 Mae'r gwrthoedd gwrthodd y byddw i'ch gwrthodd yma yn ystod i'ch gwrthodd a chyfodol o'r llwy bwrdd Cymru, o'r llwy fyrdd i'ch gwrthodd y byddw i'ch gwrthodd o'r llwy fyrdd yma yn ychydig yn ymgylchedd, ac yn ymgylchedd, gallwch wedi'u gyrwch ar y ffordd, yn ystod i'ch gwrthodd o'r gwrthodd o'r llwy fyrdd gwrthodd, ac mae'r gwrthodd i'ch gwrthodd gyda'r Ysgrifennidol, Ieithaf, mae'r gweithio yn y trofyn gyda'r projekteill, mae'n rhan o'n 20 oes gan hynny. Felly, rwyf ydych chi'n hollwch chi ar gyfer, a'i ffrofiad am gweithio'n mewn gweithio. Mae'n rhan o'n cyffin o'r projekteill, mae'n i'n byw i, mae'n i'n ddysgu'n gwybod. Mae'n i'n mynd i'n meddwl i'r projekteill, mae'n i'n meddwl i'r ysgol. I must say also, I'm delighted to see Richard Holdworth here as well, and I'd like to acknowledge the trust for their support and funding over the years in bringing the understanding of the ship timbers to light, and hopefully soon through the command of the Oceanship Project these findings will be available for all to see, and hopefully we'll have the right. With that further ado, I will give you a quick rundown on what I'm going to talk about this evening. I'm going to highlight the location and discovery of the ship timbers. I will talk about the nature investigations since discovery, highlight the key findings of the investigations, discuss the documentary research and subsequent identification of the parent vessel of the ship timbers originally, and outline how the approach to the documentary evidence has enabled the potential for reconstruction. When I say reconstruction really at this stage, it's more about understanding how the timbers within this evidence fit within the parent vessel and from there we can establish more than one 3D renditions. Location to where I shop at Chathamistarock.org, I'm sure that many of you have been to Chatham and probably know it very well. You may even have seen the ship timbers themselves in the law rights. Chathamistarock.org is obviously the best-preserved judge of the dot.org anywhere in the world, a magnificent site that trusted an amazing job in bringing the site and its secrets to the attention of the public. As part of this, the world rights forms a very important part. The world rights shop is an unassuming building in the ground of picture. It's a timber building three hours long located towards the north end of the dot yard next to the adjacent south mast pond which is now built in. And also adjacent to the magnificent mast house in Moldwad within the mid 18th century. The world rights itself was constructed over the arm of the mast south mast pond in what was known as a people pond in the 1780s and really from here the world rights story began. The world rights shop was used as a world rights shop for a number of years but it did have many other uses as well. On to the discovery. In 1995 the dot yard work and the trust were looking at new uses for the building as two of the ours were at that time laying vacant. As part of those plans and as part of this building consent, the requirement to record the floor planking which was due to be lifted was required. Oxford Archaeology even came in in 1995 and started the process of recording the floor. Recording the floor didn't involve one layer, it involved five layers. You can see there some of the images at the top there. You can get an idea of the first couple of layers being removed and then moving on down you get an idea of the additional layers and the supports for the floors as the base has progressed. Then the image down the bottom there gives an indication of all five layers down onto a layer of what looked like and what turned out to be really short planking which in itself was a great discovery. But what was laying in white was perhaps a part of being expected was particularly significant and very exciting. Probably a headache for the dot yard but the story that the timbers tell and what we know about the timbers now makes that all worthwhile. So the timbers were discovered, 169 timbers in all. In fact some of those were simple floor joists and so in fact about 164-165 of those timbers were actually shipped timbers or identified as such in later studies. The timbers themselves as you can see are dislocated reused timbers. I must say that the reuse of shipped timber in the Royal Dock House was not uncommon. It was expressly ordered from the Amherty and the Navy Board to the Dock Hill offices that any timbers that were taken from vessels that had been broken up or repaired could be used as service for timbers elsewhere in the Dock Hill. The timbers comprise a mixture of depth structure, mainly sections of depth beam rocks and these have been chopped up to fill the gaps in the aisles so that we are not seeing necessarily the full width of the beams but as we have become a parameter on we were able to actually relocate some of the beams into place with each other, certainly several of the beams that would give us the maximum breadth of the parent vessel in which the timbers are coming. But more about that later. The other type of timbers were hull timbers, mainly fraying or buttocks, sections of depth structure. The other type of timbers were hull timbers, mainly fraying or buttocks, sections of depth structure. The other type of timbers were hull timbers, mainly fraying or