|True Calling (from Window on the Chesapeake)|
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Most people who approach the Calvert Marine Museum’s diorama showing Solomons Island, Maryland, as it was in about 1890 study it from above. Jimmy Langley, though, drops right into a squat. “I like this view,” he says. “I get down here, and it’s just like you’re in a real boat and you come around the island and look all the way to Strathmore Farm.” He’s right. From down here, you’re pulled right in. A forest of bugeye and skipjack masts tangle the busy harbor’s skyline. Neat, white clapboard houses perch along the slight spine of land poking into the Patuxent River. Hauled upon the ways of Thomas Moore’s thriving shipyard, workboats await their call to the booming oyster harvest.
|This story is an excerpt from Window on the Chesapeake by Wendy Mitman Clarke. To order this book, visit the Mariner's Museum.|
Jimmy Langley’s brushwork is striking…but his models are his true calling. Each one he builds to exacting accuracy. If he lacks the designer’s drawings, or if he’s building a boat like a skipjack, which never had drawings, he measures the actual boat himself, draws the plans, makes the patterns and builds the model. …He makes everything in or on the models; working blocks as small as corn kernels, a yacht’s wheel the size of a Ritz-Bitz, each needle-thin spoke clearly delineated. Each model is built precisely as the boat was: Keel up, frame by frame, plank by plank, using the wood specified in the builder’s plans—mahogany, pine, teak, cherry, oak. Even the grain in the wood Jimmy chooses is to scale. “Rather than three or four grains in a piece of quarter-inch wood, there might be twenty grains, real fine. So it looks like an actual piece of wood that would have been in there….”
His favorite is a Hooper Island draketail, an indigenous Chesapeake design that’s narrow as a stiletto and notorious for eluding police during the rum-running years. His model, half-inch to the foot, is built of cherry. It looks so light and quick, you expect it to fly from its stand.