Catalog entry

During the years after the war of 1812 and before the Civil War, the port of Boston was a center of American deep-water shipping. Trading with China, India, and the West Indies, which had fueled maritime growth in the early years of the century gave way to re-exporting these goods and foreign trade based on the shoe and textile trades. Although second to New York in terms of shipping tonnage, many of New York's shipbuilders and merchants were Boston based. In addition, ship building continued in Boston. Also, the coastal trade (the domestic trade up and down the coast) was still the most efficient way to transport goods and passengers, and accounts for much of the tonnage and shipping traffic.

Although dwarfed by New York, Boston was an active port in the 1840s and 1850s. Its registered tonnage rose from 149,186 in 1840 to 270,510 in 1850. The harbor was a crowded place. For example, on September 18, 1850, 32 ships, 49 barks, 47 brigs, and 52 schooners were reported at Boston.(1)

In 1849, foreign entries at Boston included 215 ships, 305 barks, 908 brigs, and 52 schooners. Coastwise arrivals included 193 ships, 488 barks, 1087 brigs, 4287 schooners, 89 sloops, and 65 schooners.(2)

(1) W.H. Bunting, p.8.

(2) Ibid.

For more information:

Samuel Eliot Morrison, The Maritime History of Massachusetts, 1783-1860

W.H. Bunting, Portrait of a Port, Boston 1852-1914 Cambridge: The Belknap Press of Harvard University, 1971.

In general, brigs were small to medium size merchant vessels, generally ranging between 80 and 120 feet in hull length. Their hull forms ranged from sharp-ended (for greater speed; see Brig "Antelope" in Boston Harbor, 1863 (inv. 43)) to “kettle-bottom” (a contemporary term for full-ended with wide hull bottom for maximum cargo capacity; see Ships in Ice off Ten Pound Island, Gloucester, 1850s (inv. 44) and Boston Harbor, c.1850 (inv. 48)). The former were widely used in the packet trade (coastwise or transoceanic); the latter were bulk-carriers designed for long passages on regular routes. (1) This rig was favored by Gloucester merchants in the Surinam Trade, which led to vessels so-rigged being referred to by recent historians as Surinam brigs (see Brig "Cadet" in Gloucester Harbor, late 1840s (inv. 13) and Gloucester Harbor at Dusk, c.1852 (inv. 563)). (2)

Brigs are two-masted square-rigged vessels which fall into three categories:

Full-rigged brigs—simply called brigs—were fully square-rigged on both masts. A sub-type—called a snow—had a trysail mast on the aft side of the lower main mast, on which the spanker, with its gaff and boom, was set. (3)

Brigantines were square-rigged on the fore mast, but set only square topsails on the main mast. This type was rarely seen in America in Lane’s time, but was still used for some naval vessels and European merchant vessels. The term is commonly misapplied to hermaphrodite brigs. (4)

Hermaphrodite brigs—more commonly called half-brigs by American seamen and merchants—were square-rigged only on the fore mast, the main mast being rigged with a spanker and a gaff-topsail. Staysails were often set between the fore and main masts, there being no gaff-rigged sail on the fore mast.

– Erik Ronnberg

References:

1. Howard I. Chapelle, The National Watercraft Collection (Washington, DC: Smithsonian Institution, 1960), 64–68.

2. Alfred Mansfield Brooks, Gloucester Recollected: A Familiar History (Gloucester, MA: Peter Smith, 1974), 62–74. A candid and witty view of Gloucester’s Surinam Trade, which employed brigs and barks.

3. R[ichard] H[enry] Dana, Jr., The Seaman's Friend (Boston: Thomas Groom & Co., 1841. 13th ed., 1873), 100 and Plate 4 and captions; and M.H. Parry, et al., Aak to Zumbra: A Dictionary of the World's Watercraft (Newport News, VA: The Mariners’ Museum, 2000), 95.