buttocks, sections of depth structure. The other type of timbers were hull timbers, mainly fraying or buttocks, sections of depth structure. The other type of timbers were hull timbers, mainly fraying or buttocks, sections of depth structure. We had to watch the volumes of hull cramming at which gave a good cross section of the elements within the hull on the vertical from the key lever to the top of the upper works. ond y cael ei ddweud o'r cyflethau o'n mynd o'r gwbl yw ymddiol, yn y gwbl yn ddweud. Dyma, ond oedd y cyflethau o'r cyflethau, rwy'n sgwrs yn ymddiol, ond ydym yn eu bod yn ymddiol ymddiol. Dyma ydw'r cwestiynau yma sy'n gweithredu arall y gwaith? Yn ddweud o'r cyflethau ar hynny? Yn ddweud o'r cyflethau ar hyn? Why are the timbers there, a very important question. And what is the age of the ship timbers? Now what I'm going to do is I don't have time to go through all the diagnostic details, but what I will do is I will focus on some of them just to give the flavour of the types of characters in the timbers that helped us ascertain the answers to some of these questions. So the first question, are the timbers from one ship or many? Well, that question began with the commissioning of the Scottish Institute of Maritime Studies from the University of St Andrews, directed by Dr Robert Prescott, of which I was very lucky to be a part. Having just finished my masters it was quite fresh to me, so it was a great learning and great experience. But we started to look at timbers, we did a very detailed record and analysis of the timbers, to start to begin to unravel some of the answers to these questions that we posed. Now, in its basic form, the easiest way to find out whether the timbers of one ship or many is to look at the characteristics throughout the assemblage of the timbers themselves and to look at key synergies and similarities between those timbers, and it became very clear, as I said earlier, some of the timbers could actually join together, that in fact it was from a single ship. The dimensions of the scaffoldings of the timbers also indicated that it was a large ship. It was almost certainly a naval vessel. Due to the size of the timbers, we were looking at a ship of the line, the classic warship of the 1890s. We were looking at a ship of the line that was likely to represent either a second-rate, probably a small second-rate or a large ship of the line. So that was the starting point really. A lot of the diagnostics were then assessed and we were able to start to piece together our understanding of the nature of the assemblage in terms of a ship of the line and ultimately which ship of the line. It was also key to understand the diagnostics in terms of dating, obviously, so that was a very important part of our study. The study had surmised initially back in 1997 that we were looking at a single vessel ship of the line, but we were also from the diagnostics looking at a vessel that was likely to date from the mid-18th to the early first half of the 19th century. So that gave us a really good starting point. Looking at some details here, not only are we looking at pure ship building technology and the evidence for that, but we're also looking at very small details, but interested in the less details of perhaps the working of the ship and those that lived on board during the service. Now, the bottom image is there, give you an indication. We've got a gun loop next to the scale there on the bottom left, an eyeball, sorry, for the working of the gun tackle for the gun towards the size of the ship, and quite miraculously, the survivor of all painted cartoons on the side of the deck being on the right hand image there, and you can just make out the 133 on the table there. This is another deck being that we were able to ascertain that from looking at the dimensions of classes of vessel, the second and third rate, and we were able to ascertain that that was a factor on the further deck being. This almost certainly represents a hammock station for one of the crew. Interestingly, some of the hammock rails were still attached to deck beams, which was, in itself, quite a mark for survival. It's important to mention also that here we have quite a unique discovery, and one of which was actually in a very good condition, perhaps, unlike some of the reprimands that we find coming on the sea there. So I really gave us a very good insight into the detail on these timbers, which really helps to start to tell the story. The other thing, as well as your analysis of the timbers of painted wreck, this started to give us an idea when we cross-referenced with documentary sources, give us an idea of the date of the timbers. We know that in the early 1790s the gravity of the ships would be painted white or yellow in their interiors from then onwards. So prior to that, the interior vessels were painted brown and red. So we know that that timber was in a vessel that predated 1790s. So that was another starting point. So that was a good diagnosis to be able to take some leads on. The lot of all-side notice, a small plate of white paint on the way I am, the image there, just below the cottage, that indicates that that timber was in the ship when we were in that transition period from pre-post 1790s, which was quite significant in helping us to unravel the story. Now, as the President