Fred Chen's stuff. Some of their low end Chinese stuff are mirror polish like these:

[ Linked Image ]

Notice the rolled edge on the dao. Even with mirror polish, we cut things. :)

I went to the sword show and can testify that even Chinese smith like Mr. Zhou can make totally straight line. I think it's a standard for Chinese Jian because the spine of a jian represents a Chinese gentleman behavior and it has to be totally straight and crisp just as a gentleman's manner.

Maybe I should provide you who are unfamiliar with me more background story of my situation here.

I could/might be the first guy here who bought European medieval sword and being active along with Chinese and Japanese sword lovers. The early days were not easy for me. They all look down upon my chosen martial arts and sword of choice. So I had to go through a lot to stand my ground and prove my point, including out cutting them in test cutting and outmatch them in sparring.

I've bought 4 swords so far, each one more expensive than the last one (it's a road with no return, as Patrick Kelly said). On the 3rd sword, I almost completely gave up. It's just hard to find something that could compete to my katana friends' swords (middle end) when it comes to appearance. By that time, I already made them believe in European swords' functionality and the WMA prowess through test cutting and sparring respectively. So I was starting to look for something more detail, say sharpness, line crispness, straightness. There just seem to be no one who's making euro sword that can compete in that apartment... until I found Peter Johnsson. :P

However, he didn't accept custom order anymore but told me his stuff would be available through Albion (that was 3 years ago if my memory serves) so I just wait and wait and wait, hoping one day I would get a sword that I can awe all my chinese and japanese sword loving friends even with its attention to details.

That's the story. :)

Kenneth Enroth wrote:

Which brand katanas do you sell? Hanwei?

Lancelot, (fitting name for the euro sword guy)

I think there is a number of smiths who can help you getting the sword you want. You aren't going to get it in the production world though. You have to explain to the smith what the sword is for, that you want it to awe people who are used to flashy katanas.
[ Linked Image ]

How does this look to you? It's a one of a kind from John Lundemo at www.odinblades.com. I think he would whip up something pretty amazing.

That's a very nice looking sword, Kenneth. I've found it very attractive since first seeing it. Calling it a historic finish for a European-styled blade might not be accurate, though. The matter of historical accuracy is relevant since this discussion is primary about the Brescia, which is part of Albion's Museum Line of swords. To me, these things boil down to expectations and knowledge. An analogy might be a customer who wants the metallurgical properties of a katana blade in a historically accurate Euro blade, but that expectation would be misplaced in a product designed with authenticity in mind.

I would say to Lance, that given your desire to have a katana finish on a sword and be able to please the aesthetic expectations of those familiar with high-end Japanese blades, the Museum Line is probably not the best choice you could have made as its goals are to create the most accurate copy of an extant sword possible under Albion's roof. The Museum Line is not trying to recreate the same methodologies involved in katana manufacture.

Having said that, though, I realize that Lance isn't really wanting that. He understands quite clearly what this blade is intended to be and obviously finds value in its offerings. More than that, he's likely saying he's learning (and finding value in?) the differences of methodology and principle for these two types of swords. I may be wrong, but I don't read him as filing a complaint or even expressing disappointment, but rather asking questions.

Frankly, I think it's kind of a neat conversation: the discussion of contrasting style and the beauty that can be found in both.

While we're talking about original finishes, and our desire to achieve them, we really need to define exactly what we're talking about. We can examine an original sword and say that we want that kind of finish, but exactly what do we want?

The finish on that original is not the "original" finish as when new. It's the extant finish on a sword that is currently hundreds of years old, one that has been cleaned, burnished, and handled for years and years. We really need to define our expectations on this issue.

I don't see Lance's comments as criticisms, but they may be coming off as that due to his limited grasp of the english language. Putting observations into the proper context is just as important as putting a product in the proper context.

So what did the swordsmiths of old use to polish their blades then? Maybe it's not known but it could be guessed at perhaps.

Just like to know how you define a burnished finish and how it's done.

I assume that very smooth extremely hard steel tools or block of steel rubbed over the sword blade lightly compressing the surface steel and removing scratches and evening out high spots.

Maybe radiused tools for the fullers.

How about the use of some abrasive and oil in the early stages with the final finishing with a dry burnisher.

Would pumice ( Spelling?) stone be fine enough abrasive.

I do use a square section and very hard steel spike tapering to a point to burnish cutting edges or flat surfaces on some home projects with nice results: At least in spots as I don't have the patience or skill to try burnishing a large surface or a complex surface.

Did a nice job of bringning out highlights on my Cold Steel Larado Bowie knife after I gave it the "lemon juice" aging treatment. ( Simulated damascus finish, as I have mentioned on previous posts about antiquing stuff. )

Kenneth,

Thanks for your introduction but that's too flashy for my taste.

My friends like that, not me. :P

I like this:

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Borrowing from Bjorn's site.

I'm always the PJ fan. :P


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Nathan, Patrick,

Thanks for understanding. That's why I worried at first about whether to voice it or not. To grasp the subtle choice of terms may not be something I can pull off and I don't want to make it sounds negative. Phew.

