on Balci mo re and New O rleans were quite unnecessary to defeac the U niced Scates: che scandard British strategy of sea control and econ omic warfare had proven perfectly effective. W h en che draft Trea cy o f C h em reach ed Lo nd o n, a relieved Liverpool explained: "Yo u know how a nxious I was thac we should get out of this war as soon as we could do so w ith honour." Canada could not be defended economically with 7.5 million A mericans and only 300 ,000 Canadia ns in North A merica. Faced with such numbers, ch anging che frontier wo uld avail litde. Live rpool was satisfied because rhe Americans had waived their m aritime claims. "As fa r as I h ave any means of judging our decision is generally approved ." H e rem ained deeply concerned about the negociacions at Vienna; "chis consideracion itself was deserving of so me weighc in deciding che question of peace wich Am erica." Fortunately, a secrec article in che Treacy of Paris had seed ed che fuwre of the stracegically viral Low Countries. Ir

is indicative of the fundamentally maritim e n a ture of British strategy that Liverpool did not feel it necessary to mention the obvious lesson that Canada would be defended by the Royal Navy, not a rectified frontier, fortresses, or an army. For the British, the War of 1812 had always been a "tiresome, pointless distraction ... a nuisance, bur not a serious threat." Little wo nder that public reaction to the Treaty of Ghent was muted ; at least the merchant princes of Liverpool and Bristol were content. With the war at an end, the government could focus on Europe and impending domestic battles over taxa tion and expenditure. The connection between the epic peace process underway at Vienna

fro m the European conflict, and accepting the status quo a nte, British statesmen showed great wisdom, preserving the legal basis of sea power and reducing the risk of future problem s. Ghent maintained a clear distinction between Europe and the outside world, which suited the British, who controlled the communications and trade that bridged the gap. Ir helped maintain British global power for two generations at a very low cost. Above all , British aims at Ghent and Vienna were clear a nd consistent- the restoration or recreation ofa stable, peaceful world open to trade, one in which the British could prosper whi le they paid off the mountainous debts incurred waging war with much of the very sam e world

"A Hundred Years Peace," the Signature of the Treaty of Ghent between Great Britain and rhe United States of America-24 D ecember 18 14 by Sir Amedee Forestier. and the small-scale discussions at G hent had long been obvious . By the time news of American ratification reached London in late March, the domestic and international political landscapes had changed . No one ca red. The Treaty of Ghent upheld British maritime belligerent rights, the fund am ental bedrock of British power. W hile m any have seen the British position as overbea rin g a nd dictatorial towards neutrals, there was no room for neutrality in a total war, the alternative wo uld have been Napoleonic domination of the Continent. By keepi ng the American war isolated

between 1793 and 1815. In the process, the British forced the Americans to look at their own internal problems, problems that would keep them divided up to 1865. O n 17 Janua ry 1815, the National ! nte!Ligencer, the quasi official outlet of the Republican admini stration, effectively admitted that the War in 1812 had been foolish, and futile. Such insight wo uld inform the way America dealt wi th Britain for the next century. British strategic leverage against America was a combination of sea control , econo mic warfare, and small-sca le, targeted coasta l offensives. The United States had no answer to those

threats, beyond an endless chain of massive stone fort resses. As the maritime belligerent rights regime that won the war of 1812 had not been affected by the Treaty of Ghent, A merica remained desperately vulnerable after 1815. America lacked the milita ry muscle to win a short war, and, once the British troops had reinforced Canada, the imposition of an effective eco n o mi c bl ockad e quickly ex po se d Washington's chronic lack of fin ancial power. America could not pay for a long war, even one conducted on stricrl y limi red terms. The cost of war was a 200% increase in the American national debt and a decisive shift away from oceanic maritime enterprise. Back in Great Britain, peace was greeted with little pleasure; Sir Walter Scott lamented the fa ilure to administer America a stern lesson but admitted the country was unwilling to wage the war for such a nebulous object. As a world-class creator of fabulous stories, he realized the Americans had been given an opportunity to claim victory in print, and convince themselves they might try again. Scott understood the enduring legacy of 1812 would not be territory or rights, but a distinct American culture: he expected American pens wou ld generate the victory that had eluded their swords, and this proved to be the case. The War of 1812 was nor a second War of Independence in political terms, but it did mark the decisive parting of two cultures. Ir drove America to acquire a distinctive identity, one that was truly of the New World. 1,

Andrew Lambert is Laughton Professor of Naval H istory in the D epartment of War Studies at King's Co!Lege, London. H is work focuses on the naval and strategic history of the British Empire between the Napoleonic Wars and the First World War. H is books in clude: T h e C rimean W a r: British Gra nd Strategy aga inst Russ ia 1853 -1856 (199 0); The War Correspondents: The Crimean Wa r (1994); The Foundations of Naval History: Sir John Laughton, the Royal Navy a nd the Historical Profession (1997); Nelson : Britannia's God of War (2 004); Admir als (2 008); Franklin : Tragic hero of Polar Navigation (2009); and The C hallenge: Britain versus America in the Naval War of 1812 (2 012).

SEA HISTORY 145, WINTER 2013- 14

RARE, Signed Artist's Proofs of Limited Edition Prints by

CARL G. EVERS (1907-2000)

Privateer Sheet size 28 3/4 x 20 112 inches Image size 26 x 17 inches $200 + $30 slh

America's Cup 1870 Sheet size 28 x 20 1/ 4 inches Image size 25 x 171/ 4 inches $200 + $30 slh

The National Maritime Historical Society is honored to offer our members this unique opportunity to purchase a line of limited edition prints by noted marine artist Carl G. Evers . With the help of the J. Russell Jinishian Gallery, the Society has acquired a small inventory of Artist's Proofs from Carl Evers's estate. The selection of prints includes: Eagle at Sea, Heavy Seas, Hurricane, Approaching the Horn, Monitor, Force 10 Survivor, Letter ofMarque, and Moshulu. These prints can be viewed online at www.seahistory.org. It has been said that Carl G. Evers's work is like looking at the sea for the first time. Renowned for his precise, life-like marine paintings, Evers is considered on of the finest marine artists of the twentieth century.

National Maritime Historical Society PO Box 68, Peekskill, NY 10566 1-800-221-NMHS (6647), ext. 0

Charts That Tell a Story: Captain "Tiger" mong the most fasc inating charts in the extensive chart collection at the Maine Maritime Museum are those that once belonged to Captain Zaccheus Al len (1843-1913). Captain Allen, like most mariners th en and now, made extensive notes directly on his charts to guide him on return voyages across the world's oceans and upon inland waters close to home and beyond. Researchers can glean much from these notes on the actual charts he took to sea o n voyages that took place 100 to 130 years ago. Those who have an opportunity to view them can almost imagine being in the captain's cabin looking at his chart table and plotting the ship's positio n and planning the next course. Allen himself was equally interesting. He was born in Bowdoin, Maine, and grew up in nearby Richmond, where he later maintain ed a residence thro ughout his life. His commands included four ships of the Sewall shipping fleet from 1874 through 1904-the last being the Sewall 's Down Easter Benjamin F Packard, in which he was master from 1889 to 1895 and from 1897 to 1904 . There are m any references to Captain Allen in Live Yankees: The Sewalls and Their Ships, by W H. Bunting, a wonderful chronicle of that nineteenth-century shipping dynasty and its sea captains and ships. Other sources about Allen include Paul C. Morris's Portrait ofa Ship: The Benj . F. Packard, which tells the story of Al len's more than thirteen years as master of that vessel, and American Merchant Ships by F. C. Matthews, in which Allen is described as "a very competent navigator, a just man though a strict disciplinarian." Sailo rs nicknamed him "Tiger" Allen and the Packard was called a "hard" ship (meaning a ship run by "bucko" m ates and a captain who was a driver of ships and men).

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(above) The 244~. Benjamin F. Packard was built in 1883 in Bath, Maine, and sailed under the command of Captain "Tiger" ALLen for 14 years between 1889 and 19 04. (righ t) Captain ALLen's 1881 South Atlantic chart with a multitude of hand-drawn course Lines and positions for passages to and from North America around Cape Ho rn and the Cape of Good Hope.

SEA HISTORY 145, WINTER 2013- 14

Allen's Nautical Charts

by Warren Lammerr

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Allen's charts reveal the tracks of the many voyages he made over a number of years. It is evident that he retraced the routes from previous voyages and used his notes, and added to them, as references for subsequent trips through the same areas. Under his command, the 244-ft. Packard (with a crew of about twenty-five m en and officers and a cargo capacity of more than 3,000 tons) successfully made the hazardous passage aro und Cape Horn twentytwo times. Eleven of those passages were between New York and San Francisco in both directions. Two were three-legged trips from New York to England to San Francisco and reverse, and two were round-trip voyages from San Francisco to England and back. The rest of the Cape Horn passages were equally-if not more-demanding, involving interim or final destinations in China, Honolulu, British Columbia, and the state of Washington. The duration of a New York-to-San Francisco voyage (or return) was anywhere from 90 to 172 days, with a typical voyage about 130- 140 days . Based on the departure and arrival dates, it appears that nine of the twenty-two voyages around the Horn were made during winter in the southern hemisphere.

(right) Close-up of multiple tracks off the Brazil coast from Captain Allen's 188 1 South Atlantic chart.

The captain's cabin ofthe Cape Horner Benjamin F. Packard has been restored and is exhibited at Mystic Seaport Museum.

SEA HISTORY 145, WINTER 2013- 14

Allen's notations written on the 'West Coast ofAftica. These remarks show more ofthe fascinating historical details provided by Allen-giving his charts in some respects the character of a graphical log. The above note about "51 days .from Ho ng Kong" is a dramatic insight into the pace of ocean travel in the late nineteenth century.

In addition to the m an uscript notations, rhe charts used by Captain Allen have printed information of viral importance to an ocean-going ship, both in the nineteenth

Captain Allen's ship Benjamin F. Packard.

cenmry and roday, such as current vectors, magnetic lines of variation, trade wind limits in various locations, common sailing and steamship ro utes for different months, notes on prevai ling fog, ere. s, '...''~u.n,~ ~

SEA HISTORY 145, WINTER 20 13- 14

(left) Navigation calculations.

The Historic Chart Collection at the Maine Maritime Museum The chart collecrion is one of rhe many rreasures of rhe Maine Maririme Museum, which is locared on rhe banks of rhe Kennebec Rive r in Barh, "rhe Ciry of Ships" wirh a long history of shipbuilding and shipping. Berween 1748 and today, more rhan 5,000 ships have been builr and/or regisrered in rhe Barh region of rhe Kennebec River. Numbering more rhan 1,200 charts, daring back ro rhe middle of rhe eighreemh cemury, rhe collecrion provides a window rhrough which rhe maririme world of rhe pasr can be visualized and srudied. There are approximarely fifry charts from rhe 18rh cemury, 200 from rhe firsr half of rhe 19rh cenrury, and 550 from rhe second half of rhe l 9rh century. Of rhe balance from rhe 20th cemury, 170 pre-dare World War II. Like the charts of Captain Allen, many are Close-up looks at sections of Captain Allen's South A tlantic chart: rhe actual working charts used at sea. Such charts (above) Other notations appearing on the Allen charts include hurricanes and disas- customari ly belonged to rhe sea caprains rhemters, as evidenced by the note "Charles Dennis Sunk 1891. " Prior to his command of selves until rhe !are l 9rh cemury and early 20rh the Packard, A llen was master of the C harles D ennis (not a Sewall ship) from 1884 cemury, when charts wou ld be supplied as part of to 1889. As noted on the chart, the D enn is later sank in a storm offof Cape Ho rn. a ship's regular inventory. The geographical extent of the collection (below) A longside two tracks, close together but four years apart, there is a question by covers most of the shipping lanes and ports in the Capt. Allen that reads "My Last Voyage?" Allen retired in 1904. world from the mid-18th century forward. The multirude of geographical names appearing in the museum's catalogue gives one a perspecrive of rhe vastness of maritim e commerce during this era. In addition to Captain Allen's charts, some of the more noteworthy charts in rhe collecrion include: •Seventeen charts from the 1831-1836 HMS Beagle Expedition , famous for C harles D arwin's visit to the Galapagos Islands. •Mounr & Page 1750 C harr. One of the earliest charts in rhe collection, this specialry chart shows lines of magneric variarion for rhe emire Atlamic Ocean, and was first created from observations made in rhe year 1700 by the famous astronomer Edmond Halley. •Two original 1776 Atlantic Neprune charts p ublished by Joseph Frederic Wallet Des Barres (1721-1824). •William H eather's New North. Amer. & New\-%rren Lammert is a retired businessman with a strong avocation for cartography. H e fo undland Pilot, an atlas published in 1799. does research in historical maps and charts for the Maine Maritime Museum and the •Twenry charts based on the surveys made Missouri H istory Museum . during the United States South Seas Exploring Expedition, which took place from 1838 to 1842. The Maine Maritime Museum is located on the site ofthe former Percy & Small Ship•Charts of Captain James F. Murphy (1850yard on the banks of the Kennebec River in Bath, just downstream from the famous 1912) , the legendary Bath sea captain who was Bath Iron Works. (Maine Maritime Museum, 243 \-%shington Street, Bath, Maine a dominant personaliryin l 9rh cemury maririme 04530; Ph. 2 07 443-13 16; www.mainemaritimemuseum.org) history. 1, 24

SEA HISTORY 145, WINTER20 13- 14

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Impressionists on the Water a new exhibition at the Peabody Essex Museum by Daniel Finamore The maritime geography of France has played an essential role in the French art tradition. Its coastlines along two seas and an ocean, picturesque harbors, and extensive river-and-canal system have all inspired French artists, as have the industries and occupations in these environments. In the later 1800s a group of artists turned away from styles and techniques that emphasized the detail of documentary realism or the emotional impact of romantic evocations of nature. Ultimately known as the Impressionists, these artists embraced

pure and vi brant applications of paint, the Beeting visual effects of light and movement, and candid presentations of contemporary life. Artists who fo llowed this vanguard used similar strategies to explore color and form, some reaching beyond the visual realm toward symbolic impact, and often drawing and making prints rather than painting. Throughout this turbulent period in art, maritime subjects were radically transformed but maintained their appeal. The popular French pastime of pleasure boating captivated C laude

Boats Moored at Le Petit-Gennevilliers, 1874 by Claude Monet (1840-1926)

On the horizon, factory buildings with smokestacks loom on the riverbank suggesting the encroachment of industrialization. Impressionist painters often incorporated elements of contemporary life in their works, even in picturesque settings like this boat basin at Argenteuil, which Monet likely painted from his studio boat.

SEA HISTORY 145, WINTER 2013- 14

Monet, G ustave Caillebotte, Pierre-Auguste Renoir, and others who painted nautical subjects in vibrant and light-infused compositions. Several of these artists owned boats, some came from naval families, and many of their works include technological

derails that demonstrate an intimate knowledge of nautical life. Incorporating these details within painterly works, these artists melded the French marine painting tradition with their own experiences to create new interpretations of realiry and moderniry.

Oarsmen at Chatou, ca. 1875-1879 by Pierre-Auguste Renoir (1841-1919) In this scene of Chatou, a village downriver ftom Argenteuil, Renoir depicts a boating party. In the foreground is a gig, or two-person rowboat. Other boats on the river include sculls, a sailboat, and a river barge. The vivid colors and lively brushwork evoke the sparkling sunlight and reflective waters ofa summer day on the river.