4. Parry, 95, see Definition 1.

Hermaphrodite brigs—more commonly called half-brigs by American seamen and merchants—were square-rigged only on the fore mast, the main mast being rigged with a spanker and a gaff-topsail. Staysails were often set between the fore and main masts, there being no gaff-rigged sail on the fore mast. (1)

The half-brig was the most common brig type used in the coasting trade and appears often in Lane’s coastal and harbor scenes. The type was further identified by the cargo it carried, if it was conspicuously limited to a specialized trade. Lumber brigs (see Shipping in Down East Waters, 1854 (inv. 212) and View of Southwest Harbor, Maine: Entrance to Somes Sound, 1852 (inv. 260)) and hay brigs (see Lighthouse at Camden, Maine, 1851 (inv. 320)) were recognizable by their conspicuous deck loads. Whaling brigs were easily distinguished by their whaleboats carried on side davits (see Ships in the Harbor (not published)). (2)

 – Erik Ronnberg

References:

1. M.H. Parry, et al., Aaak to Zumbra: A Dictionary of the World's Watercraft Newport News, VA: The Mariners’ Museum, 2000), 268, 274; and A Naval Encyclopaedia (L.R. Hamersly & Co., 1884. Reprint: Detroit, MI: Gale Research Company, 1971), 93, under "Brig-schooner."

2. W.H. Bunting, An Eye for the Coast (Gardiner, ME: Tilbury House: 1998), 52–54, 68–69; and W.H. Bunting, A Day's Work, part 1 (Gardiner, ME: Tilbury House: 1997), 52.

Schooners in Lane’s time were, with few exceptions, two-masted vessels carrying a fore-and-aft rig having one or two jibs, a fore staysail, gaff-rigged fore- and main sails, and often fore- and main topsails. One variant was the topsail schooner, which set a square topsail on the fore topmast. The hulls of both types were basically similar, their rigs having been chosen for sailing close to the wind. This was an advantage in the coastal trade, where entering confined ports required sailing into the wind and frequent tacking. The square topsail proved useful on longer coastwise voyages, the topsail providing a steadier motion in offshore swells, reducing wear and tear on canvas from the slatting of the fore-and-aft sails. (1)

Schooners of the types portrayed by Lane varied in size from 70 to 100 feet on deck. Their weight was never determined, and the term “tonnage” was a figure derived from a formula which assigned an approximation of hull volume for purposes of imposing duties (port taxes) on cargoes and other official levies. (2)

Crews of smaller schooners numbered three or four men. Larger schooners might carry four to six if a lengthy voyage was planned. The relative simplicity of the rig made sail handling much easier than on a square-rigged vessel. Schooner captains often owned shares in their vessels, but most schooners were majority-owned by land-based firms or by individuals who had the time and business connections to manage the tasks of acquiring and distributing the goods to be carried. (3)

Many schooners were informally “classified” by the nature of their work or the cargoes they carried, the terminology coined by their owners, agents, and crews—even sometimes by casual bystanders. In Lane’s lifetime, the following terms were commonly used for the schooner types he portrayed:

Coasting schooners: This is the most general term, applied to any merchant schooner carrying cargo from one coastal port to another along the United States coast (see Bar Island and Mt. Desert Mountains from Somes Settlement, 1850 (inv. 401), right foreground). (4)

Packet schooners: Like packet sloops, these vessels carried passengers and various higher-value goods to and from specific ports on regular schedules. They were generally better-maintained and finished than schooners carrying bulk cargoes (see The Old Fort and Ten Pound Island, Gloucester, 1850s (inv. 30), center; and Gloucester Inner Harbor, 1850 (inv. 240), stern view). (5)

Lumber schooners: Built for the most common specialized trade of Lane’s time, they were fitted with bow ports for loading lumber in their holds (see View of Southwest Harbor, Maine: Entrance to Somes Sound, 1852 (inv. 260)) and carried large deck loads as well (Stage Rocks and the Western Shore of Gloucester Outer Harbor, 1857 (inv. 8), right). Lumber schooners intended for long coastal trips were often rigged with square topsails on their fore masts (see Becalmed Off Halfway Rock, 1860 (inv. 344), left; Maverick House, 1835 (not published); and Lumber Schooner in a Gale, 1863 (inv. 552)). (6)

