Model Makers in Madagascar Are Bringing History’s Long-Lost Ships Back to Life

 Visitors attend an exhibition of model ships made by the Madagascar company Le Village and on display at the Homo Faber 2024 show in Venice, Italy, Friday, Sept. 13, 2024.(AP)
Visitors attend an exhibition of model ships made by the Madagascar company Le Village and on display at the Homo Faber 2024 show in Venice, Italy, Friday, Sept. 13, 2024.(AP)
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Model Makers in Madagascar Are Bringing History’s Long-Lost Ships Back to Life

 Visitors attend an exhibition of model ships made by the Madagascar company Le Village and on display at the Homo Faber 2024 show in Venice, Italy, Friday, Sept. 13, 2024.(AP)
Visitors attend an exhibition of model ships made by the Madagascar company Le Village and on display at the Homo Faber 2024 show in Venice, Italy, Friday, Sept. 13, 2024.(AP)

A French trading ship that sank in the 17th century with treasure onboard is being brought back to life in a workshop in Madagascar with every stroke of Rafah Ralahy's small wood sander.

Ralahy, eyes sparkling behind his glasses, has learned in 30 years as a craftsman at the Le Village model ship making company that recreating history in miniature form can't be rushed. It'll take time to get the shape of the hull just right on this model, to get it just as it was on the 1,000-ton original.

The ship in question was called the Soleil d’Orient — the Eastern Sun — and it was one of the best in the French East India company. It sank in 1681 while carrying ambassadors and treasure sent by the King of Siam (now Thailand) to King Louis XIV of France. Anyone wanting an exact wooden replica from Le Village, albeit a few feet long, can get it for just over $2,500. That excludes the shipping costs.

“My job is to be as faithful as possible to the plan,” said 50-year-old Ralahy, referring to copies of the ships’ original building plans that Le Village acquires from maritime museums or other sources. “At each stage we check so that the model we create is identical to the ship designed centuries ago.”

Le Village has been making models of history's most famous vessels since 1993 and sending them to collectors across the world, some of them eminent. Prince Albert of Monaco has several models displayed in his palace, said Le Village co-owner Grégory Postel. The Spanish royal family also own Le Village creations. Pope Francis was gifted a model by Madagascar President Andry Rajoelina.

Those royal customers are looking for a model ship “that resembles what their ancestors knew,” said Postel, championing the company's attention to historic detail. Some of the high-end models sell for a princely sum of $10,000. Collectors with as much passion but less means can find something for around $150.

Le Village has dozens of ships available for order, from celebrated to infamous to ill-fated. Some recently were shown at an exhibition in Venice, Italy, including one of the company’s showpieces, the British ship HMS Bounty that is renowned for a mutiny by its disgruntled crew. A model of perhaps the most famous ship ever, the Titanic, is of course available.

Le Village's staff of more than two dozen model makers work in nine dusty workshops on the outskirts of the Madagascar capital of Antananarivo. Like Ralahy, many of them have been here for more than 20 years, crafting a reputation for an unusual company.

Madagascar has hardly any shipbuilding tradition despite being the world's fourth largest island. So, Le Village's own story is one of endeavor.

It was started by Frenchman Hervé Scrive, who arrived in Madagascar off the east coast of Africa with a passion. He sold it after 20 years to a family, but it hit choppy waters during the COVID-19 pandemic as Madagascar — already struggling with high levels of poverty — sank into a deep economic recession.

Postel, his wife and another French couple bought it last year with the aim of bringing it out of financial trouble and, hopefully, expanding. Postel said they want to start a woodworking school to spread the craft on the island and create opportunities for others. They'd also like to build a maritime museum of their own.

Ralahy, a house painter as a young man before finding another use for his nimble hands, sands the rough wood that will become the outer hull of the Soleil d’Orient model he’s started. Weeks of intricate work lie ahead for the team of crafters and some models take more than 1,000 hours of work. But the miniature sails will be hoisted on a new Soleil d’Orient nearly 350 years after tragedy befell the original and she sank with no survivors, sending her treasure to the ocean bottom.

Each model passes through the different workshops and through the hands of different specialists. Husbands and wives work together at Le Village, as do other members of the same families. It's a tight-knit team.

In another room, four women who craft and attach the tiny ropes, sails and other finishing touches, are working with a sense of urgency on one model. This one is nearing completion and has already been paid for.

“It’s a race,” said Alexandria Mandimbiherimamisoa as she gets mini flags ready to add to the ship. “We have to send the boat to its buyer in a week."

Her husband, Tovo-Hery Andrianarivo, also works at Le Village, his fingernails blackened from a misplaced hammer blow or two over the years, an occupational hazard. He spoke of their collective pride when they see how far some of their models have traveled.

Andrianarivo once watched a documentary on the recreation of a life-size version of the Hermione, an 18th-century frigate that carried French General Lafayette to the American War of Independence. It was rebuilt and launched again in 2014 to much fanfare.