Rivers-Paris and Environs Seeking fresh air, exercise, and relaxation, day-trippers and weekenders from Paris frequented the suburban stretches along the inland waterways of northern France. In particular, the small historic town of Arge nteuil to the west of Paris, where the Seine is wide (682') and deep (78') , rapidly became the center of recreational sailing for the whole of France. Many of the Impressionists embraced pleasure boating, both as a pastime and a source of artistic inspiration. C laude Monet lived in Argenteuil from 187 1 until 1878, painting roughly seventy-five views of the river, many from a flo ating studio boat. Renoir, Alfred Sisley, and Caillebo tte also captured the atmospheric river at Argente uil. A number of the Impressionists drew upon personal nautical experience to present boats o n the water in a surprisingly realistic m anner.

The Studio Boat, 1874 by Claude Monet

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Inspired by the example of Charles-Franfois D aubigny's floating studio, Claude Monet built his own studio boat in the mid-l 870s. The vessel, shown here at its mooring in Argenteuil, gave the artist a near-waterline perspective of the landscape, and the ever changing atmospheric conditions of the riverine environment.

SEA HISTORY 145, WINTER 20 13- 14

Regatta at Argenteuil, 1874 by Claude Monet

The Seine at Argenteuil, 1874 by Claude Monet Located outside of Paris on the Seine River, Argenteuil was a destination for artists and city dwellers seeking recreation, and a center for competitive and recreational boating. Monet's rhythmic, broken brush strokes capture the excitement ofa race in progress, as the wind fills the sails and stirs up ripples on the water.

SEAHISTORY 145, WJNTER 20 13- 14

Skiffs on the Yerres, 1871 by Gustave Caillebotte

(1848-1894) The Yerres, where Gustave Caillebotte discovered his enthusiasm for boating, is a small, quiet tributary of the Seine. Canoes ofthe type shown here, propelled by two-bladed kayak paddles, were well suited to the shallow waters ofthe river, but were difficult to handle and capsized easily.

Harbors and Coasts Impressionist artists embraced the opportunity to apply their new techniques and approaches, as well as unusual perspectives and vantage points, to the protected harbors and rugged coastlines of France. Their choices for subject matter-from fishing boars to freighters, smokestacks and factories-were frequently industrial and seemingly prosaic, often presented w ith a gritty realism in matter-of-fact fashio n .

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Harbor at Bordeaux, 1874 by Eugene Boudin (1824-1898) Boudin was the son ofa shipwright, and grandson ofa fisherman who died at sea. As a young man he opened a ftame shop in Le H avre, where he met visiting artists. Around 1856 he met and became the teacher ofyoung Claude Monet, who credited Boudin as a formative influence. Boudin's close observation of scenes ftom life, flurries of brush strokes, and brilliant highlights relate directly to Impressionist practices. In 1874, Monet and a group ofyounger artists invited Boudin to participate in what would be the first Impressionist exhibition.

SEA HISTORY 145, WINTER 2013- 14

-Boats on the Beach at Berck, about 1876 by Ludovic-Napoleon Lepic (1839-1889) Ludovic-Napoleon Lepic was a member ofthe Anonymous Co-operative Society ofArtists (painters, sculptors, engravers, etc.), an association whose members rejected-or were rejected by-the official art exhibition ofthe Academie des BeauxArts with its juried competition. Their first exhibition was held in 1874 and included Eugene Boudin, Paul Ozanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, Alfred Sisley, and Jean-Baptiste-Armand Guillaumin. The group eventually embraced the name Impressionists, originally coined by critics as a satirical response to Monet's Impression-Sunrise, also exhibited in 1874.

Impressionists on the Wdter is on exhibit at the Peabody Essex Museum in Salem, Massachusetts, now through 17 February 2014. Through over 90 oil paintings, works on paper, models, and small craft, this exhibition illuminates the importance that access to the sea and France's extensive inland waterways played in the development of one of the world's most enduring artistic movements. Impressionists on the Wdter is organized by the Fine Arts Museums of San Francisco, with support provided by the East India Marine Associates of the Peabody Essex Museum. Daniel Finamore is the Russell W. Knight Curator of Maritime Art and History at PEM. The Peabody Essex Museum is open every day except Mondays and is located at 161 Essex Street, East India Square, Salem, MA 01970; Ph. 978 745-9500; www.pem.org. 30

SEA HISTORY 145, WINTER 2013- 14

2014 Calendar NEW! The Down to the Sea 2014 Calendar features the paintings of maritime artist Don Demers. Demers has been inspired since boyhood by the deep Atlantic waters that sweep the coast of Maine. His experience of sailing aboard traditional ships brings an authenticity to his marine paintings. In

Down to the Sea, when Demers paints historic vessels riding a swell or wafting Calendar is wall hanging, full color 11 " x 14". Gift #011 $14.95 or through a coastal inlet, you can always $ 13.46 forNMHS members. Add $5.50 s/h within the US. Orders shipped after 10 Dec. 2013 can be priority shipped at $7.95. sense the wind, feel the sea and smell the Please call for shipping charges for multiple or international orders. salt air of the waterways.

To order, call 1-800-221-NMHS (6647), ext. 0, or visit our website at www.seahistory.org. NY State residents add applicable sales tax.

Celebrate our maritime heritage this holiday season with NMHS greeting cards Geoff Hunt is known to millions of readers across the world as the artist responsible for the covers of Patrick O 'Brian's Aubrey-Mamrin novels. He is widely acknowledged to be one of the leading marine artists of his generation. Greeting reads "Wishing you fair winds for the holidays and calm seas for the New Year." SetoflO: $14.95 or$ 13.46 forNMHS members. Add $4.50 s/h for one set or $6.50 s/h for rwo to five sets. Please indicate your choice of holiday or blank cards.

Gifts CDl-"Shipbuilding along the Kennebec River, Maine; the Henry B. Hyde alongside" by Geoff Hunt. Oil on canvas, 24" x 36".

Please call for shipping charges for more than 5 sets or international orders. Visit our website www. seahistory.org-for other selections choose "Store," then "Gifts."

To order, call 1-800-221-NMHS (6647), ext. 0, or visit our website at www.seahistory.org. SEA HISTORY 145, WINTER 20 13- 14

Marit1e Art News Mitn1esota Maritte Art Museut\1: New G-allery, New Acquisitiotts On 29 Seprember, rhe M innesora Ma rine A rt M useum opened a new million-dollar gallery, in wh ich is displayed a mulri-million dollar collecrion, incl uding irs laresr acquisirion of seven new pai ntings by 19rh-cemury m aster painters. Tucked along the banks of the Mississippi River in W ino na, MN, the seven-year-old art museum is attrac ting scholars, collectors, a nd enthusias ts to see its collection of m arine and fo lk a rt, w ith paintings by M onet, Cezanne, Va n Gogh , and others. This fa ll, they added a $4.5 mi ll ion painting by Joseph M alla rd W illiam Turner and a ra re Gaug uin. Many of the paintings at the museum are actually on permanent loan from the pri vate collection of M ary Burrichter and Bob Kierlin, patrons who have inves ted heavily in both the crearion of rhe museum itself a nd in its ongoing curation of world-class arr. The new gallery is named in honor of the Stephen and Barbara Slaggie Fami ly and has a state-of-t he-a rt integrated LED li ghting sys tem by ERCO, similar to that of the N ational Gallery in London. (800 Riverview Dr., Winona, M N 55987; Ph. 507 4746626; www.mm am .org) Heidelberg with a Rainbow, by j. M. W Turner

20th Attttual Marititfle Art Exhibit at the Coos Art Museutfl The C oos An Museum in Coos Bay, Oregon, wrapped up its annual maritime art exhibit in October with the anno uncem ent of award s. C ongratulations to Louis Stephan Gadal, Port of Coos Bay award winner fo r h is watercolor tided Genius Reflected, and Best-of-Show w inner Brian Stewart fo r h is oil painting, Boatyard Dawg. A rtist H arold W . Joh nson was a double awa rd w inner w ith the D irector's Award for R ustler s Final Days a nd the People's C hoice award for May in Mevagissey. The Coos An M useum hosts the annual juried exhibit, now in its 21st yea r, of m aritime-themed works from an ists around the cou ntry. Keep your eye out in spring 2014 for the Call to A rtists fo r next yea r's event. (235 A nderson Avenue, C oos Bay, OR 97420; Ph. 54 1 267-3901 ; www.coosan.org)

May in Mevagissey, by Harold W Johnson ofSeaTac, Washington, was awarded the Peoples Choice Award.

Modern Nature: tJ.eorgia o~Keeffe and Lake tJ.eorge Between 1918 a nd 1934, Georgia O 'Keeffe (1 887-1986) lived pan of each yea r at Alfred Stieglitz's fa m ily es tate on Lake G eorge, the popula r resort destination in the Adi rondack Mo untains of New York . During this highly producti ve decade, O'Keeffe created more than 200 paintings on canvas and paper in addition to sketches and pas tels, m aking her Lake G eorge yea rs among the most prolific and transform ative of her seven-decade career. This period also coincided with her first critical success and emergence as a professional artist; yet, Lake George is often portrayed as an annoyance from which she tried to escape. During these years, O'Keeffe painted Starlight Night, 1922, by Georgia O'Keeffe th roughout the summer and fa ll at Lake George and transported canvases back to her New York studio for completion and exhibition in the spring. D espite her fr ustration with the social and physical enviro nment at the Srieglitz Adirondack property, ir is clear from her body of work during that time that she fo und the natural beauty of rhe area inspiring. In 1923, fo r example, O 'Keeffe enthusias tically wro te to her fri end Sherwood Anderson, "I wish yo u could see the place here-there is som ething so perfect abour rhe mountains and the lake and the trees- Sometimes I wa nt to rear it all to pieces-it seem s so perfect- but it is really lovely-A nd when the household is in good running order- and I feel free to work it is very n ice."' Modern Nature: Georgia O'Keeffe and Lake George will be on display now th ro ugh 26 January 2014 at the Georgia O 'Keeffe M useum in Sam a Fe, New M exico. The museum is dedicated to the artistic legacy of Geo rgia O'Keeffe, her life, American modernism, and public engagement and is the largest single repository of the artist's wo rk in the wo rld. (Georgia O 'Keeffe Museum, 217 Johnson Stree t, Santa Fe, N M 87501 ; Ph . 505 946-1000; www.okeeffemuseum.org) 32

SEA HISTORY 145, WINTER 20 13- 14

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To order: call 1-800-221-NMHS (6647), ext. 235; or email merchandise@seahistory.org. To view this and other art prints available through NMHS, visit our Ship's Store online at www.seahistory.org. SEA HISTORY 145, WINTER 20 13- 14

A Ship Fiddler's Tale by Louis Arrhur Narron

Alone black man, a former slave and sailor serving against his will, stood on the deck of HMS Indefatigable. Cradling a violin under his chin, he looked longingly at the land only a league distant across the water. It could have been a continent away. He then played a tune, a cheerful hornpipe so that his fellow crewmen might tem porarily forget the monotony and drudgery of shipboard life. hipboard life in the age of sail was difficulr. Seamen made the best of their shared hardship in cramped quarters by pracricing knotring, gambling, crocheting, mending clothes, carving, drawing, making models, and telling stories, and a few played musical insuumems. Because of space resuictions, musical insuumem s onboard were limited to violins, bones, tambourine, spoons, fifes, rin whisdes, ocarinas, jaw (Jew's) harp, guitar-like instrumems and sometimes trumpets. Harmonicas, concertinas and banjos were imroduced after the 1830s and became popular. The

amateur musicians joined forces and occasionally formed "foo foo bands," whose unlikely name came from the "foo foo " (or "poo poo") refuse barges that plied China's Yangtze River. A common relief from shipboard drudgery and boredom combined music and storyrelling imo sea ballads and shanties. These rhythmic songs were also sung for entertainment, but primarily to help produce efficiency in repetitive tasks such as hauling on lines or pushing a capstan bar to raise an anchor. Forecasde shamies were quite diverse. Lyrics varied from musings about wives, girlfriends, and tall tales,

all the way to stories mocking the ship's officers. The ship's hierarchy tolerated the latter songs as a harmless way ofletting off steam over shipboard frusuarions while getting needed work done. Shamy singing was considered essential to aid monotonous grueling activities in the American navy, and Yankee sailors, often recruired from mercham vessels, were comfortable joining in with lyric and rune variations of their own. In comrast, Nelson's Royal Navy banned shanties , believing them to be incompatible wirh milita ry discipline. Midshipmen called out numbers to accompany labor in a type

lhis drawing ofthe Truro Philharmonic Orchestra is the only known contemporary image ofJoseph Antonio Emidy.

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SEA HIISTORY 145, WINTER 2013- 14

of song called a "stamp and haul." If the vessel had a competent violinist onboard , he was allowed to play rhythmic tunes on a fiddle to help accomplish tedious timeconsumi ng labors. One such musician was landsma n Joseph Antonio Emidy. Emidy had been sold into slavery to Portuguese traders when he was a yo ung boy. Born in G uinea on the W es t Coas t of

sell the produce. It is not clear if the slaves could keep the profits. 2 Emidy's earliest history as a slave is unknown, bur as a child he was likely assigned as someone's personal attendant rather than a plantation laborer. The boy ultimately came to live in Lisbon with his owner. At the time, it was fas hionable in Portugal to h ave a few black household

After three or fo ur yea rs of study and countless hours of practice, in 1795 the twe nty-year-old Emidy was admitted to the second violin section in the orches tra of the Lisbon O pera . Thi s was a n extrao rdinary achieve ment for a nyo ne of his age, but fo r an under-educated A fri ca n fo rmer slave with a limited exposure to European culture, it was truly rem arkable.

Sir Edward Pellew (left) and James Silk Buckingham (right) each recognized Emidy's talents as a musician and would influence his life in very different ways. Pellew exploited him, while Buckingham became his pupil in both music and in life. Later, as a member of Parliament, Buckingham set his sights on abolishing impressment in the navy and slavery.

Afri ca, his birth date is simply recorded as 1775.1 Portugal was one of the earlies t Eu ro pea n slave- trading countries; most of their slaves were sent to Brazil, where the Portuguese tried to conve rt them to C h r istianit y and integrate them into the social life of the colony. In Portuguese Brazil, dom es tic female slaves cooked , clean ed , did laundry, fetched water, and performed childca re. In urban settings, Afri can slave women sold tropical frui ts and vege tables, and prepared A fri can dishes. Blacks a nd whi tes mi xed freely and slaves were provided sm all plots of land to cultivate a nd

serva nts. Altho ugh Po rtug uese Prime M inister M arques de Pombal abolished slave ry in Portugal on 2 Febru ary 1761 , this action did not affect or address slavery in the colonies, where slavery was the labor engine of the economies. It is not clear if Emidy, now residing in Po rtugal's capital, was a free ma n at this time or not, but while in Lisbon, Emidy's talent for music became apparent to others. His m as ter (or fo rmer mas ter) allowed him to develop his natural talent, supplyin g him w ith a violin, a teacher, a nd the opportunity for employm ent as a professional musician.

Emidy's life wo uld radically change, all because of a par tly submerged rock off Cape Finisterre. The British fri gate Indefatigable (38) , commanded by Captain Sir Edward Pellew (later Visco unt Exm outh), grounded on a rock on 7 May 1795 , while pursuing a French fleet during the Napoleo nic Wa r. 3 D am aged but aflo at, Indefatigable limped into the Tagus River and onto the Lisbon dockyards fo r repairs. The following passage describes what happened next:

111e lite of Jose ph Antoni o E midy is recounted in pages 165-169 in the autob iogra ph y of Ja mes Silk Buck ingha m, the Br iti sh abo litionist/polit icia n. It is ind icated o n E m idy's head stone that he was born in 1775, b u r the actual d ate is un k now n. 2 Po rtu ga l tra nsported 178,000 Afri ca n slaves to Brazil between 1780 and 1790, mostl y fro m what is now A ngola. 3 111e A rd ent-class third-rare fr igate at t he time h ad been cut dow n (razeed) from a 64 -gun ship a rmed with 42- pounder ca rro nades to 24-po under lo ng guns.

