By the end of the sailing era the 50-gun ship had become regarded as a hybrid, too small to stand in the line of battle, and lacking the speed and hardiness of the frigate, so it has often been dismissed as a naval architectural dinosaur left over from an earlier age. This book aims to reveal the crucial role of the 50-gun ship in the development of both the battleship and the frigate, and explains the enduring role which ensured the survival of the type into the 19th century. Charting its origins in the pre-Commonwealth frigates, the author follows the development of the type in the 18th century and its gradual transition from battlefleet to heavy cruiser role, highlighting its revival for the special conditions of colonial warfare during the American Revolution. Thereafter they were employed as peacetime flagships for distant stations, achieving final glory leading small craft in anti-invasion operations during the Napoleonic War. The Leopard is the subject of the cutaway drawings.

A work of extraordinary range and striking originality, The Gun, the Ship, and the Pen traces the global history of written constitutions from the 1750s to the twentieth century, modifying accepted narratives and uncovering the close connections between the making of constitutions and the making of war. In the process, Linda Colley both reappraises famous constitutions and recovers those that have been marginalized but were central to the rise of a modern world. She brings to the fore neglected sites, such as Corsica, with its pioneering constitution of 1755, and tiny Pitcairn Island in the Pacific, the first place on the globe permanently to enfranchise women. She highlights the role of unexpected players, such as Catherine the Great of Russia, who was experimenting with constitutional techniques with her enlightened Nakaz decades before the Founding Fathers framed the American constitution. Written constitutions are usually examined in relation to individual states, but Colley focuses on how they crossed boundaries, spreading into six continents by 1918 and aiding the rise of empires as well as nations. She also illumines their place not simply in law and politics but also in wider cultural histories, and their intimate connections with print, literary creativity, and the rise of the novel. Colley shows how—while advancing epic revolutions and enfranchising white males—constitutions frequently served over the long nineteenth century to marginalize indigenous people, exclude women and people of color, and expropriate land. Simultaneously, though, she investigates how these devices were adapted by peoples and activists outside the West seeking to resist European and American power. She describes how Tunisia generated the first modern Islamic constitution in 1861, quickly suppressed, but an influence still on the Arab Spring; how Africanus Horton of Sierra Leone—inspired by the American Civil War—devised plans for self-governing nations in West Africa; and how Japan’s Meiji constitution of 1889 came to compete with Western constitutionalism as a model for Indian, Chinese, and Ottoman nationalists and reformers. Vividly written and handsomely illustrated, The Gun, the Ship, and the Pen is an absorbing work that—with its pageant of formative wars, powerful leaders, visionary lawmakers and committed rebels—retells the story of constitutional government and the evolution of ideas of what it means to be modern.

A collection of British illustrations of their ships and ships they captured from 1793 to 1815, with informative text, by the author of The Sailing Frigate. Between 1793 and 1815, two decades of unrelenting naval warfare raised the sailing man-of-war to the zenith of its effectiveness as a weapon of war. Every significant sea power was involved in this conflict, and at some point virtually all of them were arrayed against Great Britain. Many enemy warships were captured in battle, making them of interest to British artists, engravers, and printmakers, while the Admiralty ordered accurate draughts to be made of many of these prizes. Consequently, for this era the ships of all navies, not just British, are illustrated by an unprecedented variety of paintings, drawings, models, or plans. Warships of the Napoleonic Era reproduces many of the best (and least familiar) images of the ships, chosen for their accuracy, detail, and sheer visual power in an extra-large format that does full justice to the images themselves. These are backed by an authoritative text that looks at how the ships were used by the different navies, and explains the function and development of the apparently bewildering array of rates and types. This is a book that anyone with an interest in wooden warships will find both enlightening and a pleasure to peruse.