has already mentioned, I studied shipwrap's timber marks on my PhD, so I'm sorry I'm a little bit biased, but I'm going to talk a little bit about timber marks, because I think these are some key elements that helped us to start piecing together the story of the timbers. Timber marks are represented in three basic types. You'll see the middle image on the left there, an upside down, S, the Roman numerals, X, X3, 23. These were carved, carvings were very common, in fact very common in the very early ship building, right back into the medieval period. The other type is the stamping of timbers with dice stamps, which were punched into the timber. The image on the right there gave you an idea of some of the stamps that we discovered primarily on framing timbers, or photos from the real artist's language, and we have a number of initiatives like ASCS and NS. We were wondering, before I started my research, what on earth these meant, and I think what simply, as our understanding increased, it was clear that they actually represented the stamp response specific to Dockyard offices, and the offices would have been responsible for, and the numerous stamping episodes on the timbers from the receipt of timber into the Dockyard initially, right through the working processes to when the ship was constructed. So those marks are very important. It's also interesting to know that the AS stamp, we found an exact version of the AS stamp of Arnt Timbers Regiment's picture as well. So here we have evidence of the marks being distributed, or at least being practised throughout the Dockyard as a whole. So quite an interesting piece of evidence there. But the final type of timber mark is the inscribed race marks made with a race mark, and you can see the top image there of a tracing of a race mark on the top of a depth beam. And this mark in itself, just looking at it, looks almost like a gobbledig beam. But actually the documentary sources give us real evidence, the rosetta stone, if you like, of what these marks actually mean. And if I give you a quick rundown of what that mark is telling us, we've got an S, an N, and an O for the abbreviation for number. We have a number 3055. We have a cross for a break in the mark, and that's actually what I'm using. So we've got the S, the number 3055 break. The number 14, the amount you've brought, I wrote a crossbook to announce some rather new ones. And through the research, essentially what it's telling us is that this timber was preceded to Shear Nes Dockyard. It was number 3,055 of that particular timber species. It was preceded to Shear Nes in 1814, and the amount you've brought there are a lot of hands off at the most of many. And the growing numerals at the end allow you to relate to the cubic contents of that particular piece of timber in your cubic feet. So already we have dateable evidence for specific timbers that have the timber marks on them. So this was another very important piece of evidence. I know that that timber was on the parent vessel sometime after 1815, in the journey we were after. So again, that gives us an indication of the timeframe in which the vessel was in service. Now another interesting mark is the one on the bottom left there. I'm sorry, it's probably very difficult to read. You'll have to believe me, but it's got a V, a D, whichever V is actually U, a D, and then a 7 and a 4 next to it. And this is actually another depth in from a 74 round ship. So this kind of threw into the mix the question about what we're dealing with in the second range of ship, the line, or the third range of ship, the line, and in fact, actually, as will be completed, we're dealing with bug, really, and I'll make that clear in a minute. So as part of the 2014 investigation, really what we were doing was we were helping the trust as part of the command the ocean project. We were helping the trust to reassess the timbers, clean as much information as possible before the plans for the weather rights were developed with the new visitors entrance of which the weather rights was part and an impressive undercrop gallery as well. So a lot of hope to be able to view the timbers and to be able to learn more about them. So as part of that, we did some dendro-economy Professor Nigel Nair from Mount University. The plan on the right-hand side there gives an indication that blue dots are the samples that Nigel took and the shady timbers are those that were sampled back in 1997, the results of which at the time were not entirely conclusive. So we thought it was beneficial to do further dendro-economy. Nigel took a look at the timbers and said not chance that they are absolutely short, but he is probably one of the best dendro-economy workers to certainly shift to the dendro-economy we have. He worked to magic and he was able to obtain through dates. The dates themselves, two dates from beans and one from a frame. But you can see that the date range is there to put the timbers that were dated in the what about the 18th and the first half of the first couple of decades of the 19th century, which would fit in with the understanding that was being from the previous 1997 study and the first study that we undertook in 2014. So that gives you an idea of some of the techniques that we were able to draw upon and to help to try and hold on to the story as best