SEA HISTORY 145, WINTER 201 3- 14

It happened that Sir Edwa rd Pellew, in his frigate the Indefatigable, visited the Tagus, and with some of his officers , attended the [Lisbon] Opera. They had long wa nted for the frigate a good violin player, to furnis h music for the sailors' dancing in their evening leisure, a recreation highly favo urable to the preservation of their good spirits and contentmem. Sir Edward, observing the energy with wh ich the you ng negro plied his violin in the orchestra, conceived the idea ofimpressing him for the service. He accordingly instructed one of his lieutenams to take two or three of the boat's crew, then waiting to convey the officers on board, and watching the boy's ex it from the theatre, to kidnap him, violin and all, and take him off to the ship. This was done, and the next day the frigate sa iled: so that all hope of his escape was vain .4 Em idy, now a former Portuguese slave, was pressed imo the British Navy as a lowly seaman and wou ld never be allowed to go as hore for fear of desertion. He spoke no Engli sh and was the only black man on board in a relatively racist closed society. Further complicating his plight, he was wholl y unfamiliar with shipboard life. Now, as a sa ilor/musician, he would play severa l shipboard roles: enterta ining the officers a nd crew, playing melodies a nd rhythms for the crew's labors, and finally music for dance. During that era, men aboard ships danced with each other for exercise and entertainment. Good musicians were assets to a ship at sea for momhs at a time. Although he was now the ship's musician, he also would serve as a fighting sai lor, and Indefatigable participated in more than a score of bloody engagements during the time Emidy served onboard. The muster book of 1 September 1795 listed Emidy as number 316 of the ship's crew, three of whom, including Emidy, were described as "Lisbon volunteers." His rating was landsman, the lowest rank of 4

Buckin gham, James Silk,A utobiographyofj ames Silk Buckingham , (Lo ndon: Longman, Brown, G ree n, & Lon gmans, 1855), 167-168. 5 ibid. , 168- 169. 6 Jb id. , 165. 7 I bid ., J 69.

sailors, and his pay was 16/6 shillings per month. For comparison, a n ordinary seaman received 17/6 sh illings per month and an able seaman was paid ÂŁ1-2/6 shillings per month. Em idy's li fe as an impressed black crewman was described as follows: Poor Em idee [s ic] was thus forced, against his w ill, to descend from the higher regions of music in which he delighted-Gluck, Haydn, C imarosa, and Mozart, to desecrate his violin to hornpipes, jigs, a nd reels, which he loathed and detes ted : and being, moreover, the only negro on board, he had to mess by himself, and was looked down upon as an inferior being-except when playing to the sai lors, when he was of course in high favour. As the captain a nd officers judged, from his conduct and expressions, that he was intensely disgusted with his present mode of life, and would escape at the first possible opportunity, he was never permitted to set his foot on shore for seven long years! and was on ly released by Sir Edwa rd Pellew's being appointed to the command of a line-of-battle ship, L1mpetueux , when he was permitted to leave in the harbour of Falmouth, where he first la nded, a nd remained, I believe, till the period of his death .5 On 1 March 1799, Pellew was indeed transferred to becom e captain of the captured French ship, L'lmpetueux. 1his change in command of a naval ship led to a reorganization of his crew. Some sai lors fo llowed Pellew to his new command, but Emidy was discharged from hi s impressment on 28 February 1799 at Falmouth, Cornwall County E ngla nd, a nd he was at last a completely free man , on E nglish soil. In 1799, Cornwall's cultural a nd social life was largely centered on the theater, assemblies and balls, and "ha rmonic societies" of amateur musicians. T ruro and Falmouth, the Cornwall towns Em idy was most associated with , had sma ll theaters and theater companies that presented contemporary melodramas and comedies, adap tations of the classic repertory, as we!l as comic operas and burlesques. A small band of musicians played an important part in these presenta-

tions. Because ofEmidy's background and hi s diverse skills, he likely participated. A res ident of Falmouth , future member of Parliament James Si l k Buckingh a m , wis hed to study music. H e t hought it "a most ag reea ble recommendation in fem ale society, ofwhich [he] was always fond ."6 He elected to take lessons on the flute, a n instrument that he ass umed would be easy to play, and was readily available and quite por table. After E midy's discharge from the Roya l Navy, he earned part of his living as a music teacher in Falmouth . H e had by this time ea rned a repu ta ti on as a proficient musician and fine violinist, a composer of some renown , and a conductor of local E nglish county concerts. His teaching ve rsatility was extrao rdinary, offering instruct ion in piano, violin , violoncello, cla rinet, a nd flme . Buckingham started his lesso ns and diligently practiced four hours a day. There are no records about how Buckingham's flme playing affec ted his rom a ncing the local ladies, but his close contact with his teacher did have one importa nt a nd lasting resu lt. Buckingham became very sympathetic to the plight of African slaves. Later in life, as a member of Parl iament, he was staunchly opposed to the slave trade and a n ardent abolitionist. There is no painting or physical description of rhe musician, but in Buckingham 's autobiography he undiplomatically but candid ly wrote, "[Emidy] was one of the very uglies t negroes I ever remember to have seen, he had charms enough to fascinate" Jane Hutchengs (or Hutchins), the white daughter of a loca l uadesman .7 They were married in 1802 and had eight children, five of whom were baptized at the C hurch of King C ha rles the Martyr in Falmouth before the family moved to Truro aro und 1815, where he continued to play his violin, teach and compose. Seacoast towns such as Falmouth and Truro had a regular military or naval presence durin g the anxio us Napoleoni c War years. Cand lelit theatres in the town halls or large rooms at local taverns or inns provided an assembl y place, the principal focus for social li fe during that time. Ass em bl ies often included officers a nd their families, who called upon rhe militia bands to provide music for the balls usually preceded by a concert. The principle source of music was from h arm onic societies, amateurs who met

SEA HISTORY 145, WINTER 2013- 14

fo r priva re recrearion. Emidy was a n o rganizer of many of rhese harmonic socieries . O ver approximarely a quarrer cenrury, Emidy built a large followin g. H e advertised a wide range of musical employ menr enterprises in rhe 1825 Royal Cornwall Gazette. Th ese included lessons fo r rhe violin, renor and bass viol, and guita r. H e was also ava ilable to provide music for balls and asse mblies, plus services to rune ha rps, and tune, buff, and regulate pianofo rtes. 8 Highly rega rded , an accompli shed mulriface ted musician, composer, teacher and con cert leader, Emidy emerged as a leader in rhe music scene of sourhwestern England. Artempri ng to adva nce his friend's career, Buckin gham com acredJohann Perer Salomon, rhewell-know n musical impresario and a rranger of Joseph H aydn's music. Salomo n was impressed by rhe samples of Emidy's compositions a nd sugges ted rhar he come to London to give a concert of his wo rks. Concerned rhar his skin colo r might be held aga insr him, m any of his colleagues in Cornwall debared the wisdom of imro ducin g him into London's musical sociery. They fin ally advised him nor to accept rhe invirarion because failure might ra ke him fro m rhe musical sphere in which h e was m aking a co mforrable livelihood. Therefore, Emidy rem ained in the Falm outh a rea where he continued to reach, o rga ni ze conce rrs, a nd found a m a teur harmonic societies, eventually becoming music director of rhe T ruro Philha rmonic O rches rra. Hi s own chamber works, concertos, a nd symphonies m ade him a rg uably the most celebrated and influential musical figure in early ninereenrh-cemury C ornwa ll, bur today he is a relatively unkn own foo tnote in music hi story. No known copies of his m a ny compositions have been found . Th e o nly known drawing depicting E mid y, an undared wo rk rirled A Musical Clu b in Truro, is by an unknow n anist. Joseph Anronio Emidy died in Truro on 23 April 1835 ar the age of sixty. Hi s tombstone srands today in Kenwyn C hurchya rd . His obituary in The Gazette 8

srared : "His ralem s m ay be said to have ra nked under rhe first order while his enthusias tic devotedness to science was rarely exceeded. As an orchestral composer his sinfonias m ay be mentioned as evincing not only deep musical research, bur also those flights of genius which induce regret rhar his talents were not called into action in a more genial sphere than rhar in which he moved ." 9

tht> mortal remains ef, M!:"Jos~A 11fo'l1iaEmid who departed tins J1te, on thr 23'id of April

183S .AGED 60 YEARS. And sacre d to who s eml'tnory this1rjbute ofaffe cHoni s ereclt>d by h is su rvivingÂˇ family He was a native of PORT U G A L , which Counfr,yhc ~fu i tted about forty .J'eArS s:fuee;ana ,pursuingtbe Musical profession , resi d e d in Cornwall untiJ t he clo s e of bi s ea.rthly C! are er. D e.v ot e d t o il.iJ" 1t ool- in apir i n g: s tr i'\..in3, S'1"ee.t 1'1usie! l bee llit h a il 'd his ih:ief deli~ht, An d ...., ithfond r.ealtJlal shnruMl nor toil n orp..,in

Hi s 'tal en t se.a:r'd 1 _and ie n.i-u s roa.rk'd it s fJight In"ba:rm ony b@ liv'dJ1n p eace with a ll T ook his d epiU"turc from tlli S world of woe; Andherc hisrest,tlll the last Trurup m c31l, Sha.ll"wa.keM Anki.nd 1.0 :;oy.s tha..'t end.k.sa 1'low.

Emidy was clearl y an atypi cal Brirish warship's fiddler. Srill, his bi ography is well documented-char of a slave, ralenred musician, impressed sail o r, influenri al reacher, no rable composer, and arguably the m ost inspirati onal of Bri rain's ship's fiddlers. Ir was Pellew's kidnapping and impressmenr of Emidy aboard Indefatigabfe rhar wo uld larer land rhe former slave, now profess ional musician , in England, where he built a noreworrhy career in music and raised a famil y. Twice kidn apped and enslaved, his life's path was clearly an exceprio nal one.

A n English legend tells of an old sa lr who was tired of rhe sea. The mariner hiked well inland and cam e to a beauri ful peaceful village a nd decided to rest under a large rree. Suddenly, a fiddler appea red playing a spirited tune joined by some prerry nymphs, who began to dance. O ne maiden paused and gave him a very special glass of grog and a pipe. The glass m agica lly refill ed irself every time he d ra nk and rhe pipe srayed lit wirh his favorite tobacco fo rever. 111is was Fiddler's G reen, vision of an afterli fe fo r sailo rs-a myrhical "place nine miles beyond rhe dwelling of Saranic M ajesty.. . in w hich rhere is plenry of gro g and m errimenr- and here safely conveyed, rh ar no ne can ever disrurb rhem." 10 Perhaps Emidy became a resident fiddler rhere. ,!,

D r. Louis Arthur Norton is a maritime historian andfrequent contributor to Sea Hi sto ry. H e is the author of Joshua Barney: H ero of the Revolurio n and 1812 (Naval Institute Press, 2 000) and Caprains Conrenrious: The D ys fun cri onal Sons of rhe Brine (Univ. of South Carolina Press, 2 009). A native of Gloucester, MA, he is a professor emeritus of the University of Connecticut H ealth Center in Farmington. (left) Joseph Emidy's grave-the inscription reads: " H E RE LI E D EPO SITED rhe mo rral rem ains of Mr Jos:hAntonia Emidy who deparred this life, on rhe 23 :rd of April 1835 AGED 60 YEARS And sacred to whose memory this rribure of affecri o n is erected by his surviving family. H e was n ati ve of PORTUGAL which Country he q uir abo m fo rry years since and pursuin g rhe M usical profession, resided in Cornwall un ril the close ofh is earrhly career. D evored to rhy soul-inspiring strains, Sweet M usic! Thee he hail'd his chief delight And w ith fond zeal rhar shunn'd nor toil no r pain H is talent sear'd, and genius m ark'd its fligh t In harmony he liv'd, in peacewith all Too k hi s deparrure from rhis world of woe, And here his rest, rill the las r Trumper's call, Shall 'wake mankind to joys rh ar endless fl ow."

Richa rd McG rady, "An Afri ca n in Co rn wa ll ," The Musical Times, vol. 127, no. 1726, (Nov. 1986) 62 1.

9 Em idy's great-gra ndd aughter Jul ia immi grated co the U nited Srates in 1873, surviving t he sh ipw reck of rhe A meri can barque Frances off Meadow Beach at Nort h

T ru ro, Cape Cod . (Refere nce: The Original American Lloyd's Register ofAmerican and Foreign Shipping 1873-74. 'fo e 704-ro n, 143-foor barque Frances was und er t he co mm a nd of Captain W illia m Kel ley a nd was ow ned by D . D. Kelley ofBosro n. There are no ex istin g reco rd s of t he passe nger list or su rv ivo rs.) Ju lia became a voca li sr fo r the Ba rnum a nd Ba iley circus. H e r great-gra ndso n is Edwa rd R. R ozie Jr., t he C laire a nd M ill a rd Pryo r O rchestra Commi rree Cha ir of the H a rtfo rd Sy mph o ny O rchestra, p rinciple of the bass sect io n a nd member of rhe fac ul ty of the H a m School of Mu sic, the U niversity of H artfo rd . JO P. J. R. (J ul y 23, 1832) . "1l1e Olio, or, Mu seu m of enterta inm ent." Joseph Shackell , 95 .

SEA HISTORY 145 , WINTER 2013- 14

Ninja vs. Navy SfAL Seven-year-old Walker Greentree can't decide if he'd rather be a Navy SEAL when he grows up, or a ninja. He's keeping his options open. In the meantime, this summer, while he was playing in his yard-loudly-with a friend, his mother scolded him and told him he need to be "quiet, like a SEAL." His friend promptly came back with, "Ninjas are quieter than SEALS." And so began a debate that the two boys decided only an expert could resolve. So, Walker wrote a letter to Admiral William H. McRaven, the US Navy admiral in charge of United States Special Operations Command. Now, Admiral McRaven is a busy guy, but when he received Walker's letter, he knew he needed to set record straight. Admiral McRaven wrote back: "To answer your questions : I think ninjas are probably quieter than SEALs, but we are better swimmers, and also better with guns and blowing things up." There you have it. .1

(below) SEA Ls, short for the US Navy Sea, Air, Land teams, were established in 1962 as a small, elite maritime military force "suited for all aspects of unconventional warfare." Their motto is: "The Only Easy Day Was Yesterday."

Walker Greentree is from a military family and is a member of MilKidz Club, a program run by Blue Star Families, which works to support and empower military families in the US. To learn more about Blue Star Families, visit www.bluestarfam.org.

September 19 2013

SEA HISTORY 145, WINTER 201 3-14

Animals in Sea History

by Richard King

cott O'Dell 's famous young-adult novel, Island of the Blue Dolphins, tells the tale of a Native American girl named Karana. She lives alone on San Nicolas Island, one of the more distant of the Channel Islands off the coast of southern California. Early in the story, Karana stands on a cliff and watches men who have sailed here from a distant country:

The wide beds of kelp which surround our island on three sides come close to the shore and spread out to sea for a distance of a league. "" In these deep beds, even on days of heavy Ii

~; ;1

winds, the Aleuts hunted. They left the shore

•

"-". )

e { r

at dawn in their skin canoes and did not return until night, towing after them the slain otter. The sea otter, when it is swimming, looks like a seal, but is really very different. It has a shorter nose than a seal, small webbed feet

much more beautiful. It is also different in other ways. The otter likes to lie on its back in the kelp

instead of flippers, and fur that is thicker and

waves, sunning itself or sleeping. They are the

beds, floating up and down to the motion of the most playful animals in the sea.

