The four-masted bark Moshu lu is here in her elemem , the deep-laden hull coming to life and fa irly rollicking along, the strong rig and stout canvas equal to its task , in a wild, free , surging world remote from any land. Moshulu is an early and lasting favorite of Evers, perhaps because he came to feel the life in her in Eric Newby's great book The Last Grain Race. Or perhaps because ofall the big four-posters that closed our the era ofdeepwater sail, she was one of th e ablesr,fasresr and most beawifu/. She li ves on today at Penn 's Landing, Philadelphia. The lambasting power of the USS Texas is expressed in seven tons of hurtling metal as she fires a broadside. She steams ahead on her mission indifferent to a choppy sea breaking over her low-slung hull forwa rd; she is here to do jus1one thing, and rhal she is doing as only a dreadnough1 ba11leship can . N01ice how The machine, in This painting, lives in its environmenr. 77wr is a fee ling men come to ha ve for their chariots by sea or land, and ii shows in Evers's work: his ships are nOT jusT stuck in , bur inhabi1 The scenes they steam or sail through. Texas is today a National Monument at San Ja cimo, outside Houston .
SEA HIS1DRY, SPRING 1984
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