Schooners in other specialized trades. Some coasting schooners built for carrying varied cargoes would be used for, or converted to, special trades. This was true in the stone trade where stone schooners (like stone sloops) would be adapted for carrying stone from quarries to a coastal destination. A Lane depiction of a stone schooner is yet to be found. Marsh hay was a priority cargo for gundalows operating around salt marshes, and it is likely that some coasting schooners made a specialty of transporting this necessity for horses to urban ports which relied heavily on horses for transportation needs. Lane depicted at least two examples of hay schooners (see Gloucester Harbor, 1850s (inv. 391), left; and Coasting Schooner off Boon Island, c.1850 (inv. 564)), their decks neatly piled high with bales of hay, well secured with rope and tarpaulins.

– Erik Ronnberg

References:

1. Howard I. Chapelle, The History of American Sailing Ships (New York: W.W. Norton & Co., 1935), 258. While three-masted schooners were in use in Lane’s time, none have appeared in his surviving work; and Charles S. Morgan, “New England Coasting Schooners”, The American Neptune 23, no. 1 (DATE): 5–9, from an article which deals mostly with later and larger schooner types.

2. John Lyman, “Register Tonnage and its Measurement”, The American Neptune V, nos. 3–4 (DATE). American tonnage laws in force in Lane’s lifetime are discussed in no. 3, pp. 226–27 and no. 4, p. 322.

3. Ship Registers of the District of Gloucester, Massachusetts, 1789–1875 (Salem, MA: The Essex Institute, 1944). Vessels whose shipping or fishing voyages included visits to foreign ports were required to register with the Federal Customs agent at their home port. While the vessel’s trade or work was unrecorded, their owners and master were listed, in addition to registry dimensions and place where built. Records kept by the National Archives can be consulted for information on specific voyages and ports visited.

4. Howard I. Chapelle, The National Watercraft Collection (Washington, DC: Smithsonian Institution, 1960), 40, 42–43.

5. Ibid., 42–43, 73.

6. Ibid., 74–76.

Sloops are one-masted sailing vessels which, in American examples, set fore-and-aft sails but usually no square sails. Thus, staysails, or jibs, are set from the fore stay(s) and a quadrilateral mainsail is set from the mast and spread by a gaff and a boom. The larger sloops would often set a triangular topsail over the main sail. (1)

The sloops depicted by Lane were used in various coastal trades, each with its own requirements, which dictated the sizes and details of their hulls and rigs. Most elegant were the packet sloops, which transported passengers, mail, and higher value goods between specific ports on regular schedules. They usually measured between sixty and seventy-five feet on deck, as dictated by anticipated shipping volume. Finely finished, they usually had stern galleries—a row of windows across the transom with ornamental moldings—and varied color schemes. Examples of packet sloops are in Gloucester Harbor from Rocky Neck, 1844 (inv. 14) (center, middle ground) and Study of Ships, 1851 (inv. 141) (foreground), both of which probably made trips between Gloucester and Boston, or Gloucester and Newburyport. (2)

Another specialized sloop of similar size was the stone sloop, used to ship granite blocks from stone-loading piers around Cape Ann to other ports. They were similar in rig to packet sloops, but of heavier construction with greater hold capacity and absence of decoration. Their stout appearance was augmented by simple color schemes, or even tarred topsides, reflecting the wear and strain imposed by their heavy cargos. Lane depicted these vessels in his painting of Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45), with a sloop (at left) preparing to load at wharf-side, and another (at right) sailing out with a cargo. (3)

Sloops of the more work-a-day sort are the most commonly seen examples in Lane’s paintings, most of them appearing in his views of Boston Harbor. Usually deep-loaded and looking weather-worn, they contrast sharply with the packet- and clipper ships which dominate the scene. Sloops of this type are rarely seen in Lane’s paintings of Gloucester Harbor and the Maine coast, although they were certainly needed for short-distance transportation (see Bear Island, Northeast Harbor, 1855 (inv. 24), View of Camden Mountains from Penobscot Bay, c.1852 (inv. 207), Sunrise on the Maine Coast, Mount Desert Island, 1856 (inv. 295)). For coastal Maine, lack of railroads for heavier freight and greater distances between ports made the use of schooners with larger carrying capacity a greater necessity. (4)