S outai'.J?-N SE:A ou~v., (fall-\ Y \:>\Z}'. LvT~IS N't\2.t:\S)

Scott O'Dell is historically and biologically accurate with much of his novel. He based Karana t'--\o \?.LvBEt:f?.' '61.l\ TWO LAYE:~S. oF FvF?; uNPi:::f'.LA'(~ 1>ENs1Ty on the true story of a woman who was stranded A\?ollT OtJE to\\ L.UON \-IA\RS \?el?- SG.vf">!Ft: . . 11'lc.1-1-T1-1E Mesi oF AN'< P..t-Jl!V\ALon San Nicolas for more than 20 years 111 the early 1800s. But who were the Aleuts? What D1<=:1 °f cµ-e.s, were they doing hunting otters here? And V~Cl-\\t-J S, C.L-i><MS P,"10 S1M1L-A1<-0FTE'N would someone in the 1800s have actuvs1t-1G 12-oc""s ANCl Tool.S 10 OPEN SHELLS ally thought of sea otters as cute and playful-as so many of us do today? The Aleuts, or the Aleutians, were MOf2.E CL-OSEL'( f?.8-Al'E"P \0 v E:l'<Sa..0:. l>'At-l £1*LS native hunters from the Aleutian Islands, which stretch into the far North Pacific '' \)OC'E:E:\5 I iJ t'VIZ- UN DE\2f>'-OtJT L-£b, f'v~ \-lo'-O\tJG beyond Alaska. Russian sea captains who roo1> ltJl-\i'-1':: \)\\JING. sailed past these islands on their way 1

1 '

SEA HISTO RY 145, WIN T ER 201 3- 14

Aleutian Sea Otter Hunters, as depicted by Charles Melville Scammon in The Marine Mammals of the North-Western Coast of North America, Described and Illustrated; Together With an Account of the American Whale-Fishery (187 4)

to the coast of North America recruited them because that people in earlier centuries did not consider the sea the Aleutians were skilled in hunting all types of marine otter as cute as a puppy. West Coast Native Americans, mammals with spears from kayaks. The Russians wanted according to one source at least, portrayed the sea otter in seals, sea lions, elephant seals, and sea otters for meat, stories as a playful trickster and even as symbol of good blubber, and their beautiful and valuable pelts. luck. Russians began hunting seals and sea otters in the Early Russian explorers also seem to have considered mid-1700s, when they first began exploring the islands of sea otters as fun-loving, even while they hunted them. The the North Pacific. They seem to have killed-and brought men of the Bering expedition in 1741 ate the meat from home at great profithundreds of sea otters and far more animals than skinned them for their fur. the Aleutians or Native Naturalist Georg Wilhelm Americans in the Pacific Steller served up a baby sea Northwest had hunted otter to heal his ailing exin previous centuries. As pedition leader. Yet Steller saw the otter as an "exanimals grew more and more scarce, they sailed traordinarily beautiful and their ships farther and pleasant animal, as well as farther south, until they amusing and comical in were nearly to Mexico. its habits." Steller added: They searched around "Not even the most loving the islands off this coast, Men posing with sea otter skins in the Aleutian Islands, 1892. human mother engages such as San Nicolas. The in the same kind of playextraordinarily dense fur of the sea otter fetched an ex- ing with her children ...when the young are taken from ceptionally high price at the time, especially when trading them, they cry aloud like a little child and grieve." with merchants in China. Can you think of any other animal today that we eat In Island of the Blue Dolphins, Karana at one point and use for products, yet also think of as adorable? nurses a young sea otter back to health. She names the Hunters and habitat loss rendered sea otters almost otter "Won-a-nee," or "Girl with the Large Eyes," and goes extinct along the coast of North America by the late on to see her living back in the wild as a mother. Karana 1800s. Sea otter populations have since begun to return, says: "After that summer, after being friends with Won- but slowly. They remain on the endangered species list. a-nee and her young, I never killed another otter. I had Novels such as Island of the Blue Dolphins teach us about an otter cape for my shoulders, which I used until it wore our history with these animals-and remind us to protect out, but never again did I make a new one." O'Dell wrote them. this novel in 1960, about the time that Americans were In the next issue of Sea History: a Columbia River growing more environmentally aware-the first Earth dinosaur fish? For past "Animals in Sea History," go to Day was only a decade away. This does not mean, though, www.seahistory.org.

a/JD

SEA HISTORY 145, WINTER 2013- 14

Making the Call-The Decision to Deconstruct Wawona by Nathaniel H owe

n March 2009, the non-profit Northwest Seaport undertook the unthinkable-it sent the flagship of its museum fleet, the 112-year-old Pacific schooner Wtiwona, to the breaker's yard. The decision to deconstruct the ship did not come easily. It came after nearly four years of careful deliberation amidst a series of unsettling revelations, major shifts in strategy, and a series of progressively tougher decisions. Ultimately, it became clear that a careful and controlled deconstruction of the ship was the most responsible course of action. The steps involved in reaching that conclusion, the effort it took to forge success out of crisis, and the pervasive changes it brought to the organization are worth examination by those who work with or value historic ships. This article is part one of a two-part series that examines the Wtiwona story.

A Common Ship of Great Distinction

Wawona was one of hundreds of large wo rking schooners builr for the West Coast lumber trade. Yet, from the very beginning, she srood out as the queen of the Pacific fleer. Launched on 27 September 1897 at H ans D idev Bendixsen's sh ipya rd at Fairhaven, Californ ia, Wawona was one of the largest three-mas ted Pacific schooners on the coas t, measuring 165 feet on deck,

lhe 1897 schooner Wawona being towed on her final passage far deconstruction at a Seattle shipyard, 4 March 2009. with a 36-foo t beam , and rared at 468 gross rons. By the ti me of her co nstruction, the unique design of the purpose-built Pacific lumber schooners had been perfec ted, and Wawona proved one of the finest examples of her k ind. G raced with a simple and efficient design that included a basic three-mas ted , bald-headed schooner rig, an uncluttered

deck, and a large, unobstructed cargo hold, Wawona entered service with Dolbeer & Ca rson Lumber C o. of San Francisco befo re the end of 1897. The schooner quickly proved a good vessel and earned her ow ners a decent profit. Wawona typically sailed from rhe huge Washingron lumber mills at Aberdeen and Porr Blakely southward ro San Francisco or San Pedro, California. The voyage each way rarely las ted more than a week bur was ofren bedeviled by fog and strong gales. Wawona made eighty-six voyages in the coastal lumber trade before steam-p owered ships finally displaced the last sai ling schooners; Wawona was sold in 1913 ro Robinson Fisheries Company of A naco rtes, Washingron. W hile wa r swept across Europe, Wawona scarred a new career, sailing into the violence of the Bering Sea as a cod-fishing schoon er. M uch like Ad antic cod fi shing, Wawona carried a dozen or more sm all fishing dories . The cod schooners dropped anchor off the Aleutian Islands, and the fi shermen struck out in the dories and fis hed uintil they were literally filled ro the Wawon1a under fu ll sail ca. 1897 with a deck loaid of lumber far Dolbeer & Carson Lumberr Company.

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gunwales. Afrer the dories returned to the schooners, the fish were offioaded for gucring, spliningandsalring. Wawonaworked in this "mocher ship" ro le for twenty-nine seasons, spending five to six months on the Alaskan fishing grounds each year. The dory men quickly established Wawona as rhe highliner of rhe Beer, routinely bringing in more fish than any other vessel. Wawona was credited with bringing in more than 7. 1 million codfish during her career, laying the groundwork for today's multibillion-dollar Bering Sea ground fishery.1 The o nly major interruption in Wawona's record-se tting fishing career came during World War II. The Bering Sea fishing grounds had become a combat zone and both fishermen and fishing vessels were drafred into military service. Wawona served as Army barge BCL-7 10, carrying building supplies north and A laska spruce south to the Boeing aircrafr factories in Searde. 2 A product of the coastal shipbuilding industry and a veteran of rhe lumber and fishing industries, Wawona added rhe armed forces and the aviation industry to her resume, establishing the vessel as an icon of the five key industries that built the Pacific Nort hwest region before rhe era of Microsofr, Starbucks, and Amazon.com. Afrer Wo rld War II, Wawona was returned to Robinson Fisheries, re-rigged, and sent back to the Alaskan fish ing grounds for rwo more seasons. The catch was good, bur Americans had lost their appetite for

Cod fishermen "fake and Eddie" working on deck in the 1930s.

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Tugs warp the ship around for her annual turnaround in Seattle, her home for forty years. salted cod once diesel-powered trawlers w ith refrigeration introduced frozen fish to American markers. Wawona was retired in 1947. Her sister-ship, C. A. Thayer, was the last sailing schooner in the fishery, holding on until 1950. Following her retirement from fishing, Wawona changed hands several rimes. Her owners tried to organize exotic South Pacific cruises a nd carde deliveries to Kamchatka, Russia, bur witho ut much success. In 1964, a gro up of prominent Seard eites pu rchased Wawona with plans to make her a museum ship; they formed a non-profit organ ization called Save Our Sh ips (renamed Northwest Seaport in 1977), established for the specific purpose of savi ng Wawona. For m any yea rs Wawona was equally successful in her final role as a Boating museum ship. In 1970, Wawona became the first ship to be placed on the National Historic Register and, a few years later, she was named a Searde City Landmark and became the unofficial flagship for Pacific Northwest maritime heritage efforts. Northwest Seaport offered tours and numerous public programs, bringing nearly 20,000 people aboard every year. Regular maintenance work was undertaken both afloat and in local shipyards. These efforts were aimed at both stabilization a nd major restoration projects, including the stepping of new masts in 1974 and the restoration of the officers' quarters. In the early 1980s, the National Park Service supported a project to record the sh ape of Wawona's hull for inclusion in rhe Historic American Engineering Record (HAER), preserved in the Library of Congress. Although Wawona never sailed during her years as a museum ship, her capa-

cious size allowed volunteers and program participants to bring rhe ship to life even while she was tied to the dock, gatheri ng aboard to raise sai ls, learn knots, walk the capstan arou nd, sing sea chanteys, and overnight in rhe fo'c's le. Th ese programs, and countless others, engaged thousands of people with the ship and its rich history for forty years.

Volunteers hoist Wawona's massive gaffsails at the dock, ca. 1980.

450 Tons on a Slippery Slope Caring for 450 tons of rot-prone timber half-immersed in water for a century is no small challenge. It requires careful monitoring and derailed planning, as well as constant anention from a ream of trained shipwrights, apprentices, and maritime museum professionals-and a budget capable of supporting all this activity. Until the 1980s historic vessel preservation science as we know it today simply did nor exist. Like many historic ships, Wawona was managed by a combination of enthusi as tic volunteers and retired merchant mariners. The laner had extensive experience in vessel m aintenance and overh aul buc were unaccustomed to working within the tenets of hi storic preservation. The former, although dedicated and well-intentioned, generally

Wawo na in 1985. (above) in drydock for the HAER 's survey by the National Park Service. (below) Note the steel cap placed over the bow in 1972.

lacked the project managem ent a nd fundraising skills necessary to conduct majo r restoration projects. Consequently, funds were never sufficient fo r the repairs the ship needed, .and much of the work that was undertaken lacked staffin g or professional oversight. Prioritization of restoration proj ects was driven by cost-expedience or the donation of particular m aterials. Repair work was spo radic, often undocumented, a nd sometimes inappropriate for the constructio n of the ship and the frailty of its timbers. Leaks in the prow we re repaired by placing a large steel cap over the entire bow, rather tha n by in-kind replacement of planking, and a project to improve access had volunteers saw thro ugh Wawona's high bulwa rks to install a ga ngway, severin g a key structural member of the Pacific schooner's hull. Later, the entire starboard bow was dism antled down to the waterline and rebuilt while the ship was still afloat, distorting the hull even furth er. A ll the while, rainwa ter seeped in through uncalked seams a nd ro t pockets, spreading water and fun gal spo res deep into the ship's structural members. There is no accusation of negligence or m alice attributed to these acts-quite the contra ry. D edicated volunteers were doing their level best with the ever-limited funds and expertise ava ilable, and rhey succeeded in keeping up a steady rate of work aboa rd Wawona, brea thing life into the ship a nd sustaining her for sixty years beyond her commercial wo rking career. Yer, it wo uld not be enough to preserve 450 tons of Douglas fir in Seattle's sodden climate. The lack of both funds and cohesive restoration planning based on profess ional expertise allowed the deterioration to outpace restoration. W hen Wawona became a museum ship in 1964, surveyo rs esrimared that $75,000 of repairs wo uld put her in excellent shape for visitors.3 Fifteen yea rs passed before the nexr survey; by rhen the ship had deteriorated considerably. A series of surveys by C aptain Harold Huycke starting in 1980 found much of the deck structure, upper hull , and bulwa rks severely rotted and in need of replacement. Below the waterline, Wawona's conditio n was impressively good- a benefit of its yea rs m oored in fresh water. N eve rtheless, while fresh water prorecred the hull timbers below, it killed them from above. Rainwater intrusion and rot were destroying the ship foom the top down. Substantial

SEA HJSTORY 145, WINTER 2013- 14

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grams for restoration were secured during the 1980s, but they were never enough to keep up w ith the pace of deteri oration. By the early 1990s, Wawona needed significant repairs to the hull. Because dry-docking fees were prohibitively high, Nort hwest Seaport chose to build its own shipyard alongside Wawona instead. The yard began operating in 1992, and full restoration of Wawona was by then pegged at $4.7 million. County grams funded work afloat, replacing the stem a nd rebui !ding the starboard bow; when work shifted to the port bow, however, the project lost momentum, the budget ra n dry, and work was h alted , leaving a gaping hole in the port side. Smaller projects continued up until 2002, but the spread of rot fun gi o utpaced restoration efforts. Above the waterline there was h ardly a tight seam or a solid timber in the ship. When it rained on deck, it po ured below. Planks began to crumble from the ship's sides, the hog in her keel worsened, and the entire transom and counter literally began to fa ll off, slowly detaching from the sternpost and sagging precipitously downward. Below the waterline Wawona remained tight and, even as the deck beams and upper futtocks were reduced to pulp, Bendi xsen'ssolid construction kept the ship a fl oat and rugging at her mooring linesenough to feed the dream of saving her long after the tide had turned against Wawona .

The Beginning of the End

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The journey to the breaker's ya rd began in 2003 with the collapse of the M aritime Heritage Foundation. This umbrella organization had been coordinating Seattle's nu mero us maritime heritage organizations to build a ma ritime museum at the site where Wawona was docked. The C ity of Seattle offered land and a facility, but when the maritime heritage community proved unable to collaborate a nd raise the money for the museum, the city decided to repurpose the land. In 2004, Seattle Parks and Recreation released its plan fo r a new waterfront park on the site. Wawona's slip was conspicuously empty. Northwest Seaport protested . Seattle Parks and Recreation explained that the shoreline where Wawonawas moored n eeded to be stabilized and that the toxic creosoted pilings-used by Wawona-needed to be removed. They also pointed to the ship's declining condition and her grim prospects

SEA HISTORY 145, WINTER 2013- 14

Wawo na's entire starboard bow was rebuilt down to the waterline in the 1990s while the vessel was in the water, but funding was not available to complete the work on the port side. for restoration, and made it clear that the crumbling ship had no place in the city's newest urban park. 4 As a city landmark a nd a Nat ional Historic Register vessel, Wawona had so me measure of protection from encroac hment. Landmark status, however, was not enough to fend off an eviction. All it afforded was a requirement that the city somehow mitigate the adverse effects of eviction . Accordingly, the city offered to relocate the ship-literally willing to pay to get rid of it. It seemed unjust after thirty years on the site, but Wawona's appearance had indeed become an eyesore. The new park plan h ad strong political backin g, a nd its developm ent was not going to yield to a rotting hulk. Northwest Seaport was forced to consider alternative options. If the city was offering to pay, it was worth exploring. In 2005 Seattle Parks and Recreation worked with Northwest Seaport to hire a m arine surveyor from Coastal H eritage Alliance, Inc., to examine the ship and explore possible sites to dock the ship elsewhere in Seattle. It was the first professional m arine survey of Wawona in two decades-and the results were shocking. The surveyor concluded that moving Wawona in her condition would be extremely risky. The entire hull was compromised by advanced d ry rot, the m as ts and rigging were anchored in heavily decayed timbers, hull seams had opened up just inches above the wate rline, and there was still a gaping hole in the port bow from the stalled restoration project. To attempt to tow the ship

anywhere was too dangerous. Moreover, even if the masts were removed and the hull patched aro und the waterline, Seattle had no moorage available offering comparable refuge from wave action . The Coastal H eritage Alliance report was a jarring wake- up call for No rthwest Seaport. The ship was promptly closed to the public. If the sh ip could not even be towed , could she ever be restored? Northwest Seaport com miss ioned Tri-Coastal Marine to do a second marine survey, focusing on the condition of the h istoric fabric. Meanwhile, the Northwest Seaport board acknowledged that the situation was well beyond their collective expertise; m aritime museum professionals and experts in historic ship restoration needed to be called in to consult on the future course of the ship.

