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    Re: Any photos yet?
    From: Revell Carr
    Date: 2014 Jul 6, 13:55 -0400
    Frank, Thanks so much for the great info and analysis. That ship has had a remarkable "life." In 1974 my dad was the chief curator at the Seaport, and he worked closely with people like John Leavitt, Maynard Bray and Waldo Johnston and many other wonderful historians and preservationists to figure out how best to preserve the living ship.


    On Sun, Jul 6, 2014 at 1:26 PM, Frank Reed <NoReply_FrankReed@fer3.com> wrote:

    Revell, you wrote:
    "I'm pretty sure that photo is from late 1974 or early 75. She had been in a sand berth at what is now Chubb's Wharf from the time she arrived in Mystic until January 1974, at which time she was carefully excavated from the sand, and moved to the DuPont Shipyard for her first major restoration as a museum ship. I believe these photos are when she returned to the newly constructed Chubb's Wharf, afloat again."

    You're very close. There are three key bits of evidence in those two photos I posted.

    First clue: the Morgan is afloat. As you note, this means that we must be past the refloating which happened late one night in early 1974. I grew up in Noank, and I was ten at the time. This was big news around the water cooler in the fourth grade the following day! For those unfamiliar with this part of the story, the Morgan was berthed high and dry in sand during her years at Colonel Green's estate in South Dartmouth through the 1930s. She was briefly floated to be towed to Mystic in November of 1941. And then she was once again high and dry in a sand berth from then on until early 1974. There was great suspense locally when she was re-floated forty years ago: would the keel be broken? would she sink right to the bottom of the Mystic River? But even after the various restorations in the 1970s and 80s, the Morgan never once left the Mystic River estuary after 1941 until May of this year, and she was only rarely away from Chubbs Wharf, as in the photos, from 1974 to 2014.

    Second clue: the faux gunports are gone. If you look at photos of the Morgan through most of the 20th century, she was painted in a style that was apparently popular during and after the US Civil War with alternating black and white squares along her sides resembling gunports that were originally designed to make the vessel look menacing but probably were little more than fashion. After the first restoration in the 1970s, she was re-painted in the plain black with white trim that we see today, a scheme which is found in most photos of the Morgan during her later whaling career. Some of you probably know the schooner "Mystic Whaler". It's a steel-hulled day-sail tourism schooner which was launched in the 1960s, and it was considered a shameless attempt to mislead folks looking for Mystic Seaport at that time (decades later, all is forgiven). It was painted with that faux gunport scheme to more closely resemble the Morgan, and it still has that paint scheme to this day. Hey, whatever happened to that part of the 38th Voyage plan? Wasn't the Mystic Whaler supposed to accompany the Morgan on at least some portion of the voyage?

    Third clue: big windows on the stern! These were considered historically inaccurate and during the restoration in the 1980s, if I remember correctly, they were replaced with two small portholes, as we see today.

    So that pins things down: after 1974 and before about 1985. The actual photo dates (on the back of the prints --I no longer have the negatives) were September, 1978. For a few years in this period, there was a "ritual" of turning the ship for even weathering once a season. That's what we're seeing here: a nice sunny afternoon when the Morgan was turned around in the channel just west of Chubbs Wharf and then brought back port side against the wharf (bow in). It was a rare sight.

    Revell, you added:

    "When I think about how uncertain people were back then about just floating the Morgan it's amazing to think that 40 years later we're actually sailing her, it is mind boggling."

    I agree, and yet... there was an inevitable logic here, too. When the decision was made in the early 1970s to remove the Morgan from her sand berth, it was a conservation decision with profound consequences. Rather than being a historical artifact, the Morgan necessarily became a living ship. Protected in sand, nearly everything below the waterline was "original fabric" (19th century wood) and a lot above the waterline, too. It was estimated that the vessel was 50-60% original fabric. But after re-floating, it became necessary to restore and replace planks and beams and everything else on a regular basis. Now the Morgan is less than 20% original fabric and by some estimates only 10% original fabric (mostly the massive keel). Is this an old vessel? By the standards of living ships, yes, it is. On wooden vessels, rotten planks get replaced. But by the standards of other artifacts, it surely isn't a historical "artifact". If someone sold you a desk manufactured in 1841 and then explained after you bought it, that 90% of the wood had been replaced within the past thirty years, you might be appalled! The Charles W. Morgan has become a literal Ship of Theseus (though it certainly has a stronger claim to being an old vessel than the US Brig Niagara --is that vessel the second oldest in the USA, as Erie Maritime maintains, or is the Charles W. Morgan, as Mystic Seaport claims?). As a completely restored and renewed sailing vessel, some have argued that the Morgan must sail, at least for one last summer and maybe more. And even in 1974, I remember some curmudgeonly locals arguing that it had no other fate except sailing cruises for well-to-do "tourists" once it was removed from the safety of that sand berth. Living ships must sail.

    Revell, you concluded:

    "BTW, I was 6 years old when this happened, and I remember riding aboard the Morgan then as she was towed back up the Mystic River to her new floating berth."

    Now that's a great story! I know your father worked at the museum for many years. He wasn't yet President in 1974, was he? I was a volunteer in the summer of 1978 and then a paid employee at the planetarium, working with Don Treworgy and Sue Howell through my high school and college summers.

    Frank Reed
    Conanicut Island USA


    James Revell Carr, Ph.D.
    Associate Professor of Ethnomusicology
    Department of Music Studies
    School of Music, Theater and Dance
    University of North Carolina at Greensboro
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