In Lane’s views of New York Harbor, a regional sloop variant, the Hudson River Sloop, appears in New York Harbor, c.1855 (inv. 46) (bow view, left) and A Calm Sea, c.1860 (inv. 6) (stern view, right). This type had become prominent in the Hudson River packet trade between New York City, Albany, and beyond to points north and west as far as the eastern terminus of the Erie Canal.  Large vessels for their rigs, they were well-finished and well-kept, reflecting pride of ownership and rivalry among their owners and crews. (5)

– Erik Ronnberg

References:

1. A Naval Encyclopaedia (Philadelphia: L.R. Hamersly & Co., 1884. Reprint: Detroit, MI: Gale Research Company, 1971), 59.  See first definition of "sloop" and definition of "sloop-rigged."

2. Robert Greenhalgh Albion, William A. Baker, and Benjamin Woods Labaree, New England and the Sea (Mystic, CT: Mystic Seaport Museum, 1972; reprinted in 1994), 127–28.

3. Howard I. Chapelle, The History of American Sailing Ships (New York: W.W. Norton & Co., 1935), 300–02.

4. Ibid., 300.

5. Ibid., 298–300.

Yachts and yachting in ninteenth-century America were the preserve of the wealthy, and in Lane's early career were just beginning to organize as yacht clubs with scheduled regattas. The New York Yacht Club, founded in 1844, was the first such organization and had few rival clubs for racing or cruising until after the Civil War. (1) In Boston, by contrast, yachts of any size were few. Instead of regattas, competition was in the form of match races, between two vessels, with cash prizes as a substitute for trophies. Often, the only serious competition for a Boston-owned yacht was one of the crack pilot schooners, and it was not uncommon for a yacht to be sold for pilot service or vice-versa. (2)

If Lane had opportunity to portray any yachts in Boston, only his depiction of schooner "Northern Light" (see The Yacht "Northern Light" in Boston Harbor, 1845 (inv. 268)) has been found to date, and that was based on a drawing by Robert Salmon. (3) It seems likely that he would have depicted more Boston yachts, some of which images might still exist in private collections not currently accessible. For more depictions of yachts by Lane, we must look to New York.

Lane is known to have made two paintings of the schooner yacht "America." The more familiar one The Yacht "America" Winning the International Race, 1851 (inv. 255) was based on a lithograph derived from a painting by Oswald Brierly who witnessed and sketched "America" as she raced for the trophy that now bears her name. (4)

The other painting Yacht "America" from Three Views, c.1851 (inv. 395) was very possibly based on sketches of the designer's half-model, or even the actual vessel under construction. In either case, Lane's drawings and any notes would have been made before the hull and deck details were finalized. (5)

It would not be until August 8, 1856 that Lane would see and sketch a major yacht regatta—held by the New York Yacht Club at New Bedford, Massachusetts. From this event, he painted four known views, each depicting a different moment in the race. The earliest New York Yacht Club Regatta (3), After 1856 (inv. 396) shows the yachts under way to the starting line, with the smallest yachts (third class) starting at 10:50 a.m. The second class would start at 10:55 a.m. and the first (largest yachts) at 11:00 a.m. The second view New York Yacht Club Regatta (2), 1856 (inv. 270) shows the start of the first class; the third New York Yacht Club Regatta (4), 1857 (inv. 397), the race after the start with the large sloops and schooners taking the lead. The fourth New York Yacht Club Regatta (1), 1856 (inv. 66), depicting the finish, shows the winning sloop "Julia" over the line, lowering her racing sails, while the rest of the fleet follows her to the finish line. (6 and 7)

As interest in yachting increased, so did leisure pursuits in smaller craft, using rowing and sailing boats for rowing, fishing, and day-sailing. These activities had a commercial side which is covered in the Party Boats descriptive essay, but this essay will deal with boats used for non-commercial recreation.