The Wawona Summit In December 2005, Northwest Seaport convened a summit of maritime heritage experts from all over North America. The meeting was co-sponsored by Seattle Parks and Recreation, King County's 4Culrure, the Washington Trust for Historic Preservation, The Center for Wooden Boats, a nd the National Park Service. During the three days of the summit, panelists exa mined Wawona's historical significance, her present condi tion, and case studies of other ship preservation projects, and then focused on their options. The summit proved productive and in formative from the start. 1l1e first day, the surveyor's

Wawona's massive hanging knees, in a view from down below in 2001. reports spelled out in grave detail just how extensive the damage was. Test borings found considerable rot damage in every part of the ship. Restoring the schooner just to float at the pier was estimated at $1520 million a nd would require 90-95% replacement of her timbers; effectively, the ship was already gone. This was a difficult, but critically important fact to grasp. As the reality of the ship's condition sank in, for the first time Northwest Seaport considered practical alternatives to a full restoration. Protest from the "save-atall-costs" camp quieted. On the second and third days of the summit, panelists discussed the pros and cons of various options for Wawona, including: placing the entire ship ashore, preserving one or two 50-ton sections, building a monumental sculpture representing the ship, sinking her as an artificial reef, and even "s trategic abandonment" on a beach where it wo uld be a dramatic ruin, slowly being reclaimed by nature. Demolition and building a replica were not considered because neither involved preservation of historic fabric. The summit was a major step forward for Northwest Seaport. It was a thoughtful and strategic process that was absolutely necessary for moving forward. The organization emerged stunned, but confident about its direction; pipe dreams were set aside for good. The crisis also forced Northwest Seaport to admit that it was lacking in professional capacity and that its volunteer-based operations model was limited. Consequently, the organization

began to contract experts and hire its own professionals to manage its ships, while also markedly increasing collaborative involvement with industry professionals-a practice that had lapsed in the 1990s.

Decision Time Most panelists at the summit favored full restoration, but emphasized the need for Northwest Seaport to assess its resources an d carefully weigh its options before determining which course to take. This process-full of political wrangling, false leads, dead ends, and innumerable ups and downs-lasted for almost two yea rs. Still hoping to preserve the ship intact, Northwest Seaport's efforts were focused on the summit's recommendation to move Wawona ashore, as had been done with D enmark's frigate ]yffand, Japan's Mikasa, and Britain's Cutty Sark. Responses to the $10-million project idea ranged from lukewarm approval to staunch opposition. Dismasted, the dismal-looking schooner had lost her charm and ability to inspire. Then began a long, demoralizing period ofattrition as plans for Wawona's future had to be scaled back again and again. The first plan sought to build a full-scale sculptural representation of the ship on shore, emulating the Maine Maritime Museum's representation of WJoming. Northwest Seaport's version wo uld incorporate the ship's fifty-foot stern section. When that idea fell through, we pursued placing only the rudder and keel sections within the steel sculpture; then just the sculpture without

any historic fabric at all. By the end of2007, park planners were ready to break ground and begin shoreline stabilization; Wawona was blocking the way. Keeping the ship in Seattle and intact had become impossible. Northwest Seaport explored relocating to another community on Puge t Sound. Former sawmill towns once filled with lumber schooners were redefining themselves as tourist destinations. Wawona fit their development visions-but not their budgets. Meanwhile, resources for securing a future for the ship were siphoned off to repel political and legal attacks aimed at ousting the ship from her location, and, at the same time, to contend with contrary efforts by some long-time Wawona supporters, angry that Northwest Seaport was considering anything short of full restoration. In the spri ng of2008, Northwest Seaport altered its focus. Wawona's prospects for avoiding the landfill were lower than ever. Two intensive years of developing plans and pursuing negotiations had failed to yield any agreements. Meanwhile, the ship continued to fa ll apart. Northwest Seaport was out of time. 1here was no longer any way around it; Wawonawas going to be broken up-we had to either do it in a controlled manner or watch her sink at her mooring and be broken up by dredges with little or no opportunity for research or artifact recovery. As stewards of the region's maritime heritage, it was Northwest Seaport's responsibility to preserve her legacy, if not in its physical form, then "saved" on paper and in digital media. The stories and information in her timbers could not be allowed to go down with the ship. In the end, the decision to deconstruct Wawona was strangely easy. All options had been exhausted and the only question left was whether to abandon the sh ip to the dredges or see it through to an honorable end. The one immutable duty to preserve, at least, a record of the ship made the decision to deconstruct the ship remarkably simple. The HAER drawings done in the 1980s provided an excellent record of the ship's exterior shape and its rigging configuration, but detailed archaeological recordings ofthe ship's internal structure-the source of her strength and the mark of her builders-had yet to be done. Archaeological recording thus became the chief mission during the ship's fimal year.

SEAHIISTORY 145, WINTER 20 13- 14

The Road Ahead The decision had been m ade-No rthwes t Seaport would not pursue any further effo rts to preserve Wawona. It was a harsh call, but there was no alternative. If the Waw ona Summit h ad been convened a decade earlier, forcing Northwest Seaport through this difficult process when prospects fo r preserving the ship m ay have been better, it might not have been necessary. A s early as the 1980s, hull surveys had indicated a need to dras tically improve preservation efforts, ye t that change never came. Historic vessel preservation science was in its infancy, and Wawona's volunteer m anagem ern lacked the fundin g and organization to keep ahead of the decay. For many years N orthwes t Seaport clung to the dream tha t, with enough volunteers, Wawona could be res tored to her former glory. Experienced voices like Ken Reynard from Sta~ ofIndia warned "this cannot be accomplished by piece-meal measures or by volunteers," but it was not really until the Wawona Summit that the grav ity of the situation came into focus , starting a discussion on alternatives and putting N orthwes t Seaport on the road to professional vessel ma nagemern. Northwes t Seaport's las t duty to the ship, m aritime history, and the public whose heritage it held in trust was to thoroughly document the ship and learn as much as possible from her well-traveled timbers before they were des troyed . Du ring Wawona's fin al year, No rthwes t Seaport brought in team s of nautical archaeologists to reverseengineer the ship and record every detail down to the tool m arks left on her timbers more than a century ago. Hundreds of

A gaping hole in Wawona' s badly deteriorated stern in early 2 009. By this p oint, the transom and counter were peeling offthe sternp ost and sagging downward. artifac ts were removed from the ship, ranging from fittings and equipment to 15,000-pound keel sections, m ost ofwhich h ave now been transferred to regional museums for display. In rhe course of this work, Northwes t Seaport discovered how much the old ship still had left to reach, making it possible to salvage a legacy and make a success out of tragedy. .1 Nathaniel H owe is the nautical archaeologist and vessel manager for Northwest Seaport. H e holds a master's degree in Nautical Archaeology from East Carolina University and also studied at Mystic Seap ort; he was later a Fulbright scholar at the Vasa Museum in Sweden for two years. In 2 008 and 2 009,

Wawona being guided by tugs to a nearby shipyard fo r deconstruction, 4 March 2 009.

H owe directed the archaeological recording ofthe Pacific schooner Wawon a and oversaw the extraction of artifacts prior to and during her deconstruction at a Seattle shipyard. H owe is currently continuing research on Wawo na and managing restoration projects for Northwest Seaport's other two ships, Arthur Foss and Lightship N o. 83. This article was made possible by the encouragement and support of the National Park Service. Northwest Seaport is a non-profit maritime heritage organization p roviding interpretive and educational programming aboard its two ships, the tugboat Arthur Foss (1889) and Lightship No. 83 (1904) - both docked in Seattle at the H istoric Ships Wharf on Lake Union, just north of downtown. (860 Terry Ave. North, Seattle, WA 98109; POE 9744, Seattle, WA 98109; Ph. 206 4479800; www.nwseaport.org) NOTES 1

Wayne Palsson, ''Addendum to Wawona H AER File: Written Historical and D escriptive D ara," Library of Congress, H AER files, pp. 7, 10, 11 . 2 Capt. H arold D. Huycke, "The Wawona is Waiting: Part II" Sea History 22 (Autumn 1981): 9- 13. 3 Alexander Gow, Fire and Safety Co., Survey Report, Schooner Wawona, General Condition (Seattle: 1964), Northwes t Seaport Archives. 4 ''Addendum to Wawona H AER File," p. 33.

SEA HISTORY 145 , WfNTER 2013- 14

National Maritime Alliance Secures Federal Grants for Maritime Heritage by Timorhy J. Runyan, PhD

he MaririmeAdminisrrarion (MARAD) and rhe Narional Park Service (NPS) recently signed a memorandum of agreement, which will provide funding fora grants program rhrough rhe Narional Maririme Heritage Acr. The agreement is expecred ro make $7 million available w maririme herirage groups over rhe nexr several years. Ir is rhe result of a sustained effort by rhe Narional Maririme Alliance, a group founded in 1988 and roday supported by more rhan 1,000 small businesses, organizarions, and individuals that make up the maritime heritage community in the Un ired States. Afrer a concerted effort led by the A lliance in the early 1990s, rhe Natio nal Maririme Heritage Act became Public Law 103-45 1 (16 USC 5401) in November 1994. The preamble on Findings declares: The United States is a nation wirh a rich maritime history, and it is desirable w fosrer in rhe American public a grearer awareness and appreciation of the role of maritime endeavors in our Nation's hisrory and culture.:

requesting over $10 million. C learly there was great need. The Secretary of the Interior appointed a twenty-one-member Grants Advisory Committee, which included members from seven federal age ncies with m aritime interests and 14 members representing va rious areas of maritime heritage. The thirty-nine grants that were awarded supported education and preservation projects in nineteen stares and the District of Columbia w preserve histori c maritime resources and increase public awareness and appreciation for rhe m aritime heritage of the United States. Awards funded the hisroric ship Balclutha (CA), collections at The Mariners' Museum (VA), preservatio n of the Point Sur Lighthouse (CA), rhe Portland Observarory (ME), rhe Be!Le of Louisville (KY), conservation of the La Salle shipwreck (TX), the Center for Traditional Louisiana Boat Building (LA), rhe USS Consriwrion Museum (MA), and ex hibits at the Mississippi River Museum (IA).

Ir goes on w state: The ma ritime hisrorical and cultura l foundarion of rhe nation should be preserved as part of our communiry life and development; national, stare and local groups have been working independently w preserve the maritime heritage of the Unired Stares; rhose hisroric resources are being losr; The preservarion of rhis irreplaceable maritime heritage is in the public imeresr so that its vital legacy wi ll be maintained and enriched for fuwre generarions of Americans; current government and nongovernmemal hisroric preservarion programs are inadequare to ensure app reciation of rhis heritage.

Ir furrher srates that "a coordinared narional program is needed immedi ately to redress rhe adverse consequences of a period of indifference during which rhe maritime herirage of rhe United Stares has become endangered and w ensure the fuwre preservarion of the Nation's maritime heritage," and calls for the creation of a national maritime heritage policy. The passage of the National Maritime Heritage Act was a first in this country. It established a National Maritime H eritage Grants Program that derived its funding from a percentage of the sale or scrapping of obsolete vessels in the National D efense Reserve Fleer, or "mothball" fleer. Fifty percent of rhe profit was w be retained by rhe Maritime Administration (part of rhe Department of Transportation), twenty-five percent was w be used by MARAD w support the maritime academies, and rhe remaining twenty-five percent would be avai lable for the National Marit ime Heritage Grants Program. With millions of dollars generated annually by ship scrapping and sales, supporters of the Act were elated rhar a solid stream of funding was identified . After a lengthy process of es tablish ing the regularions for the Act, the first distribution was made in 1998; the rota! available came w about $670,000. In that first year, more than 340 proposals were submitted, 48

The 1914 Belle of Louisville is a National Historic Landmark; it is the oldest operating Mississippi River-style steamboat in the world. The program is administered by the D epartment of the Interior through the Maritime H eritage Program of the National Pa rk Service, and reports w rhe chiefhisrorian. The National Trust for Hi storic Preservation was initi ally a partner, but withdrew from participation and ceded its role w the D epartment oflnterior. State Hisroric Preservation Officers participated in the review process . Since 1998, the National Maritime Alliance, the m ajor catalyst for rhe passage of rhe Act, has focused on advocacy and organizing rhe Maritime Heritage Conferences. Advocacy was necessary following an Environmental Protection Agency ruling rhar banned scrapping of ships abroad without first removing haza rdous materials. The resu lt was a backlog of mothba lled ships and congressional subsidies w pay for scrapping-there were no profits, and therefore there was no money for the grants program. Advocacy by the National Maritime Alliance leadership and supporting organizations resulted in the insertion of alternate fundin g sources in several bills, and even a direct appropriation request supported by five senarors, but without success. The effort continues w seek an alternative w ship recycling as a funding stream for rhe grants program. Nevertheless, because of a spike in scrap metal prices, funds once again became available for the grants program but, in a surprise move, an amerndment was included in the 2010 defen se

SEA HISTORY 145 , WINTER20 13- 14

authorization bill that allows t h e use of MARAD gram funds fo r its own ma ritime heritage need s. Efforts to strike the am endm ent did not succeed, but the N ational M aritime Alliance, its partners, and congressional supporters wo rked with M A RA D to fund the gra nts program. MARAD agreed to commit o ne half of the funds available. The tra nsfer of funds required a memorandum of ag reement between M A RAD and the National Pa rk Service, a process that stalled for nearly two yea rs. Because of interes t in the M a ritime H eritage Act am ong members of the Connecticut congressional delegation, Mys tic Seaport took a lead role in wo rking with their Council of American M aritime Museums colleagues and the A lli ance to organize advocacy. The maritime heritage community has been persistent in working with MARA D , N PS , and the U S C ongress, a nd the outcome is positive. There will be a grants prog ram for the A merican m aritime heritage community. Because of the aforem entioned amendmenr, the amounr will be half the original amount. The N ational M aritime H eri rage Act is a powerful statem ent in support of the significance a nd value of Am erica's m aritime heritage. The Act was supported by C ongress and signed by the presidenr, and the m aritime heritage community succeeded in gaining support at the highes t levels of government. Pro perly funding the act w ill provide support to the m any maritime organi zations that bring the story of America's maritime heritage to the public.

D r. Timothy J Runyan is chair ofthe National Maritime A lliance. H e also serves as chair of the Sea History editorial board and as a trustee of the National Maritime H istorical Society

One of the recipients of the first round of Maritime H eritage Act grants, the 1886 ship Balclutha is one of the historic ships in the San Francisco M aritime National H istoric Park in California. She is also a National H istoric Landmark.

