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location of its shipyards: "Topography, not any special advantage in talent possessed by North Shore residents, dictated the North Shore orientation of the business. The Sound shoreline of Long Island is blessed with several deep fjordlike harbors gouged out by the retreating glaciers." Welch's conclusions are convincing, especially as they are accompanied by an appealing description of the social and cultural traits of the people and communities supported by that industry, its inclusive trades, and peripheral suppliers. An investigation into the different woods essential to shipbuilding, and an evaluation of their local availability or the need to import non-native species, helps to illustrate some of the advantages enjoyed, and obstacles overcome, by Long Island shipwrights. While the author 's concentration on Port Jefferson and, to a lesser extent, Northport, is supported by hi s own data, hi s virtual dismissal of the East End with scant notice pai d to Southold a nd G reenport, is questionable. There were, for example, at least three functioning shipyards in Sag Harbor during the War of 18 12. When the British blockade succeeded to a great extent in shutting down the Chesapeake Bay builders, some Bal- · timore privateersmen had new vessels constructed on Long Island. Welch 's book is an essenti al read for antiquarians, historians, maritime enthusiasts and ship modelers, and underscores a gap in the lore of shipbuildingthe need to repl ace John H. Morrison ' s History of New York Ship Yards (New York, 1909) with a modem examination of the New York City industry. W. M. P. DUNNE Music of the Sea, by Dav id Proctor (HMSO, London UK, with the National Maritime Museum , 1992, 150pp, illus, notes, biblio, index; £ 12.95pb) In this concise but well-researched and documen ted book, the author clearl y demonstrates that, although shanties and work songs were unique to the sailor, they were only part of a much larger picture of the type of music found at sea, which included the broad spectrum of popular, sacred and even classical music. This work covers alot of ground , beginning with ancient references to music at sea as far back as earl y Egypt, with special attention to the proliferation of trumpets and other early band instruments on shipboard during and after the
Renaissance. Other sections include the use of military bands and later liner orchestras, popular music and instruments that appeared before and abaft the mast, the official and unofficial use of mus ic to raise morale aboard ship, and even music as a diplomatic tool in the hands oftheearlyoceanicexplorers who made first contact with new, unknown cultures. Shanties and work songs are wel l-handled, and the book ends with a chapte r on composers who were influenced by or wrote about the sea--or who were actually naval officers such as Rimsky-Korsakov. The on ly detai l I found puzzling (nay, astounding) was a report of the remains of a concertina found aboard a shipwreck from the Spanish Annada. The concertina was invented in 1825. The instrument probably came from a later wreck on the same site. The book is not a collection of songs, and sometimes I wish the often tantalizing verse or two of a song would go on to compl etion with the music thrown in , but that was not within the intended scope of the work. This excellent volume shows just how far the stud y of music at sea has come. JOHN TOWNLEY
John Townley is a maritime music historian and pe1former, and is founding president ofThe Confederate Naval Historical Society. Samuel Walters, Marine Artist; Fifty Years of Sea, Sail & Steam, by A.S. Dav id so n (Jones -S and s Publi shing , Upton , Wirral, England, 226pp, illus, appen, biblio, ref, index. $85hb postpaid) Samuel Walters (1811-1882) was born in London , the son of Miles Walters, shipwri ght and marine painter. When the famil y moved to Liverpool, Samuel continued hi s study of painting and soon launc hed his remarkable career, surrounded by the acti vities of the North Atl anti c trade in thi s booming seaport. The author has thoroughl y researched his subject, and thi s lav ishl y produced vo lume presents every imag inable detail of the life and work of Samuel Walters. In addition, the careers of the author ' s fa ther and son, both artists, are also covered. The format is generous with maps, charts, photos (even reproducing the fami ly' s business cards and sketches from an uncle's sea journal), and paintings-114 of them in color. Most of these reproduce the work of Samuel Walters, but his contemporaries are well repreSEA HISTORY 67, AUTUMN 1993