“Behind the museum curator who was speaking, there was our model,” Andrianarivo said. "The feeling I felt that day was incredible."



AlUla Marks World Heritage Day, Showcases Millennia of Human Civilization

AlUla remains committed to the preservation of its archaeological sites and inscriptions through specialized restoration and rehabilitation projects - SPA
AlUla remains committed to the preservation of its archaeological sites and inscriptions through specialized restoration and rehabilitation projects - SPA
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AlUla Marks World Heritage Day, Showcases Millennia of Human Civilization

AlUla remains committed to the preservation of its archaeological sites and inscriptions through specialized restoration and rehabilitation projects - SPA
AlUla remains committed to the preservation of its archaeological sites and inscriptions through specialized restoration and rehabilitation projects - SPA

AlUla Governorate is celebrating World Heritage Day, observed annually on April 18, by showcasing a historical legacy spanning thousands of years as a crossroads of ancient civilizations and a living testament to cultural continuity and architectural development, reinforcing its status as a premier global cultural center, SPA reported.

The governorate is home to landmarks of universal value, most notably Hegra, the first Saudi site inscribed on the UNESCO World Heritage List.

Other significant sites include AlUla Old Town, featuring over 900 traditional mud-brick houses that reflect the region's historical social fabric and unique architectural heritage.

AlUla remains committed to the preservation of its archaeological sites and inscriptions through specialized restoration and rehabilitation projects.

These efforts ensure the sustainability of its heritage for future generations, aligning with international standards for protecting human history and promoting global cultural awareness.


UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
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UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo

Britain is considering introducing entry fees for tourists visiting some of England's most renowned museums, a proposal that has drawn criticism from restitution groups and countries while disputed artefacts remain on display.

Free admission to Britain's national museums and galleries was introduced in 2001 by former Labour Prime Minister Tony Blair in a bid to make culture more accessible to all.

Last month, the UK government said it would work with the museum sector to explore the potential benefits of charging international visitors at ⁠national museums, including how ⁠this could support the arts sector. It would provide an update of the consultation before the end of the year, it said.

However, the proposal is facing backlash amid growing calls worldwide for artefacts to be sent back to their communities or countries of origin, Reuters reported.

Although some efforts have been made to confront the long-standing issue, artifacts as well as human ⁠remains taken during the colonial era are still held in various museums across Europe. Some long-standing claims for artifacts involving the British Museum include Greece's Parthenon Sculptures, known as Elgin marbles, and Nigeria's Benin Bronzes.

The British Museum has previously said that the strength of its collection lies in enabling millions of visitors to understand the world's cultures and how they are interconnected.

Ghana, which has some of its regalia and other artifacts in British institutions, said charging foreign visitors to view such objects raises issues of "fairness," particularly where restitution discussions remain ongoing, ⁠foreign minister ⁠Samuel Okudzeto Ablakwa told Reuters.

The proposal, if implemented, would be "unethica," said Eric Phillips, vice chair of the Caribbean Community's reparations commission, a bloc of 15 member states including Jamaica and Barbados.

"Why should we have to pay to see our heritage?" Phillips said.

Arley Gill, chairman of Grenada's national reparations committee, said the priority should be to return the artifacts to their "rightful owners."

Open Restitution Africa (ORA) said Africans and others already face barriers to accessing artifacts taken from their countries and held in Western museums, including visa requirements and travel costs.

"Introducing entry fees further compounds these inequalities," ORA said.

Meanwhile, the US-based non-profit Restitution Study Group said a fee exemption for such visitors would be a "meaningful gesture."

The government declined to comment on the criticism.


Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
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Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA

The Royal Commission for Riyadh City, through its “Riyadh Art” program, has unveiled 75 new artworks as part of a growing permanent collection installed across key locations in the capital.

The initiative forms part of broader efforts to expand the presence of public art in urban spaces, with additional installations planned in the coming period.

The program aims to enrich daily life in Riyadh by integrating art into the urban fabric, contributing to a dynamic cultural environment that reflects the capital's regional and international stature.

As one of the world’s largest public art initiatives, the Riyadh Art program now features 75 installations, with plans to expand the collection by adding 115 more works. The current collection includes contributions from 35 Saudi artists and 100 international artists representing 45 countries.

Among the internationally renowned artists featured are Anish Kapoor, Giuseppe Penone, and Jeff Koons, alongside prominent Saudi artists such as Zaman Jassim, Mohammed Alsaleem, and Manal AlDowayan.

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs, enabling residents and visitors to engage with them as part of their everyday environment and reinforcing the role of art in public life.

The collection comprises both commissioned and acquired works. Commissioned pieces are specifically designed to respond to their surroundings, integrating with the urban context and patterns of movement within each location.

Recent commissions were selected through an international competition that attracted 161 artists, with 72 shortlisted participants submitting 70 proposals. These contributions have helped shape a diverse and evolving collection spanning the city’s main axes and public spaces.