National Historic Landmark Ii National Memorial to Coast

Guardsmen who lost their lives during WWII thro ugh Vietnam. • Awarded two Naval Presidential Unit Citations for her service during Vietnam. • Credited with sinking Li-Boat 626 during convoy duty in the North Atlantic. Don't miss the opportunity to tour this ship. learn about its remarkable history. the recently completely underwater re-Rt and the current work being done restoring her topside. USCGC ING HAM is located in Key West on the Truman Waterfront.

You can Visit ...You Can Help The foundation seeks donations to continue restoratio n of this important vesse l. Please send your ta x-deductible contributions to:

USCGC INGHAM Memorial Museum P. 0. Box186. Key West. Florida 33041 • Phone: (305)-395-9554 www.uscgcingham.org SEA HISTORY 145, WINT ER 2013- 14

by Peter McCracken

MARITIME HISTORY ON THE INTERNET

Text Mining and Digital Humanities Tools The use of digital tools in the humanities has been growing by leaps and bounds in recent years. Some of the early tools could create a concordance for text, but these were just the beginnings of ways to analyze and explore texts. Today, new methods of using technology to explore textual works continue to appear, providing a host of tools to researchers in the humanities. I'm a huge fan of serendipitous research-of just wandering into something unexpected, but relevant. Bur the wandering shouldn't quite be aimless; there should be something guiding it to maximize the chance of finding something both interesting and useful. In the library, this is often accomplished by roaming the stacks near other works. Online, this can be a bit rougher. Serendip-o-matic (at http://serendipomatic.org), however, does a great job of improving serendipitous research. It analyzes text that you provide-usually a paragraph or three of text that's of interest to you-and spits out a wide range of results, drawn primarily from the Digital Public Library of America, Europeana, Flickr Commons, and Trove. Each of these sites compiles a range of digital resources, usually from different geographical regions: photos, monographs, paintings, journal articles, maps, artifact images, government documents, and much more. Serendip-o-matic shows what a few talented and dedicated digital humanists can do when locked up in a room together. The program was built over the course of a week in July 2013 , during a digital humanities software development institute. The program is at version 0.1.1 , and it looks like it won't be developed further. Content, however, is constantly added to the aggregated collections it mines, so results will continue to expand and improve as the program has more content to dive through. The Text Analysis Portal for Research (TAPoR, at http://www.tapor.ca) gathers a collection of more than 300 tools for advanced text analysis and retrieval. Wordle (http:// www.wordle.net) , for example, generates "word clouds" from the texts that you provide to it, either through a URL even~ to a website with full text """" Joppa woe-,......,:,. · or th rough d.Hect1y ...... _ ,_ ,:: ~ thougb ....... on 1t,

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Wordle-generated word cloud of "The Sermon"from Moby Dick.

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SHIP INDEX

While Wordle presents itselfas a 'toy,' Cirrus (http://voyeurtools.org/tool/Cirrus/) presents itself as a serio us tool for academ ic textual analysis. In addition to creating a word cloud, Cirrus, which is one part of a collection at http://voyeurtools.org, can analyze groups of works, links from the word cloud to all instances of the word in the text, and offers a range of other tools. Google'sNgram Viewer (http://books.google.com/ngrams) makes it possible to analyze the distribution of terms across Google's massive collection of digitized volumes. Type in selected terms and see how they compare to each other. For example, a search comparing the terms "shanty" and "chanty" shows an increase in usage of "chanty" around 1810, and then a dropping-off from that point forward, while the use of the term "shanty" began in abo ut 1825 and increased dramatically to 1890. (A search of "shanty" versus "shanty, excluding shantytown" showed very little use of the term "shantytown" before the 1970s, but more work could be done to ensure that "shanty" here refers only to music, and not dwellings.) One can also follow the growth and comparative usage of the terms "barquentine" and "barkentine" over time, and much more. Google provides extensive advanced tools, but one must also recognize the challenges inherent in ensuring that searches are doing what one intended. Suggestions for other sites worth mentioning are welcome at peter@shipindex.org. See http://shipindex.org for a free compilation of over 140,000 ship names from indexes to dozens of books and journals. 50

SEAHISTORY 145, WINTER2013- 14

SHIP NOTES, SEAPORT & MUSEUM NEWS In October, The National Oceanic and gov/pd fch a rrs /.) ... The Future Project of the Year award at the World ArchiAtmospheric Administration (NOAA) announced that it will cease printing tecture Festival has been given to the paper nautical charts but will continue National Maritime Museum of China, to provide them in other forms, such as proposed for the port city of Tianjin, print-on-demand and versions for elecChina, near Beijing, and designed by Cox Rayner Architects of Brisbane, tronic charting software programs. Since 1862, lithographic n autica l cha rts, Australia. The design includes a waterfront schem e with nve exhibit h a lls that available in marine supply stores, h ave radi ate out to the harbor, where a probeen printed by the US gove rnment and sold to the p ublic by comme rcial vendors. ~ posed m ari time park w ill include floatz ing exhibits and space for visiting ships. The decision to stop produc tio n is based o n several fac tors, including the declining available fo r free dow nload fro m the demand for lithographic ch a rts, the in- C oas t Survey website. For th e rhreecreasing use of digital and electronic mo nth trial period (22 O ctober through ch arts, and federal budget constraints. 22 January 2014), N OAA is providing N OAA will continue to create and m ain- about a 1,000 high-resolutio n p rintable tain other fo rms of nautica l ch a rts, in- nautical ch arrs-a lmosr rhe entire cluding the increasingly p o pula r Print- N OAA suite of charts- as PDF fil es. on-Dem and (POD) charts, updated The PDFs a re exact images of rhe tradipaper ch ar ts available fr om N O AA-certi- tional cha rrs currently printed by lithogArchitectural schematic of the proposed fied printers. N OAA electro nic naviga- ra phy. A r rhe end of t he tri al period , the National Maritime Museum of China tional charts (NOAA ENC ~) and ras ter Coas t Survey will then eva luate usage 0 n avigational charts (NOAA R NC ), used a nd user feedbac k to decide whether to The architectura l firm won the contract in a va riety of electronic ch a rring sys- continue rhe serv ice. (You can d ownload for the 80,000-squa re-foor museum las t tems, are a lso updated wee kly and are the charts at: www. nauricalcharrs.noaa. Ap ril a nd rhe museum is supposed to be completed by the end of 2015. Philip Cox also designed the Austra lian NaModel Ships by Ray Guinta tio nal Maritime Museum, which opened P.O.Box74 in 199 1. (www.worldarchirecrurefesrival. Leonia, NJ 07605 H.LeeWhite com ; C ox Rayner A rchitects, www.cox201-461-5729 Marine M useum a rchirecrure.com .au) General Dynam& Maritime Center ics Bath Iron Works successfully www.modelshipsbyrayguinta.com OSWEGO - "oldest U.S. freshwater port" launched the US Navy's first Zumwalte-mail: raymondguinta@aol.com Ope n Mon - Stm 1-5 pm class destroyer on 28 October in Bath, Experienced shi model maker, who July & Aug 10-5 pm Maine. USS Zumwalt (DD G 1000) w ill has been commissioned by the be the lead ship of the Navy's newest deational MaritimeHistorical Society West 1s t Street Pier, Oswego, NY stroyer class, designed fo r lit to ral operah.leewh.itemarinemuseum.com and the USS Intrepid Museum 315-342-0480 tions and land arrac k. The Zumwalt is in New York City.

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SEA HISTORY 145 , WfN TER 2013- 14

the largest ship Bath Iron Works (BIW) has ever built and the US Navy's larges t des troyer. Construction began on DD G 1000 in Febru ary 2009 and is now m ore tha n 87% compl ete. BIW will continue rem aining constru cti on work on the hull

prior ro planned delivery !are in 2014. Because of rhe complexiry of rhe fi rsr-ofclass ship, rhe navy will perfor m a rwophase del ive ry process . A frer BIW delivers rhe ship irself ro rhe navy, rhe navy wi II rhen co nd uce com bar sys rems ac riva rion, res rs and rrials, wh ich will in clude mulriple underway periods. The ship is expecred to reach irs iniria l operarin g capabi liry in 201 6. The ship, rhe firsr of rhree Z umwalr-class desrroyers, will prov ide "independent forwa rd presence and dererrence, support special operarions forces and operare as part of joi nt and comb ined exped itionary fo rces." 1he US Navy has incorporated many new rechnologies into rhe ship's u nique tumb lehome hull, including an all-elecrri c inreg rared power sysrem and an Adva nced G un Sys rem , designed to fire rocke r-powered , prec1s1on projecriles . Th e shape of the superstructu re and the arrangement of irs antenn as sign ifi ca ntly reduce the ship's radar cross section, making the sh ip less visible to enemy radar at sea. The design also allows for optimal manning wirh a stand ard crew size of 130 and an aviarion detachment of rwe nty-eighr sailors, rhereby decreasing lifecycl e operation s and support costs. The lead ship and class are named in hono r of former C hief of Naval Operari ons Adm. Elmo R . "Bud " Z umwalr Jr. , who served as chief of nava l operations

WILLIA MS

iJ MYSTIC

from 1970- 1974. Shortly after the sh ip 's launch , the navy also a nnounced that the prosp ective comma nding offi cer of the new h igh-tech warship is none other than Capta in J a mes A . K i rk. N ot James T. Kirk of Star Trek

fa me, m ind you , bur like the fi ctional TV and movie charac ter, the U S N avy's Captain Kirk will be in com mand of the futurisric ship rhar looks like ir comes stra ight out of science fi cti on. Caprain Kirk is a narive of Bethesd a, Maryland, and is a graduate of rhe US Naval Academy. H e has served afloat on des troyers, cruisers, fri gares, and staffs including USS Fife (DD 99 1), USS The Su llivans (DD G 68), USS H ue City (CG 66), USS

john S. M cCain (DD G 56), and as a Gas Turbine Inspector on the staff of C ommander, Paci fi e Fleet. His most rece nt sea d uty includes command of U SS D e Wert (FFG 45) and Operarions Offi cer for C arri er Strike Group Seven, Rona ld Reagan Strike G roup. Ashore, Kirk has served as Execu ti ve Assisrant to rhe US N avy's C hief of Legislative Affairs and as an Acrion Offi cer on the Joint Staff. H e has attended bo rh rhe US Nava l W ar C ollege and US A rmy War C oll ege, graduating w irh mas rers degrees in N arional Securiry Studies . .. . In late October, the North Carolina Underwater Archaeology Unit r ecovered five more cannons from the Queen Anne's R evenge shipw reck site, just off the ch an nel h eading in to Beaufort, North Carolina . The Queen Anne's Revenge (QA R), part of Blackbeard 's litt le fl oti lla, ran ag round whi le ir was m aking its way along rhe coasr of N orth Ca rolina berween Cap e Fear and Cape Lookout in 1718. Some claimed th at Blackbea rd intent ionally ran the QAR and another vessel aground to break up hi s band of

THE EXPERIENCE OF NO EXPERIENC

some 300 p irates and ru n off w irh the mosr valuable part of the booty wir h a h andpicked crew. The sh ips w recked in a shoal area of rhe coas r where sto rms and wave acr ion ca n cover and uncover item s on rhe sea floor on a regular bas is. In 1996, a priva re treas ure-hu nri ng fi rm, Intersal, Inc., was surveying the area, operaring under a permit fro m rh e N C D epr. of C u ltural Resources when they di scovered a collecrion of cannons and anchors in rhe seaflo or, jusr off Beauforr. The rea m recovered several ocher d iagnosri c arrifa c ts, including a bronze bell and a blu nde rb uss barrel, whi ch helped

SEA HISTORY 145 , WINTER 20 13- 14

10th Maritime Heritage Conference Save the Date! The 10th M aritime H eritage Co nference is scheduled for 17-2 1 September 201 4 in Norfolk, VA Na uticus, the science and technology center and home to the Battleillll•lllliii , , ship Wisconsin and ~ the Hampton Roads Naval Museum, is the principal host; sessions will be held in the Norfolk Waterside M ar riott. Naval Historica l Fo undation program diD avid rector Dr. Winkler will serve as r program chairm an . ~ · The M aritime H eri•illdl , rage Conference is hosted by multiple organizations and institutions associa ted w ith m aritime heritage and covers a wide range of topics. Museums, unive rsities, gove rnm ent agencies, and non- profit histo ri cal and heritage societies la rge and small send thei r leaders and staff to share wi th- and learn from-one another. Netwo rking opportunities abound. The las t time th e conference was held in Norfo lk, more than 500 people attended. Sessions will cover the followin g: internatio nal trade, immigration , m aritime law, shipbuilding, small craft preservation , lighthouses and lifesaving sta tions, whaling, underwater archaeology, hi sto ric ships, sailors' lives, African-American maritime history, maritime museums and orga ni za ti o ns, seapo rts, naval history, literature, native m aritime cultures, marine art and sea music, educati o n, sa il training and tall ships, and other top ics rel ated to global m aritime heritage. The co nference them e, keynote speakers, and other details will be fo rthcomin g. Please save the date a nd keep yo ur eye out for ways yo u can participate. C heck the NM H S websi te a t www. seahistory.org for details in the co min g m o nths. J,

SEA HISTORY 145, WINTER 2013- 14

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them dare the sire and hinted as to its identification. Since that rime, the state h as conducted field work every year and now recovered a total of 30 cannons, plus huntdreds of o ther artifacts. In 200 4, Eas t Carolina University in Greenville, NC, which has a highly regarded graduate program in maritime archaeology, dedicated its facility as the QAR Conservation Laboratory under a memorandum of agreement between the university and the State of NC Department of C ultural Resources. In the 2013 field season, archaeologists also recovered som e smaller guns , two large concretions p acked with numerous smaller artifacts, and a 7-foo t section of the ship's hull. Project Director Billy Ray Morris stated that they expect to complete the QAR excavation and documentation in 2014. The North Carolina Maritime Museum is the official repository for QAR artifacts and exhibits them and interprets the story of piracy, specifically of co urse Blackbeard 's story, at their museum in Beaufort. (More information on the SLaLe's QAR team is at www.qaronJine.org; for the conserva tion lab, www. qaronlin e.org/Conservation/QARLab. aspx; and the museum's website is www. n c ma r it imem u se um s. com/beau fort. html) ... Federal legislation affecting

the maritime community is underway in the US Congress. Maritimers should be paying attention to what's going on in Congress, as lots of traditional fundin g so urces for releva nt projects and organizations are in jeopardy. While there is good news regarding the Maritime Heritage Act (see article on pages 48-49) , other news from the Hill is of concern to the maritime heritage community and the shipping industry. On 30 September, Representatives Eric Cantor (R-Virginia) and Lam ar Smith (R-Texas) published a n opinion piece in USA Today calling for a reduction in National Science Foundation (NSF) funding towards the social sciences . "While the NSF spends most of its funds wel l, we have recently seen far too many ques tionable grants, esp ecially in the social, beh avioral and economic sciences." Other moves in Congress that will have an impact on the m aritime community are continued arguments to

(continued on page 56) SEA HISTORY 145, WINTER 20 13- 14

Bicentennial Memorial For Battle of Lake Erie On 10 September, Americans commemorated the 20(Jh anniversary of the Battle of Lake Erie. NMHS Trustee Robert Kamm participated in these important commemorative events as a representative ofthe Society.

