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Print made by Pierre Charles Canot, ca. 1710–1777
after Thomas Milton, active 1739–1756
shipping scene after John Cleveley the elder, ca. 1712–1777

Geometrical Plan of his Majesty's Dockyard, at Chatham

Materials & Techniques:
Line engraving on medium, moderately textured, cream laid paper
Sheet: 22 1/8 × 28 13/16 inches (56.2 × 73.2 cm), Plate: 19 11/16 × 26 15/16 inches (50 × 68.5 cm), Image: 18 11/16 × 25 9/16 inches (47.4 × 65 cm)

Lettered within image, upper center: "A Geometrical Plan. & North West Elevation | Of His Majesty's Dock Yard, at | Chatham, with ye. Village of Brompton adjacent."; center left: extensive inscriptions of references to the plan; center: extensive inscriptions; center right: extensive inscriptions of references to the plan; lower center: "Part of Chatham Harbour of the River Medway"; below: "To the most Noble and Purfant, | Peregrine Bertie, Duke of Ancalter, and Kelteben | Marquifs of Lindsey Lord Great Chamberlain of England by Inheritance, a Lord | of the Bedchamber to his Majesty Lord Lieutent,, & Custos Rotulorm,, for Lincolnshire | This Plate is infcribed by his Graces moft humble & Obedient Servt,, Thos. Milton"; below, left: "I. Milton Surv. et delin. According to Act of Parliament"; right: "September the 2d. 1755. Shipping by I. Clevely. P.C. Canot Sculpt."

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
Prints and Drawings
Subject Terms:
boatbuilding | cartographic material | coat of arms | crown | dockyard | flags | longboats | marine art | men | rigging | sailboats | ships | town | Union Jack
Associated Places:
Chatham | England | Kent | Medway | United Kingdom
Accessible by appointment in the Study Room [Request]
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IIIF Manifest:

One of a series of views of the six Royal Dockyards, which were by the mid-eighteenth century the world's largest industrial complex and the state's biggest investment. These engravings present the dockyards as orderly, efficient, and rational; each makes reference to the specific functions of the dockyard represented, which depended in part on location. Chatham, on the Medway, was used as a strategic naval base during the Anglo-Dutch Wars of the seventeenth century. Sheerness, at the mouth of the Medway, was then built to take some of the pressure off Chatham, so that ships needing minor repairs did not have to travel the length of the river. Thereafter fleets moored at Chatham during the winter or while on reserve, and the dockyard became employed in repairs more than shipbuilding. Accordingly, the vignettes bordering this print display a combination of dockyard practice (“Sheathing in the dock”), maneuvers (“Laying to under balanc’d mizzen”), and disasters (“Jamb’d in between rocks,” “Wreck’d on the sands”).

Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)

Spreading Canvas - Eighteenth - Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04) [YCBA Objects in the Exhibition] [Exhibition Description]

Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, pp. 207, 209-12, 213, cat. 73, no. 73, ND 1373.G74 S67 2016 (YCBA) [YCBA]

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