Hull types and rigs for small pleasure craft were varied, some being traditional work boat designs with a few added amenities for comfort. Others were designed and built for leisure boating, often in the styles of yachts, but smaller and simpler. Among rowing boats, the dory was a logical choice, the version in View of Gloucester, (From Rocky Neck), 1846 (inv. 57) (right foreground) being smaller, with a wider bottom for greater stability. New England boats (see Norman's Woe, Gloucester Harbor, 1862 (inv. 1), View of Gloucester, 1859 (inv. 91), and Castine Harbor and Town, 1851 (inv. 272)) are also to be found in settings more akin to leisure than to work. (8)

Sailing craft custom-built for pleasure were also depicted by Lane. Examples with sloop rigs are found in The Old Fort and Ten Pound Island, Gloucester, 1850s (inv. 30) (left foreground), Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45) (center left), and Coming Ashore near Brace's Rock, Gloucester, Massachusetts, c.1860 (inv. 60) (right foreground). The yawl rig is seen in View of Coffin's Beach, 1862 (inv. 41) (right middle ground), and schooners in Fresh Water Cove from Dolliver's Neck, Gloucester, Early 1850s (inv. 45) (right middle ground) and View of Gloucester, Mass., 1859 (not published) (foreground). These rigs differ only moderately from today's versions; their hull designs remain popular among admirers and owners of "traditional boats."

– Erik Ronnberg

References:

1. William P. Stephens, Traditions and Memories of American Yachting (Camden, ME: International Marine Publishing Co., 1981), 157–59.

2. Ibid., 159–61, 164–66.

3. John Wilmerding, Fitz Hugh Lane, 1804–1865: American Marine Painter (Salem, MA: Essex Institute,1964), 29–30.

4. Erik A.R. Ronnberg, Jr., "Fitz Henry Lane's Yacht America from Three Views: Vessel Portrait or Artist's Concept?," Antiques & Fine Art (Summer/Autumn 2010): 175.

5. Ibid., 174–79.

6. U.S. Nautical Magazine and Naval Journal V (October 1956–March 1857): 16–18.

7. The American Neptune X, no. 3 (July 1950): 231–34. Reprint of an unidentified newspaper account of the 1856 New Bedford Regatta by Robert Bennet Forbes.

8. See the descriptive essay on "New England Boat."

The yawl boat was a ninteenth-century development of earlier ships' boats built for naval and merchant use. Usually twenty feet long or less, they had round bottoms and square sterns; many had raking stem profiles. Yawl boats built for fishing tended to have greater beam than those built for vessels in the coastal trades. In the hand-line fisheries, where the crew fished from the schooner's rails, a single yawl boat was hung from the stern davits as a life boat or for use in port. Their possible use as lifeboats required greater breadth to provide room for the whole crew. In port, they carried crew, provisions, and gear between schooner and shore. (1)

Lane's most dramatic depictions of fishing schooners' yawl-boats are found in his paintings Gloucester Outer Harbor, from the Cut, 1850s (inv. 109) and /entry:311. Their hull forms follow closely that of Chapelle's lines drawing. (2) Similar examples appear in the foregrounds of Gloucester Harbor, 1852 (inv. 38), Ships in Ice off Ten Pound Island, Gloucester, 1850s (inv. 44), and The Fort and Ten Pound Island, Gloucester, Massachusetts, 1847 (inv. 271). A slightly smaller example is having its bottom seams payed with pitch in the foreground of Gloucester Harbor, 1847 (inv. 23). In Gloucester Inner Harbor, 1850 (inv. 240), a grounded yawl boat gives an excellent view of its seating arrangement, while fishing schooners in the left background have yawl boats hung from their stern davits, or floating astern.

One remarkable drawing, Untitled (inv. 219) illustrates both the hull geometry of a yawl boat and Lane's uncanny accuracy in depicting hull form in perspective. No hull construction other than plank seams is shown, leaving pure hull form to be explored, leading in turn to unanswered questions concerning Lane's training to achieve such understanding of naval architecture.

