Men of Honour: Trafalgar and the Making of the English Hero. Adam Nicolson

add the slightest extra fraction of a knot in the light airs, setting the royals above the topsails, for that little bit more, and then lowering the ships’ boats from the davits and towing them on long lines astern. In their cradles on deck, they would not only have interrupted the line of fire; a shot landing among them would have sprayed the deck with murderous splinters.

      A ship, to a stranger a maze of complexity, is to a seaman the infinitely exact working out of a few basic principles. The hull combines two contradictory qualities: quickness through the water for the chase of the enemy; steadiness to provide a platform from which guns could be fired. Greater waterline length provided the first, greater beam the second. The profile of men-of-war, seen from bow or stern, was curved steeply in above the waterline because it was realised that if the guns on the upper decks could be brought nearer to the centreline of the ship, there would be less roll and for a higher proportion of the time the muzzles of the guns would be on target. Two ships alongside each other could be touching at the waterline but forty feet apart at the quarterdeck. The heaviest guns, which fired roundshot weighing 32 pounds each, enormous objects, 9ft 6in long and weighing very nearly three tons, were on the lowest decks, those above getting increasingly lighter, for the same reason. The keel of course was dead straight, made of vast baulks of elm, the bow extremely bluff, because there was more room aboard if the full width of the ship was carried as far forward as possible. The stern sharpened to a point, allowing the water to run smoothly off the lines of the ship, reducing drag. The very structure of their world was shaped to a purpose.

      Everything in the hull was for strength. The frames or ribs of the ship were set in pairs along its full width, and carefully jointed so that no joint in any timber lay alongside a joint in another. It was a dense structure. If you stripped away the outer shell, the frames would still occupy two thirds of its outline. The whole structure was held together by iron bolts above the waterline and by bolts made of copper alloy below it. The hull was clenched into tightness. The underwater profile was sheathed in copper to keep it clean of weed, a form of anti-fouling and to deter the ship worm which destroys ship timbers in the tropics.

      This immensely solid hull was then bridged internally with the heavy deck beams, huge oak timbers, each one placed beneath a gun, cambered slightly to meet the curve of the deck (cambered so that water would run off it) and fixed with grown-oak knees—cut from the curving part of a tree—which held the beams in place in both the vertical and horizontal plane. Over that was laid the deal deck planking, each plank two inches thick and 12 inches wide. The final element was the hull planking, several layers of it: particularly thick timbers known as wales fixed under each row of gunports, further thickening timbers above and below the wales, a mass of exterior planking, four inches thick, followed by interior planking of the same density, and on top of that, still further timbers known as riders and standards to give yet more internal strength. The construction method is more like that of a tank armoured in oak than a seagoing vessel. A first-rate ship like Victory might take ten years to construct. At their thickest, its walls would be three feet thick.

      That was only the beginning: steering systems, capstans, anchors and pumps, the captain’s great cabin or in the greatest ships the admiral’s apartment, the galley, the sick room, the powder magazine—42,000 lbs of gunpowder in 405 barrels aboard Victory—the water storage and the iron ballasting, the pens for the bullocks, pigs, chickens and sheep that were kept on board, the stores for bread, salt meat and the all-important lemons and limes (18,000 for one ship at a single loading) all had to be fitted out for this 850-man war machine to operate.

      Above all that, of course, was the rig. Nothing looks more complicated or more idiosyncratic than the maze of lines, canvas and timber that stretch skyward above these ships. Victory is 186 feet long on her gundecks, 51 wide at her widest point. The poop is already 55 feet above the keel. The truck on the mainmast, the very highest point of the ship, is another 170 feet above that. Every cubic yard of space above those decks is put to work but in a system whose essence is clear and plain. There are three masts and each carries four square sails: the ‘course’ at the bottom—the mainsail, whose name means ‘the body’; the topsail above it, its name deriving from the time when it was simply the upper of two sails; the ‘topgallant’ above that, and above that the ‘royal’. The bowsprit, protruding 100 feet from the bow, carried four jibs. Between the fore and the mainmast and between the mainmast and the mizzen, still further fore-and-aft staysails—attached to the stays holding up the masts—could be set. Extra studding sails could be hoisted, attached to special booms run out on each side from the yards from which the usual sails hung.

      In all, a ship like Victory could carry 40 sails, with about 1,000 blocks through which the rigging was led, the whole assemblage weighing about twenty tons and covering an area of more than two acres. Although no element of these extraordinary constructions would have been unfamiliar to anyone alive in 1805—no special materials; nothing different in the hemp and canvas, iron and timber, blocks and pulleys from those found on land—the man-of-war, as complex as a clock, as large as a prison, as delicate as a kite, as strong as a fortress and as murderous as an army, was undoubtedly the most evolved single mechanism, with the most elaborate ordering of parts, the world had ever seen.

      That was the striking fact. One witness after another described the overriding sensation they had on the morning of Trafalgar: the sense of beautiful order; the knowledge of preparedness; of the soundness of hull and spar; of standing and running rigging fully knotted and deeply spliced; of the rope work wormed, served and tarred; of the roundshot in their wooden cups stacked behind the great guns; of the powder cartridges ready far below, the crews in their allocated places; the weekly practice at gunnery known and understood.

      The fleet itself, and each ship within it, just as much as a contemporary dockyard or factory, or even the new efficient prisons, was seen by all as an evolving and gyrating machine.

      For every task, from getting up the anchor to unbending the sails, aloft and below, at the mess tub or in the hammock, each task has its man and each man his place. A ship contains a set of human machinery, in which every man is a wheel, a band, or a crank, all moving with wonderful regularity and precision to the will of the machinist—the all-powerful captain.

      Late in September, on arriving back after a short rest in England, Nelson had written to the unsatisfactory and ailing Rear-Admiral John Knight in Gibraltar:

      I was only twenty-five days, from dinner to dinner, absent from the Victory. In our several situations, my dear Admiral, we must all put our shoulders to the wheel, and make the great machine of the Fleet intrusted to our charge go on smoothly.

      The phrase ‘great machine’ had a richer resonance in 1805 than it does today. The Newtonian universe was a machine. Beauty, as Newton had revealed, was systematic. The interlocking, gyrating cogwheeled spheres of the orrery were a model of how things were. No one element could matter more than the system of which it was a part. The universe, in one part of the 18th-century mind, was a uniquely ordered affair, a smoothly clarified machine of exquisitely oiled parts, whose majesty consisted in its rationality. God, it had become clear, did not feel, intuit or imagine. He thought.

      As a reflection of that, machines were what grandees loved to visit. The opening of the Albion Steam Mill in March 1786 on the south bank of the Thames in London had been accompanied by a grand masquerade. Dukes, lords and ladies flocked to it. Lords Auckland, Lansdowne and Penrhyn were given tours by Matthew Boulton the great steam machinist and entrepreneur. The East India Company directors were there, as was the President of the Royal Society. A distinguished French Académicien, the Marquis de Coulomb, was caught doing a little industrial espionage on the side. The machine then was still a model of what might be, the image of dynamic exactness, of undeluded inventiveness harnessing natural forces, which not only mimicked the workings of the universe but stepped outside the limits which human muscle had always imposed on human enterprise.

      That was at the heart of the machine’s allure: it was rational potency, an enlargement of the possibilities of life. When James Boswell had visited Birmingham in 1776, he made a beeline for the works belonging to Boulton at Soho. Boswell stood amazed at the scale and energy of the ‘Manufactory’ where 700 people were employed (almost exactly the number on a ship-of-the-line) and regretted that Dr Johnson was not there with him