as possible. In addition to the dendro-economy, because we have the wonders of modern survey techniques and our fingertips, we were able to commission a laser scan survey of the assemblage, which is not only created at the lasting archaeological record, but also has provided useful data for the interpretation and visual display to the public as part of the carol emotions display. So two-fold benefits there, but that really does give you a good indication of the layout of this assemblage. It also gives you an idea of the challenge that we were faced in trying to sort of piece together with the evidence. Further to the laser scan survey, we also undertook photogrammetry. We were very lucky to get hold of the then English Heritage and Historic England legacy photogrammetry data which was guarded in 1997 and we managed to put together a photogrammetry rendition. This is just the still of the plan of the rendition, but it is 3D and you can move it around and work around it. But this gives us a great indication of what Timmins were like shortly after the survey. A lot of detail is still evident in that data which is reminiscent. We also undertook photogrammetry of individual Timmins as well to help to augment that record and also to highlight some of the details of the Timmins for further dissemination and display. Now I don't want to harp on about the shift Timmins because the shift plan here are also equally as important. In 2003 we were lucky enough to undertake a survey of 117 of the plants from the first layer of the flooring directed above the Timmins. The question there was did we feel that these were the plants tension for the parent vessel and who of course the study became clear that that was highly possible. So that is our current understanding. What we recorded was a mixture of external hull planking, internal hull planking aligning and also some deck planking but it was primarily hull planking that we managed to record. And as part of that recording I did want to show this one example which is a planking of the lower part of the vessel right next to Cale with the garbled strike which was particularly interesting because it's an element fragment commonly used for the water lamp because it's resistant to rot when water is hot. And to see a whole range of different features on that planking you can see the little black dots which represent nail holes from copachining copachining introduced to the fleet in the Royal Navy from the 1780 onwards. But more interestingly there was also the evidence of compounds you can see the sort of tan crudwyn tan cod blocs on the right hand side at the top there. Now we felt at the time and I was no reason to suggest that this isn't the case that these were the compounds that were experimented with prior to the widespread use of copachining in the fleet that this actually could well show a transition from a pre-1780s to a post-1780s tan crudwyn. Supposing that this planking is from the Barrett vessel that obviously ties in quite nicely with what we see in the ship to themselves so again the planking can't be underestimated that's extremely important as well. So the key findings of the investigations I think really I've got to sonarise here but in a nutshell the assembly just held high on the neighbour ship building from the mid-18th to the early 19th century in particular evidence for ship-raining practices and various establishments being built in parts of the Royal Navy and the neighbour board for a wide range of things. Pain has been one of them. Evidence of various tool marks The tool marks showed not only how the timbers have been converted for use in the ship construction but also in the ship breaking. Ship breaking is a practice which actually we don't know a lot about in terms of the actual operation itself. So here we have some evidence at least in terms of tool marks of what was happening in terms of how ships were taken apart. Now I've also mentioned obviously the ship-raining timber marks and also the repair techniques. A lot of the timbers had clear indications of repair the use of graving pieces of patches where timbers obviously through age had split or shaped and these graving pieces obviously were put in place to try and arrest some of this splitting of the timbers whilst they were still in service. And now I've also mentioned timbers in service. And also the timbers illustrated the practices of the 18th century but also the practices introduced by the innovations of Sir Robert Seffin to the early 19th century and I'll be able to show you an example about shortly. But this is one of the significant aspects of the assemblage is that we have evidence of a nice crossover period in ship technology. Also the working practices have rolled up now as in this period and I mentioned earlier about some of those but practices primarily through some of the evidence like the timber marks for the timber procurement and the recedes and storage of timber once brought into the doghouse the conversion of timber once they've taken out the piles, the storage piles for use in the ship building the construction of the ships themselves the repair, the ship breaking as I mentioned and the reuse which is how I see them in the world today. The ship marks, timber marks I've already mentioned but I'll come on to this but new evidence for