– Erik Ronnberg

References:

1. Howard I. Chapelle, American Small Sailing Craft (New York: W.W. Norton & Co., 1951), 222–23.

2. Ibid., 223.

The ensign of the United States refers to the flag of the United States when used as a maritime flag to indentify nationality. As required on entering port, a vessel would fly her own ensign at the stern, but a conventional  token of respect to the host country would be to fly the flag of the host country (the United States in Boston Harbor, for example) at the foremast. See The "Britannia" Entering Boston Harbor, 1848 (inv. 49) for an example of a ship doing this. The American ensign often had the stars in the canton arranged in a circle with one large star in the center; an alternative on merchant ensigns was star-shaped constellation. In times of distress a ship would fly the ensign upside down, as can be seen in Wreck of the Roma, 1846 (inv. 250).

 The use of flags on vessels is different from the use of flags on land. The importance and history of the flagpole in Fresh Water Cove in Gloucester is still being studied.

The modern meaning of the flag was forged in December 1860, when Major Robert Anderson moved the U.S. garrison from Fort Moultrie to Fort Sumter in Charleston Harbor. Adam Goodheart argues this was the opening move of the American Civil War, and the flag was used throughout northern states to symbolize American nationalism and rejection of secessionism.

Before that day, the flag had served mostly as a military ensign or a convenient marking of American territory, flown from forts, embassies, and ships, and displayed on special occasions like American Independence day. But in the weeks after Major Anderson's surprising stand, it became something different. Suddenly the Stars and Stripes flew—as it does today, and especially as it did after the September 11 attacks in 2001—from houses, from storefronts, from churches; above the village greens and college quads. For the first time American flags were mass-produced rather than individually stitched and even so, manufacturers could not keep up with demand. As the long winter of 1861 turned into spring, that old flag meant something new. The abstraction of the Union cause was transfigured into a physical thing: strips of cloth that millions of people would fight for, and many thousands die for.

– Adam Goodheart, Prologue of 1861: The Civil War Awakening (2011).

A "spindle" is a fixed marker to indicate a hazard to navigation (such as a rock which couldn't be seen at high tide). It serves the same purpose as a channel buoy, a "light beacon," or a “monument,” to warn vessels away from dangerous places or stretches of coastline. Spindles are usually iron rods with some sort of geometric object (round, flat, or triangular) on top, brightly painted (usually red) for visibility. Monuments, like the ones you see in Lane’s depictions of Half Way Rock or Norman’s Woe Reef, were made of stone and look like stumpy obelisks—or grave monuments. They were also essential as reference points for the early coastal surveys in their efforts to make more accurate charts.

 In Castine, the notable square monument in the center of the harbor marked Hosmer's Ledge.

Packet shipping was conducted by vessels of many types in many regions over the last four centuries, but the packets depicted by Lane were the products of nineteenth-century mercantilism and the Industrial Revolution. The packets sailing out of Boston and New York for European ports were large vessels, invariably ship-rigged, and if not as sharp-ended as clipper ships, had sufficiently fine hull forms to make fast, if not record, passages.

A packet ship's highest priority was delivery of mail on a regular schedule. Passengers and high-value trade goods occupied the considerable remaining hold space. This was particularly true of west-bound passages, which brought fine European wares and throngs of immigrants to America. East-bound passages brought professionals, students, travelers, and high-value raw and semi-finished materials to European ports, mainly Britain and France, and to a lesser extent, the Netherlands and Germany.

East-bound cargos were dominated by southern products - baled cotton, rice, tobacco, and naval stores. These were delivered to New York and other northern ports by coastal packets (mainly brigs and small ships) for transatlantic shipment. Northern products included flaxseed, iron ore, fruit, wool, hides, and flour. Delivery times were on average well within 30 days, giving credence to the packet lines' promise of scheduled delivery.

West-bound passages, which meant sailing against the wind, took longer—34 to 40 days on average, depending on the port of departure. Cargos and passengers were a far more varied lot with little of the consistency of east-bound counterparts.

Lane's paintings depict Boston and New York packet ships in the peak years of their employment. The Civil War, coupled with the development of reliable steam engines for marine propulsion, posed challenges the sailing ship could not overcome. Coastal packet lines went quickly, the transatlantic lines lasting into the 1870s.

– Erik Ronnberg

Reference:

Robert G. Albion, Square-Riggers on Schedule (Princeton, NJ: Princeton University Press, 1938).