The Santísima Trinidad, 1769
The profession of designing craft for use on or in the
water. The high art of ship design, known as naval architecture, emerged during
the Renaissance and the Age of Enlightenment. The growth of naval architecture
marked a departure from the craft tradition of ship design. It resulted in
applying abstract mathematics to ship design, drafting designs on paper, and,
overall, taking a more rational approach to design.
From ancient times to the Renaissance, one tradition of ship
design existed. In this folk art the master shipwright controlled most of the
production process, from selecting the trees for ship timber to launching the
completed vessel. Design formed only one of the facets of this craft. It
required practical experience, a sense of aesthetics, and an eye for
hydrodynamic lines. Some of the earliest ship designers modeled their vessels
on seaworthy examples. At first they based their designs on natural forms, such
as fish and the underwater lines of waterfowl. The phrase used to describe a
ship with a bluff bow and fine stern, “cod’s head and mackerel’s tail,” stems
from this design tradition.
As certain wooden ships became known for their
seaworthiness, shipwrights copied their lines for new vessels. It is,
therefore, not extraordinary that ships from various parts of medieval Europe
could fall within general classifications, such as the cog. This craft-based
form of ship design prevailed in some countries well into the nineteenth
century.
Throughout its history, naval architecture has been closely
tied to governmental shipbuilding programs because the development of new
design methods and supporting institutions requires a significant financial
investment. Venetian shipbuilders were the first to try to replace craft-based
design methods with theoretical ones. By the early–fifteenth century, they had
elevated galley design to its zenith. To help preserve their superior designs,
the Venetians developed a formulaic method requiring only the dimensions of the
keel, stem, stern, and midship section. Using this sesto e partixon system,
they could extrapolate the rest of the hull lines from these few basic
proportions. The Venetians became adept at drawing and preserved some of their
designs on paper. They recorded their mathematical methods in the first
treatises concerning shipbuilding. Beginning in the mid- to late–fifteenth
century, Venetian shipbuilders wrote and reproduced by hand several of these
treatises.
Shipbuilders in other seafaring countries began to develop
sophisticated methods of their own. In the sixteenth century, Spanish
shipbuilder Diego Garcia de Palacio published the book Instrucción náutica para
navegar. Palacio’s treatise represents the first shipbuilding publication
printed in large quantities.
This early European movement to develop theoretical ship
design methods and preserve them in books departed from the craft tradition of
design. Training new generations of master craftworkers had rested on the
foundation of apprenticeship and hands-on experience, not book learning. The
Venetians and Spaniards began a process that led to the separation of ship
design from ship construction.
By the seventeenth century, France vied with Spain, England,
and the Netherlands for control of the seas. King Louis XIV hungered for
maritime commerce and naval power, and his finance minister and minister of the
navy Jean Baptiste Colbert did his best to satisfy those desires. From 1661
until his death, in 1683, Colbert increased the size and number of French
warships, improved training of naval officers, and ordered numerous charts
prepared for better navigation. In 1666, he founded the Académie des Sciences,
which became a forum for scientific matters, including navigation and ship
design. In 1680 Colbert brought together prominent French shipbuilders to
determine the best way to maximize speed, maneuverability, and gun positioning
on board men-of-war. This group established standard dimensions for each class
of warship and eliminated many of the rule-of-thumb methods practiced by
private contractors.
During the 1700s Colbert’s campaign to promote navigation
and shipbuilding bore fruit in the form of design research. French
experimenters pioneered the use of model ship basins to test the performance of
ship forms. In addition, the Académie awarded prizes for research on ship
design subjects, such as the best method for diminishing the rolling and
pitching of vessels or propelling a vessel without the use of sails.
French works on naval architecture became recognized as the
world’s leading ship design treatises. Paul Hoste, a Jesuit professor at the
Toulon Naval Academy, wrote Théorie de la construction des vaisseaux in 1697.
His treatise laid the foundation for later works on naval architecture by
employing the principles of statics and mechanics. In 1746 Pierre Bouguer
completed his influential work, Traité du navire. Bouguer devised the
trapezoidal rule for the mensuration of areas, which became the basis for many
of the hydrostatic calculations that enter into modern naval architecture. In
1752, naval architect and instructor Duhamel du Monceau published Elémens de l’architecture
navale. Monceau’s book became widely recognized as one of the eighteenth
century’s best naval architecture treatises and was translated into Dutch,
German, and English.
The French were the first to establish educational
institutions to support the profession of naval architecture. During his
administration, Colbert had founded schools of naval construction at the Brest
and Rochefort navy yards. These schools began the process of separating ship
designers from shipwrights and transforming naval architecture into a form of
engineering. In 1765, the French continued this process by founding the École
d’Application du Génie Maritime to train its naval constructors. This school
was the first to educate its students in the science of ship design.
British interest in naval architecture lagged behind that of
the French. The British always had a reputation as some of the best shipwrights
in Europe, and a number of English master builders, such as Phineas Pett and
Anthony Deane, distinguished themselves as warship designers. Britain’s
movement to rationalize the craft of shipbuilding might not have begun,
however, had it not been for that nation’s dependence on overseas commerce and
the influence of the Royal Navy. During the eighteenth and nineteenth centuries,
Great Britain had to control the ocean lifelines that provided for its economy
and support a powerful navy to protect those vital supply lines.
The British began to adopt the methods and institutions of
naval architecture during the Napoléonic Wars. Fearing that the superiority of
French warship designs might tip the balance of power in favor of their naval
rivals, British shipbuilders and naval personnel focused their attention on
warship design. Some of Britain’s most accomplished mathematicians perfected
naval architecture theory beyond the principles advanced by the French. In the
1790s Colonel Mark Beaufoy undertook a five-year study of the resistance of
various wooden shapes to water. Beaufoy’s tests represented the first serious
British attempt to understand the resistance of hydrodynamic forms to water.
Beaufoy also took a leading role in forming the Society for the Improvement of
Naval Architecture in 1796. It comprised civilians and naval personnel who
supported the study of ship design and construction.
Royal dockyard officials Samuel Bentham and Robert Seppings
made their greatest contributions to warship construction methods during this
period. One of Bentham’s many initiatives led to the founding of dockyard
schools for the Royal Navy’s shipwrights.