the the RAZE process. Now RAZE is simply the reduction of normally a ship of the line from one class say for a second one a first shape vessel and three decks for how it's produced to two main gun decks so it's a reduction in the class of the vessel from a second rate to a third rate or a greater or a smaller vessel so the RAZE process is actually quite interesting here and again something that we've done and I've not thought about but which there will extend will give us a flavour for and the evidence through the identification of the labour ships and ship board like. Now the evidence is very small but it's nevertheless quite tantalising I mentioned the cartouches the hard rails the eyeballs of the gun tank the things like this that give us an idea of the work in the ship as well. I'll put HMS Victory at the bottom of the slide there HMS Victory is a price that's at large for the resource particularly when we're studying the timbers of the wheelwrights because they're from the same period but as we'll see the vessels are building the same dock rails the same dock rail and the victory luckily we've managed to do quite a lot of research and the cartouch was to be in the victory in recent years which has increased our understanding generally of ship anatomy from the ships of the RAZE and ships of the RAZE in the making and during that period which can directly cross the firm to the wheelwrights so particularly important so the burning question what ship is it? Well it was part of the 2003 work we were carted off to London a primary to ground and we spent the first part of six months looking through the records to smoke in the government and find out more about what vessel the timbers might have come from so not only did we find reference to the repairs of the wheelwrights shock in 1833 and 34 but also the identification of the parent vessel the ancient lesson murals being broken at the Chatham in 1833 as the timbers we know were being reused in doghouse buildings elsewhere in particular in the master house of Woolwich so it's easy to surmise that as the New York is right next door to the wheelwrights pretty much that the repairs were ongoing and they required the use of the reuse of timbers from New York for the wheelwrights also also there was only two ships and the only two ships being broken up in Chatham at that time the Courageux which was a third rate but the scanners of the timbers the dimensions of the timbers were not consistent with the pure third rate ship of the line so this in effect was as bad as smoking guns we were going to get but I think pretty good of the circumstances just ashamed of the six months to find out so each master mural gave the second rate of ship of the line and 90 guns designed by William Bentley John Sevea of the Navy between 1755 and 1765 built at Chatham the image below is a little bit fuzzy I'm sorry but this is actually a watercolour sketch of Chatham we believe sometime around the middle of the 18th century you can see two vessels in the dock one here further on there this is number two dock where the mural was built so it's quite possible that it's not a feature it might be a mural but we're not sure but a very very tantalising piece of pictorial evidence to give us a flavour of what the ship construction and the construction of the transmission of the mural might have been like in the middle of the 18th century the ship plan at the top is actually the plan of war in Europe which was drawn in 1855 HMS in Newark had a very distinguished service career some might argue just as distinguished as the lives of HMS Victory they were both very important ships but the mural caused several actions during the 17th war and also the major action that came to St Vincent so a long fighting service life but the mural was actually destined for a service on the bedway as a receivership primarily from about 18 on the internet service so this gives an indication of the significance of HMS in Newark but not only in her career but also in her associations I remember James and Alexander Gordon the superintendent of chatting document chatting document between 1832 and 1837 Gordon was a very distinguished naval officer who started off on the service on various vessels including the mural and this kind of events the question as to the feeling of sentiment as to why it was a positive memorial as it may be that whilst he wasn't there and the mural had been taken apart he wanted to say the other associations Charles Austin the burner of the famous author he was captain on the mural on the bedway in 1811 when she was receiving ship and also perhaps most interestingly is a lot of the Creannan who was a black slave boy who was a servant to one of the left-hands on the board in New York during the seven years war later gained his freedom and was a another member of the British slave of the Irish so a very important character in the history and a great connection with the mural itself and also he wrote a narrative as well in the late 18th century about his experiences on board Royal Navy ships and his experiences in the Navy so a crisis narrative which helps lend the story to the mural and the timbers ultimately from a ship technological point of view perhaps the most important association was Sir Robert Settings who was a sailor of the Navy between 1813 and 1832 