wo hundred years ago, on 10 September 1813, a naval battle erupted on Lake E rie that played a crucial role in determining the fares of the United US Brig Niagara States, Great Britain, Canada, and N ative Americans in the region. In the Barde of Lake Erie, Oliver H. Perry, commanding a fleet of nine Americanbuilt ships, defeated a British squadron of six ships. Perry's feat of transferring from his flagship, USS Lawrence, to the brig USS Niagara turned the tide of battle. He carried w ith him his battle fla g, emblazoned with the immortal words of his friend, Captain James Lawrence: "Don't Give Up the Ship." This year on the anniversary of the battle, more than 500 people gathered at Put-In Bay, Ohio, at the Perry Victory and International Peace Memorial (operated by the US National Park Service) to memorialize the courage of the sailors who fought in the battle. (Sixty-eight sailors were killed, and 188 were wounded on both sides .) Highlighting the event was a memorial cruise by the current US Brig Niagara, Captain Walter Rybka commanding, during which representatives of the US Navy and Coast Guard, the Royal Navy, Canadian Forces, and Native Americans lay wreaths on the water at the battle site. Following the cruise, the National Park Service organized a memorial service at the Perry Memorial Tower; more than fifty members of the Perry fami ly attended the service that was keynoted by Ohio's governor, John Kasich. Both the Niagara, the official flagship for the State of Pennsylvania, and the US Coast Guard 's cutter USCGC Biscayne Bay flew the blue and white "Don't Give Up the Ship" flag out to the battle site. They were joined by numerous other vessels, includ(l-r) Bob Kamm and Captain Walter Ry bka aboard ing S/V Denis Sullivan, a reprothe N iagara. Captain Rybka also serves as a member duction of a 19'h-century G reat of the Sea History Editorial Advisory Board. Lakes cargo schooner that serves as the flags hip for the State of Wiscon sin . It was a marvelous experience to be on Lake E rie on the bicentennial of the battle and to see the hardworking crew of the Niagara wo rk the ship so professionally, especially given the 93 Â° heat. The Niagara runs sail training programs, and the crew of trainees on our sail included both yo ung and old salts. The next day, your intrepid reporter drove to Toledo, Ohio, and visited the Toledo Art M useum, which had a wonderful exhibition, Perry's Victory: The Battle of Lake Erie, on display until 10 November. The exhibition included Gi lbert Stuart's famo us portrait of Oliver H. Perry and Thomas Birch 's magnificent battle scene. Departing Toledo, I then drove to Erie, Pennsylvania, the Niagara's homeport and sire of the impressive Erie Maritime Museum, where NMHS will have its 2014 annual meeting. I encourage our members to make plans to attend the annual meeting, and to consider Oliver Hazard Perry by Gilbert Stuart extending their visit to include Put-In Bay and the Toledo Art Mu seum. A ll of them are (1755-1828). This portrait was Left unwell worth a visit. - Robert Kamm, NMHS Trustee finished at the time of Stuart's death and Visit the Erie Maritime Museum and the Brig Niagara at its homeport in Erie, PA: his daughter Jane finished the portrait by 150 East Front Street, Erie, PA 16507; Ph. 814 452-6760; www.flagshipniagara.org. painting in the sky, body, and uniform.

- Robert Kamm, Trustee, National Maritime Historical Society I

SEA lllSTORY 145, WINTER 2013-- 14

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(continued from page 54) repeal the Jones Ac t- legislation introduced by Senator John M cCain (R-Ariazon a)-and new legislation to replace the H arbor Ma intena nce Tax with something called the M aritime G oods Moveme nt User Fee-new legislation unveiled by US Senators Patty M urray and M aria Ca ntwell (both D-Washington). Senato rs Murray and Cantwell explain their position that the old law is outdated and that the new law wo uld support American ports and keep them competitive w ith ports in Canada and Mexico. These and o ther movem ents in C ongress often slip by unnoticed. Regardless of what side of the argument yo u are on, it is important to be part of the conversation . (A good place to keep track of these goingson is by visiting the we bsite http ://rhom as .loc.gov, m aintained by the Libra ry of C ongress .) The oldest surviving clipper ship in the world, the beleaguered City ofAdelaide, is embarking on her final voyage from the United

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Kingdom to South Australia, a voyage she has made 23 times before-between 1864 and 1886. This time, she' ll be sailing there as cargo, in the hold of a heavy-lift vessel in $ 1.2 million custombuilt steel cradle. She left Irvine, Scotla nd, in October atop a barge a nd headed for C hatham a nd then G reenw ich, where a n offi cial renaming cerem ony, performed by HRH the Duke of Edinburgh, officially rerurned the ship fr om her seco nd name HMS Carrick back to the City ofAdelaide. The ship then headed to D ordrecht in southern Holland, wh ere she will be completely shrinkw rapped and fumi gated as a quara ntine prerequisite fo r entry in to Australia. When the old ship fin ally m a kes it to Adelaide in South Australia, the C lipper Ship C ity of Adelaide, Ltd ., will take possession and preserve her as a n out-of-

The 1864 C ity of Adelaide in September on her cradle in Irvine, Scotland. the-water museum and heritage site. (You can follo w the City of A delaide 's progress-and don ate to the cause- at http: //cicyofadelaide.o rg. au.) The Fellowship program application deadline for 2014-15 at the John Carter Brown Library in Providence, RI, is fast approaching. Now in its 50th yea r, the program was created to give scholars of the earl y Americas an opportunity to pursue their work in proximity to a disting uished collection of primary sources. Approximately 40 fellowships are awa rded a nnually for periods of two to ten months; stipends ra nge from $4,200 to $21 ,000 depending on the specific award. (http://ww w.brown.edu/academ ics/libra ri es/john-carter-brown I) Whale Days at the Lake Champlain Maritime Museum are underway and the public is invited to join their crew behind the scenes as they build a whaleboat for the 1841 Charles W. Morgan at Mystic Seaport. While the crew at Mystic works at rerigging the ship and fitting her out, m aritime museums and boatbuilding progra ms up and dow n the East C oast have been wo rking on buildin g new whaleboats. Wh ale D ays at LCMM is open to the public but reserva tions are required. For a $5 fee, par ticipants will spend 2-plus hours m oving through different stations where they will steam bend planks, m ake their own scrimshaw (on synthetic m aterials), lea rn about whale anatomy, and join a LCMM chanteyman in song. A ll ages welcom e. (For information and reservations contaq Samantha William s, 802 475-2022 ext. 123; www.lcmm.org.) 1,

SEA HJSTORY 145, WINTER 2013- 14

EXHIBITS

FESTNALS, EvENTS, LECTURES, ETC.

CONFERENCES AND SYMPOSIUMS

•Risky Business: Rum Running on Cape Cod, through 15 December at the Cape Cod Maritime Museum (135 South St. H yannis, MA 02601 ; Ph. 508 775- 1723; www.capecodmaritimemuseum .org) •34th Annual International Marine Art Exhibition, through 31 December at the Maritime Gallery at Mystic Seaport. (Maritime Gallery email: gallery@mysticseaporr.org; 75 Greenmanville Ave., Mystic, CT 06355; Ph. 860 572-5388 www. mysticseaporr.org) •Jamestown's Legacy to the American Revolution, through 20 January at the Jamestown Settlement in Williamsburg, VA. (2 110 Jamestown Road, Ro ute 31 S., W illiams burg, VA 23 185 ; Ph . 757 2534838; www historyisfun .org) •Impressionists on the ~ter at the Peabody Essex Museum in Salem , MA. (See article on pp. 26-30 for details.) •Surface Tension Art Exhibit, the arr of Pamela Zwehl-Burke, opens 13 December at the Santa Barbara Maritime Museum in Califo rnia. (S BMM, 11 3 H arbor Way, Suite 190, Santa Barbara, CA 93 109; Ph. 805 962-8404; www.sbmm.org) •Crossing the Bar: Perilous Passage, at the Columbia River Mari time Museum (1 792 Marine Drive, Astoria, O R 97 103; Ph. 503 325-2323; www.crm m.org) •Push and Pull: Life on Chesapeake Tugboats, thro ugh 201 4; also Navigating Freedom: The ~r of1812 on the Chesapeake at the Chesapeake Bay Maritime Museum . (2 13 N. Talbot St., St. Michaels, M D 21663; www.cbmm.org) •Tides of Freedom: African Presence on the Delaware River, now th ro ugh 201 5 at the Independence Seapo rt Museum. (2 11 South Columbus Blvd. & Walnut Street, Philadelphia, PA 19 106; Ph. 215 4 13-8655; www. phillyseaport.org) •The Enemy's In Sight: Clash ofNavies in the ~r of 1812, at The M ariners' Museum in Newport News, VA. Also, Abandon Ship: Stories ofSurvival. (MM, 100 Museum Drive, Newport News, VA 23606; Ph. 757 596-2222; www.marinersmuseum.org) •Guns, Sweat, and Gears: Anatomy ofa Battleship, at Nauticus (One Waterside Drive, Norfolk, Virginia 235 10; Ph. 757 664-1000 www.nauticus.org)

•Lantern Light Tours at Mystic Seaport, evenings on 30 November; 7-8, 13-1 4, 20- 22, and 27 December. Advance tickets available online or by phone. (75 Greenmanville Ave., Mystic, CT 0635 5; Ph. 860 572-533 1; www.mysticseaporr.org) •Tim Flannery & The Lunatic Fringe Concert on the Star of India, 21 December at the Maritime Museum of San Diego. Advance tickets available online or by phone. (1492 N . Harbor Dr., San Diego, CA 92 101 ; Ph. 619 234-9 153 ext. 101 ; www.sdmaritime.org) •Moby-Dick Marathon, 3- 5 January at the New Bedfo rd W haling Museum. Non-stop reading of Herman Melville's masterpiece. Want to be a reader? Email mdmarathon@whalingmuseum.org or phone 508 7 17-6851 to inquire about openings. (18 Johnny Cake Hill, New Bedfo rd, MA 02740; Ph. 508 997-0046; www.whalingmuseum.org) • "West Passage to London, A Sea Captain's Tale," by Robin Lloyd. Part of the Maritime Author Series at Mystic Seaport, 8 January. (75 Greenmanville Ave., Mystic, CT 06355; www.mysticseaporr. org) •Commercial Marine Expo, 11- 12 June in New Bedfo rd, MA. CME is a trade show serving the commercial marine- and fishing industry on the Atlantic seaboard. (Call fo r Exhibi tors-contact Hillary Manning at hmanning@HighlinerEvents. com; www.comarexpo.com) •Chicago Maritime Festival, 22 February at the Chicago History Museum . O rganized by the Common Times with the Chicago Maritime Museum and the Chicago History Museum. (CH M, 160 1 North Clark St., Chicago, IL 60614; ph. 773 576-7245; www.chicagomaritimefes tival.org) •Ports and Pilots, 12 December. A visit to the NC State Port facility in Morehead City, organized by the North Carolina Maritime Museum in Beaufor t. (3 15 Front St., Beaufort, NC 285 16; Ph. 252 728-7317; www.ncmari timemuseums .com) •Pearl Harbor Ceremony, 7 December at the Intrepid Sea, Air, & Space Museum in New York City. (Pier 86, West 46th St. and 12th Avenue, New York, NY 10036; Ph. 877 957-SHIP (7447); www.intrepidmuseum.org)

•"Questions that Count," Society for Historical Archaeology annual conference, 8-12 January in Quebec City, Canada. (www.sha201 4.com) •2014 Oxford Naval History Conference: "Strategy and the Sea," An International Conference in Honour of Professor John B. H attendorf, 10-1 2 April 201 4 at All Souls College, Oxford Univers ity, UK. (www.oxfordnavalconference.co. uk/) •Ulster-American Heritage Symposium 2014, in two parts. Parr I: 18-2 1 June at Quinnipiac University, H amden, CT; Part II: 25-28 June in Athens, GA. (Details are online at www. qub. ac.uk/cms/XXUlster AmericanHeritageSymposium201 4. pdf) •"The Health and Welfare of Seafarers: Past, Present and Prospects," 30 January- I February at the Maritime Historical Studies Centre, University of Hull (www2 . hull. ac. uk/ fass/ mari timehistory.aspx) •"These Contrary Winds: Weather and its Effects on Ships, Mariners, and Maritime History," 42nd annual Walker Maritime History Symposium, 12 April at the Maine Maritime Museum. Call for Papers deadline is 31 December. Suggestions for speakers or queries on ideas for presentati ons are welcome. Contact Nathan Lipfe rr, senior curator, at MMM . (243 Washington Street, Bath, ME 04530; Ph. 207 443- 13 16, ext 328; lipfert@maritimeme. org; www.mainemaritimemuseum.org) •Classic Yacht Symposium, 2-4 May at the Herreshoff Marine Museum in RI. Symposium is held yearly and is organized by the HMM, the America's Cup H all of Fame, and the Society of Naval Architects and Marine Engineers. (H MM, O ne Burnside Street, POB 45 0, Bristol, RI 02809; Ph. 401 253-5000; www. her reshoff.org) •Council of American Maritime Museums Annual Meeting, 27-30 April at the National Museum of the Great Lakes in Toledo, O hio. (www. councilofamericanmari timemuseums.org) •North American Society for Oceanic History (NASOH) Annual Conference, 15-18 May 201 4 in Erie, PA. (www. nasoh. org) •10th Maritime Heritage Conference, 17-2 1 September 201 4 in Norfo lk, VA. (See notice on p. 53 fo r details.)

A Dream of Tall Ships: How New Yorkers Came Together to Save the City's Sailing-Ship Waterfront It's Here!

The long-awaited memoir by National Maritime Historical Society and South Street Seaport Museum legends Peter and Norma Stanford has just been released.

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It was the 1960s, and the two New Yorkers had become entranced by the old brick buildings of the Fulton Fish Market neighborhood, but they were also keenly aware of the rush of new office building construction in Lower Manhattan taking place at the time. The Stanfords started a movement to save the old buildings as a historic district and breathe new life into the waterfront neighborhood in which, a century before, had been a bustling seaport, with the bows of great sailing ships overhanging streets crowded with merchants, sailors, fishermen, chandlers, dockworkers, barkeeps, sailmakers, and counting house clerks. In 1966 the Stanfords and allies formed the Friends of South Street, which in 1967 incorporated the South Street Seaport Museum. You can read what happened next in this close-up, vivid tale of how the Seaport gained the largest museum membership in America, won the first Landmarks battle in New York, and brought the great sailing ships back to South Street. Along the way, you'll meet Cape Hom sailorman Alan Villiers, urban leader Joan K. Davidson, philanthropist Brooke Astor, fish market garbage man Joe Cantalupo, and, of course, the ordinary New Yorkers who came together to breathe new life and purpose into the Seaport from which the modem city grew. A Dream of Tall Ships: How New Yorkers Came Together to Save the City's SailingShip Waterfront by Peter and Norma Stanford (Sea History Press, National Maritime Historical Society, Peekskill, NY, 2013, 596 pages with 52 illustrations, ISBN 978-0930248-17-8). You can order A Dream of Tall Ships through the NMHS Ship's Store online at www.seahistory.org or by calling NMHS headquarters at 1-800-221-NMHS (6647); email merchandise@seahistory.org. ($34.95, plus $6.95 s/h in the US) 58