he was master shipwright and chatted until 1813 he introduced a whole range of innovations in ship construction essentially improvements really one of which was the introduction of the roundabout formerly the Bowser stern of the ship to the right most ships were in the Navy at the time were susceptible to breaking the gunfire from many ships which would wreak a tremendous damage to the ship and the crew so he introduced the roundabout and the round stern to help reinforce those vulnerable elements of the ship and also to increase the gunpowder born around it as well so a significant point about the introduction of the roundabout is that he used H&S Mule as an experiment for the roundabout in 1805 when the Mule was reduced or resated to a third rate and here we see a piece of the story starting to fit together in terms of significance in terms of what we're seeing in the timbers themselves an evidence or another part of evidence for the second's innovations is the timber on the top right there it's actually thrown around, if you turn it around around to degrees clockwise it would be the right way out but it's actually the end of the beam from the vessel and the curved rivet you can see on the bottom right is actually the rivet to have a forked iron beam attached to the beam and the size of the ship he introduced iron quite significantly in the vessels as a replacement for water not only for the strength but also as a response to the problems with timber supplies during the late 18th and early 19th centuries so here we have direct evidence of those second's innovations again evidence for the time period of the vessel now there was a mule was actually in service so what about the mule identification and the archaeological evidence and particularly the rasae process and this really is, I think, the key thing that we've learnt through the most recent investigations is the archaeological evidence for the rasae process and I'll be able to show that in a minute but this is the the top plan there 75 and the bottom plan there is the plan of the proposed rasae for New York in 1802 and essentially it's difficult to see but there are actually hashed lines showing the outline of the original second rate upper deck and the upper works of the ship before induction which you can see in the lower lines there so this is a simplified schematic of the superposition of those two as you can see the outline of the mule is the second rate and in blue I hope you can see it not really but you might be able to get the impression that the mule has reduced the rasae I can I can, yeah certainly so we've got the original upper works of the second rate in New York and then we've got the reduced upper works in here so I hope that's clear sorry again so we were in a position where we were very keen to start to piece together the individual components in the shipwraiths a sort of the wrath short assemblage with the vessel vessel itself and all to do this we used depth plans which were seen in internal profiles, vertical profiles of the depth structure to help us try to locate some of the depth beams in the assemblage and also the same for frames frame there now we couldn't obviously find the exact plans for the mule it may be that they were never in the first place but we managed to find the closest to the mule at similar vessels so ancient this ocean from 1760 also built in Chatham and ancient this handle 1776 frame disposition are there more in case of the third rate a fanatic size of the vessel we have to remember that the timbers as deposited in the world rights is mule as reduced to 74 so we are automatically missing a lot of the upper works but we have been in the case when she was a second age at the time so the picture there at the top right we poured out the records we spent several weeks and the fact actually went and just really got to grips with full understanding of where the timbers were to come from but after pouring out the records and stretching heads we think we are pretty certain as we can be as to where most of the timbers are coming from you can see there the plan on the left shows the blue these timbers here in blue and the purple timbers these are elements of framing and elements of the stem structure there the image on the right shows the stem composition towards the bottom and you can see that we've managed to place most of the exception of very small fragments which it was just impossible to try and locate accurately but we managed to locate most of the frame components the green shows started framing on the warm red towards the bottom towards the bottom this also helped us to understand the ship breaking process as well because here we see most section timbers from their boards right down to the keel so it gives an idea of how the timbers were extracted during the breaking process and then it can be reused the beams as well we did the same exercise the plan on the left shows the depth beams within the assemblage and also the orange and yellow show other elements of the deck structure such as beam arms and deck hooks which were raced around the bow and supported the deck at the very far end of each deck at the bow and we were very lucky to have permission from Edgemas Victory to re-use the ship parts that were at the left with the latest kind of ship a couple of years ago so this is about as close as we can get the victory obviously to the two outing so this gave a good indication a good base upon which to try to re-locate the deck structure I will say that the deck structure as shown in the plan shows the full width of the beams but we have to remember that we are dealing with sections of beams in the main part therefore it's purely to show the location of where that beam might have been from and showing the support of the stand Having said that, I did mention earlier about the ability to actually join some of the deck beams together and this allowed us quite a large number of the beams to establish the full breadth and obviously we were then able to transpose that onto the deck as a victory and this gives a pretty good approximation we feel of where those beam arms have come from and if we look at the next slide you're going to have the indication of the vertical extent of the sandwich I should say that this is where we do have evidence of the rase process and the green timbers there show timbers that would belong to the interest we are as a second rate and the red show those that are clearly the dimensions of a third rate deck and deck beam part of this was actually established through cross-referencing of the diagnostics and also again through the timber marks so we were able to locate a lot of the timbers through that avenue as well you'll remember the car beam being the S23 that allows us to be one to three on the start side so again that gives an indication straight away where we came from from dimensions and the characteristics which deck are coming from as well so in addition to the sandwich itself and working on the sandwich itself we also looked at the possibility of creating 3D models of a ship similar to the size of a second rate such as the wheel and we were very lucky to have access to the ship models which is stored in the Jonathan store on-site in Chattel by the National Maritime Museum we were able to access some of these and to pick the best candidates for photogrammetry in this case you can see my colour there with a model of HMS sandwich which as a whole proved quite tricky many because of the lighting it wasn't entirely successful but at least it gave us an indication that maybe photogrammetry wasn't the technique to use for an accurate rendition but the image on the top right there does give quite a good account of itself and that's actually a block model if I remember correctly HMS jean and the bottom image there is it's a frame model actually commissioned by Seppens to illustrate the round valve and then you can see the front end of the model there and the round valve design this actually was particularly tricky for photogrammetry because of the reflective surfaces so really I think if this is a analogy to pursue it needs to be a really latest understanding that this is the best technique for this so as we draw to the end the key findings of the investigations how the discovery contributes to the discipline as a whole and to our understanding and how we send that to the wider world and what next perhaps which you might be to know what's next but just a few points here some important points I think the assemblage is the most significant non-ship find that is current in a terrestrial context perhaps anywhere in the world it's at the moment it's unique and very well preserved an accessible terrestrial architecture but ship discovery rarely encountered in underwater and water holding projects as I explained earlier it's a unique survival with the largest assemblage of dislocated ship timbers discovered in the Royal Duckyards I should say that there either is quite a lot of evidence of the reuse of ship timber in the Duckyard buildings but it's a rare example of extensive reuse of ship timber from a single context of single ship it's illustrative of the transition in shipbuilding technology in shipbuilding practices from the mid-18th to the early 19th century and tangible evidence of the use of ship building and the use of ship building and the use of ship building and the use of ship building and the use of ship building in the 19th century and tangible evidence highlighting the working practices of the Royal Duckyards period particularly the shipwraith in the Eraslif process which I mentioned earlier it's a significant single ship by and positively identified to a Royal Navy's second ownership of the line with a long and distinguished service career and as I pointed out associations as well so that makes it particularly significant and it also provides illuminating evidence to the work in the same name of warship and shipboard life and it represents the worship and significant associations as I've said both of the individuals but also the role of the social historic narrative as well and particularly I think in relation to how the wheelwright's assemblage tells us an awful lot about the wider work of the Royal Duckyards shipbuilding construction repair repair the activities all the working processes that we looked at briefly just previously and this is a great sandwich to help demonstrate that all in all a very rare and unique discovery which the Chathar Dockyard trust clearly recognises and it's marvellous to see that we've incorporated a centrepiece to the new initiative for the Royal Duchess project Thank you