SEAHISTORY 145, WINTER2013- 14

Reviews The Sea Their Graves: An Archaeology of Death and Remembrance in Maritime Culture by David J. Stewart (University Press of Florida, Gainesville, FL, 2011 , 260pp, illus, notes, biblio, index, ISBN 978-0-81 30-3734 -9 ; $69.9 5hc) The fundamental question behind this book has to do not with the ac t of sailing ships in the Age of Sail, nor with sh ipwrecks, but instead with that w hich came next. After the ships had broke n up or sun k and lives had been lost, h ow were British and American sailors m em orialized and remembered? The author's fieldwork fo r this study took him to the burial gro unds of the best-known maritime communities of the United Kingdom and New E n gland, to search fo r graves tones, spires, stainedglass windows and plaques-any thing that might yield clues into the tho ugh ts behind memori alization of mariners who died at sea. H e asks and answers the question of who created the memorials (the state? family? shipmates?) and delves into the symbolism of both imagery and the words chosen to remember the dead. D avid Stewart, a professor of m aritime archaeology, looks beyond th e maritime folk gro up to examine ch an gi n g atti tudes towa rds death and remembrance in Anglo-American culture, includin g the rise of individualism, the sh ift in the belief that every person should be rem embered with a person al m arker of some kind, and the fi xation on the need fo r a body to be interred under a stone and therefore returned home at any cost. W ithin the folk group he exam ines evidence on m a rkers that indicate the relative racial equality among ship's crew members, sailors' ch anging attitudes towa rds religion over time, and the hardsh ips endured by fa mily members of sailors whose ships did not return or who personally were n ever recovered fro m watery graves. Stewart conducted thoro ugh research, both in the field and in the archives, to bring this book toget h er, presenting a unique study of an overlooked facet of mariti me li fe, what one m ight consider the las t chapter of the Age of Sail ashore. H e suggests that m ore can be done both in the U nited K ingdom and the United States, as well as in the

SEA HISTORY 145 , WINTER 2013- 14

other nations heavily involved in the traffic on the Atlantic during the Age of Sail: France, H olland, Spain, etc. In his conclusion, he also draws connections to modern-day memori alization of lost sailors and suggests that the spirit of the maritime folk gro up of the Age of Sail is not yet dead, but lives on as the traditions of remembrance continue with today's fishermen, merchant mariners, navy sailors and more. JoHN GALL UZZO

Hull, M assachusetts

The Workboats of Core Sound: Stories and Photographs ofa Changing World by Lawrence C. Earley (University of North Carolina Press; Ch apel H ill, 201 3, 176pp, il lus, maps, gloss, biblio, index, ISBN 978 -1-4696-1064-1; $35hc)

cal residents and researching the h istory of the region. Right away, he was captivated by the everyday workboats he saw everywhere, and when he talked to the people who own, build, and work them , he discovered that the boats were more than just a means of transportation, but that each was a "memory bank of relationships and experiences ." According to Ea rley, when he showed C ore Sound residents photographs of a local workboat, "they saw layers of history, biography, technology, and environmental info rmation." In his book, replete with 109 beautifully reproduced black and white

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phorographs, Earley shares these scenes and the back-story with the rest of us. He's a solid writer as well as a ski lled phorographer, and through his reverent and lively srorytelling, we learn about the region rhrough the tales of people like boatbuilder Ambrose Fulcher and fisherman Danny Mason, and a hosr of orhers worth getting ro know. Fishing for a livelihood in the sounds of North Carolina is in decline, which makes Earley's work not only a beautifu l phorography book rhar's pleasing ro look at but one rhar will prove a valuable record of a way of life rhar mighr nor be aro und much longer. FRANKLIN M ERCHER

Ayden, North Carolin a

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A Short Bright Flash: Augustin Fresnel and the Birth ofthe Modern Lighthouse by Theresa Levitt (W. W. Narro n & Co., NY, 201 3, 288pp, illus, maps, nores, biblio, ISB N 978-0-3930-6879-5; $25.95hc) Popular hisrories romam1ozing lighthouses and lighthouse keepers abound, while scholarly srudies on rhe subject remain scam. Ir is at this crossroads between popular lighthouse and academic hisrory rhat Professor Theresa Levitt finds herself attempting ro bridge the two distinct audiences. Examining rhe maritime technology developed by Augustin Fresnel and drawing on her specialized research in late eighteenth- and early nineteenth-century optical science, Levitt argues the importance of the nineteenth century's emerging engineering ethos. Augusti n Fresnel, a civil engineer in France's Department of Roads, began experimenting with the idea of a wave-lighr theory in the early 1800s. His experiments led ro the creation of a lighthouse lens that would dramatically improve maritime navigation. The invention became rhe most important technological development in the hisrory of lighthouses and aids to navigation. Levitt chronicles Fresnel's srory from his birth through the twentieth century, when more advanced technologies, such as radar, son ar, and GPS tracking, rendered lighthouses nearly obsolere ro coastal navigation. Popular audiences will appreciate Levitt's clear and simplified explanations

of the science involved in the development of the Fresnel lens. Her widely accessible prose and excellent selection of illustrations make Levitt's book a very quick and enjoyable read. Those interested in American maritime hisrory will find chapters 5 and 6 especially interesting. Here, Levitt explains the delay in bringing rhe Fresnel lens ro the United States and the Confederacy's attempts to thwart a Union vicrory in the Civil War by dismantling the coastal beacons . For the lighthouse enthusiast, however, Levitt offers very little that's new in these two chapters, rehashing many of rhe well-worn arguments about Stephen Pleasanton and about the Confederacy. On the academic side, Levitt's meticulous research is clear. She examines the development of the Fresnel lens and irs adoption around the world from rhe perspective of rhe ninereemh-century's focus on the emergence of engineering as a new science. The strength of Levitt's srudy, as well as her area of expertise, is found in the first four chapters discussing the development of the lens. Beginning wirh Chapter 5 and the discussion of the Fresnel lens in the United States, Levitt's focus on engineering begins ro falter. The final ch apter feels rushed and lacks the derail found earlier in rhe book. Additionally, Levitt's popular appeal overshadows her scholarly arg ument: Levitt's notes and the lack of a bibliography are also areas of concern . Most of the endnotes only note the sources of quotations, leaving the reader searching for the sources of other p ertinent information. These are undoubtedly edirorial decisions, but they detract from rhe author's scholarly argument in an otherwise welcome book in rhe historiography of lighthouses. ] AMES RI SK

Lexington, South Carolina

The Conquest of the Ocean: An Illustrated History of Seafaring by Brian Lavery (Darling Kindersley Ltd., London , 2013, 400pp, illus, biblio, index, ISBN 978-1-4654-0841-9; $3 0hc) Thousands of years of seafaring in world hisrory covered in 400 pages . The Conquest of the Ocean is another book on general maritime h istory from that prolific writer of all things sea-related, Brian Lavery. Lavery is surely an expert on these SEAHilSTORY 145, WINTER 2013-14

topics. As curator emeritus of the N ational Maritime Museum in Greenwich, he spent a career developing an expertise on the material culture of seafaring and then learning the history to which they are attached. In this, his most recent book, we get what you would expect with a tide such as this-broad coverage of the history of the world told through a maritime lens, sprinkled with specific stories, facts and figures , and well-thought-out illustrations and maps. For the learned maritime histori an or well-read maritime history buff, there is nothing in this book you do not already have a book about in yo ur library. For the mildly curious or novice m aritime enthusiast, this book is a great place to start. You'll learn about how the Polynesians navigated across thousands of miles of open ocean to populate and visit the remote islands in the Pacific, more than 2,5 00 years before Captain Cook made his way out there. You' ll learn about Columbus, of course, but also in the context of the Vikings' "discovery" of North America and the voyages of Zheng He's Beer of 100 ships across the Indian Ocean in the 1400s.

Lavery steers his course through the big topics in maritime history such as colonization across the Atlantic, the slave trade, commerce, fishing, war at sea, whaling, and naval and commercial activity into the twentieth century. The naval history of World War II is covered through a brief discuss ion of the Bartle of the Atlantic and the Bartle of Midway and D-Day. There is not much mention of military action at sea beyond that era, but he rounds out his coverage of the 20th century with short chapters on yacht racing and underwater exploration. For its intent, the book is nicely produced with high-quality illustrations and would be a great selection for either quick reference or general interest. It is a book you can pick up and put down again, over and over. MARTIN PERRY

Falmouth, Massachusetts

Hold Fast: Tom Crean with Shackleton's Endurance Expedition, 1913-1916 by David Hirzel (Terra Nova Press, Pacifica, CA, 201 3, 30lpp, appen, gloss, biblio, ISBN 978-1-4825-3079-7; $18.50pb)

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Even those who know little of maritime history have heard of the great Antarctic explorers Sir Ernest Shackleton, Robert Falcon Scott, and Roald Amundsen, but few would recognize the name Tom Crean, the man who spent more time at the bottom of the world on these polar expeditions than any of the famous leaders individually. Shackleton admitted he could not have survived without him. And even for Scott, who ultimately perished on the ice, it was Crean who persisted through extreme hardship to get a rescue party to go back for the surviving but desperate members of the team. And it was again Crea n who went back out on to the ice to find, not only Scott's remains, but importantly, the records of their expedition. Without him, no one would know their names and the story of their expeditions today. In Hold Fast, author David Hirzel continues the story of the burly Irishman Tom Crean at sea and on the ice as he sets off with Ernest Shackleton on their doomed but heroic expedition to the South Pole aboard the ship Endurance in 1913. Hirzel is a man somewhat obsessed

A Sea of Misadventures Shipwreck and Survival in Early America Amy Mitchell-Cook An investigation of how the trauma of shipwreck affected American values and behavior 240 pages, 6 illus., hardcover, $34.95 ebook, $34.95 (November)

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with Crean's story, and he relays it in an engaging way, with solid writing but not overly dram atic-ways you could describe Tom C rean him self. Tom Crean was a m odest working m an . H e didn't write books or go on speaking tours when he returned from these incredible voyages, which is why we do not know his personal story. W hen the Sh ackleton crew m ade it back to England, C rean resumed his naval service before retiring from the Royal Navy. W hen he eventually retired fro m the sea, he quietly went back to his hometown in C ounty Kerry, m arried his hometown sweetheart, and opened a sm all public house called The South Pole Inn. Hirzel's book fi lls in a big gap in the stories of the H eroic Age of Exploration and reminds us that the people we remember-Shackleton , Scott, Peary, Amundsen, and others-did not pursue these aims alone. H old Fast is a no-frills publication. There are no illustrations or maps, and Hirzel is clearly a big fan of the subject he writes about. But, he is a good storyteller and C rean's is a story worth reading. M ICHAEL R UGGE RIO

Elmont, N ew York

Storms & Sand: A Story of Shipwrecks and the Big Sable Point Coast Guard Station by Steve, Grace and Joel Truman (Pine W oods Press, Grand Rapids, MI, 201 2 , 208pp, illus, appen, notes, index, ISBN 978-0-9846-369-4; $29.95hc) Life-Saving Service historians tend to talk in big numbers: 186,000 lives saved between 1878 and 1915 from more than 275 stations on the East, W est and G ulf coasts, on the O hio River, and all along the shores of the Great Lakes. But the fact to keep in mind is that life-saving was a local phenom enon. Those 275 stations each had to be rnmewhere speci fic, a location known for its bars, shoals, and underwater ledges . They were places where ships had foundered for yea rs, where even lighthouses had not been enough to keep m ariners away from danger. The stations we re often named fo r the most prominent geographic features near them : points, lakes, rivers, coves. A nd so we zoom in . Of the 275 stations, fo rty-fi ve were in Michigan; of those, about a third were on Lake

M ichigan . From 1876 to 1937, the LifeSaving Service and its successor service, the United States Coas t G uard, operated a sm all-boat rescue station at Big Sable Point. The Truma n family, which has been active in Coast G uard history preservation fo r yea rs, tackled the story of the Big Sable Point station in the most basic, thorough way possible. Steve, Grace, and Joel Truman read the story of the station through the eyes of those who lived it, through the d aily logs and wreck reports written by the keepers, surfmen, and, later, warrant officers. The result is a blow-by-blow n arrative (with some of those blows being nor'easters) of the station's history, featuring the storms and the shipwrecks but reminding us all that in between big weather and incidents of high drama was the mundane nature of the life of a surfman when times were slow, as they usually were. W ith the similarity of routine shared by all the stations, some of the story is the standard fare of Life-Saving Service history, but it is the individuality of the shipwrecks, the situations, and the people that create the differences that make each station worth examining in depth. One surfm an at Big Sable Point, for instance, claimed that the reason he didn't make his 3:30AM m a rk on his patrol clock one night was because he was "leaning his elbows on the windowsill, looking out the window and fa inted ." Thirty-six years after the its construction, the governm ent was informed that the station had been built on the wrong land, initiating an eight-year p rocess of trying to correct the situation w ith the actual owner. Such stories only happened at Big Sable Point. Followers of the history of the LifeSaving Service h ave long yearned for the whole picture, the grand story of the service written in 275 pieces. Each station deserves its own book; the Trumans prove that thought with Big Sable Point. Their book is now the template for what each local town that hosted a Life-Saving Service station sho uld be striving fo r- a thorough retelling a nd reinterpretation of the heroic deeds of a class of m en and wom en who have otherwise been buried by the sands of time. } OHN GALLUZZO

Hull, M assachusetts

SEA HISTORW 145, WINTER 2013- 14

New&Noted ')1" Force: 1he Origins of British Deception During the Second World war by WhitneyT. Bendeck (Naval Institute Press, Annapolis, MD , 2013, 272pp, maps, notes, biblio, index, ISBN 978-1-6125 1233-4; $45.95 hc)

With Commodore Perry to Japan: 1he journal of William Speiden Jr., 18521855, edited by John A. Wolter, David A. Ranzan, and John J. McDonough (Naval Institute Press, Annapolis, MD, 2013, 256pp, illus, biblio, notes, ISBN 978-161251-337-9; $39.95pb)

American-Built Packets and Freighters of the 1850s: An Illustrated Study of 1heir Passage to the World: the Emigrant ExCharacteristics and Construction by Wil- perience 1807-1940 by Kevin Brown liam L. Crothers (McFarland & Co., Jef- (Seaforth Publishing, Barnsley, UK, 2013, ferson, NC, 2013, 399pp, illus, notes, bib- 243pp, illus, notes, index, ISBN 978-1lio, ISBN 978-0-7864-7006-8; $95pb) 84832- 136-6; $37hc)

Shores of Knowledge: New World Discoveries and the Scientific Imagination by Joyce Appleby (W W Norton & Company, NY, 2013, 288pp, notes, index, ISBN 978-0-393-23951-5; $25 .95hc) Women and English Piracy, 1540-1720: Partners and Victims of Crime by John C. Appleby (The Boydell Press, Woodbridge, Suffolk, UK, 2013, 264pp, illus, maps, biblio, notes, index, ISB N 978-1-84383869-2; $95hc)

Of particular interest to Sea History readers are the following new books by our editor-at-large, Peter Stanford, and our former executive editor, Norma Stanford; regular contributor and author of''Animals in Sea History" in the Sea History for Kids section, Richard J. King; and former Sea History editor, Lincoln Paine.

A Dream of Tall Ships: How New Yorkers Came Together to Save the City's Sailing-Ship waterfront by Peter and Norma Stanford (Sea History Press, NMHS, Peekskill, NY, 2013, 596pp, illus, ISBN 978-0930248-17-8; $34.95)

1he Devil's Cormorant: A Natural History by Richard J. King (University of New Hampshire Press, Lebanon, 2013, 360pp, illus, maps, appen, notes, biblio, index, ISBN 978-1-58465-225-0; $29.95hc)

1he Sea and Civilization: A Maritime History of the World by Lincoln Paine (Alfred A. Knopf, New York, 2013 , 744pp, illus, maps, notes, biblio, index, ISBN 9781-4000-4409-2; $40hc)

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Please check out our catalog of vessels on our website: www.shipsofglassinc.com. USCG Barque Eagle "My office is fill ed with glorious maritime memorabilia, and the first item people comment on is the captivating Ships of Glass replica of the whaleship Charles W Morgan on my desk. Don Hardy is an extraordinarily talented arti st, and his glass models are classy representations of our most beloved ships." -Burchenal Green, NMHS President

SEA HISTORY 145, WINTER 2013- 14

NATIONAL MARITIME HISTORICAL SOCIETY AFTERGUARD

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SEAHISTORY 145 , WINTER2013- 14

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