Kenneth Enroth wrote:

Lancelot, (fitting name for the euro sword guy) I think there is a number of smiths who can help you getting the sword you want. You aren't going to get it in the production world though. You have to explain to the smith what the sword is for, that you want it to awe people who are used to flashy katanas. How does this look to you? It's a one of a kind from John Lundemo at www.odinblades.com. I think he would whip up something pretty amazing.

Peter once told me something similar. Back then I was asking him if he can make stainless steel guard for me if I order from him because I didn't want the rust to develop on the guard. I practice regularly and very frequently, after all. He said I should let it stain and oxide. After all, it's the sword's history with me and that's the proof. He enlightened me in appreciating the uniqueness in a sword and nowadays when friends look at my stained mild steel guard and asked what caused it, I proudly say "my sweat. It shows my dedication in swordsmanship and it's my partner along the years". There will never be another exact sword like that piece. It was custom made already, and the marks deepened its link with me, the owner.

Mikko Kuusirati wrote:

Patrick Kelly wrote: While we're talking about original finishes, and our desire to achieve them, we really need to define exactly what we're talking about. We can examine an original sword and say that we want that kind of finish, but exactly what do we want? The finish on that original is not the "original" finish as when new. It's the extant finish on a sword that is currently hundreds of years old, one that has been cleaned, burnished, and handled for years and years. We really need to define our expectations on this issue. Oh yes. A hundred years of age can change a man, and although swords are quite literally made of sterner stuff, the years are still no mere water off a duck's back. :) And personally, I like it that way. I like old things, things that have a history, a past life, and show it. And since historical specimens are currently way out of my league... Even Vikings, and the people before them, seem to have had a very special respect for old swords, although the advances in technology in their own time had generally made newer ones technically superior. The sagas and poems praise swords of old, often citing their age as a proof of superiority rather than the opposite as one might expect - take Hviting, a Migration era sword in use and great respect in the Viking age; Grasida, that was passed from hand to hand through generations and reforged into a spear when it finally broke; or the ancient sword Beowulf finds in Grendel's lair, that is the only one strong enough to wound his mother... Call me superstitious, call me naive, but I can't help feeling a sword grows in experience just like its user. And, of course, there's a whole lot of natural selection going on - it takes a strong and able blade to survive years of use or even "mere" age...

The first exclusive myArmoury review for Brescia Spadons dry handling (hhahah sounds so grand... in fact I'm just back from my first official solo drill with the sword and my hands are still shaking).

I bought several pair of gloves of different thickness and tested them with the sword. Only the thickest one with the best leather can negate the biting effect of the mace. In the beginning, I worn only the left hand glove so that my right hand can maintain the blade alignment.

Single hand cuts. Right hand grip at the hilt near the guard, using forward/handshake grip
In this exercise, I performed continuous diagonal cuts with right hand on the sword only. I extend the sword forward so that it level with my forearm. When I do the cuts, pommel bit into my forearm every time the sword changes direction and leave red marks on my skin. This led me to think that the historical owner of this sword must fight with gambeson on. More armor for me to get before I can fully appreciate the sword. With the balance at 3 inches something down the guard, the sword handles very much like my previous one (42 inches, 33 7/8 inches blade, 4 5/8 inches POB, 2 lbs 4 oz), which ARMA guys tend to call it a single handed sword instead of a small bastard sword. The wind breaking whistle sound when the blade alignment was correct was way less obvious than my previous sword, which I don't really mind because if I want to train blade alignment, I can always pick up my previous sword. The new sword was bought as a mean to maximize my "fire power". :P

During the movement, despite it similarity to my previous sword's handling characteristic, I can sense an underlying momentum backing up each cut and to direct that momentum around requires more effort than my previous one.

Finished 100 cuts with this without much problem except red marks on forearm.

100 single handed cuts with left hand at pommel.
I wasn't very sure for my grip with glove (never practiced solo drills with glove) and my worry of hitting the ground due to the length of the sword caused me to make my diagonal cuts more horizontal than before. Anyway, I did found a thing about the octagonal pommel. I could actually fit my fingers into the flute and control the blade alignment by rotating the pommel that way. Didn't expect that before. All my moves like "spring" work well with this sword and the slight wind breaking sound confirmed that I have no problem with the blade alignment. 100 cuts done.

I think I have to practice a lot more to grow my confidence in a gloved grip.

60 single handed thrust for each hand, gripping the pommel.
Now I regret I didn't put on glove for my right hand. Har har.
Overall feeling, the weight of the sword made single handed thrust less easy to extend and retract than my previous one. The result was my shoulder and arm grew tired half way through the exercise but still I managed to go through it.

So far, seemed like single handed moves were not as easily executed as with my former sword, which is expectable since this sword is more a true long sword compare to the former one.

Two handed upward cuts with combo, 100 each side.
Now the spadona started to shine. Unlike what I expect from a heavier sword, it finished all the moves upward cuts without any increased difficulties than my previous one. Seemed like the long hilt was starting to show what was it for. However, the downward cuts with full arm power were more difficult to stop and required me more strength and stamina than usual.

Bind and thrust from low guard, 50 each side.
Again, a long sword move like this proved to be very natural. The huge hand guard actually acted like a big shield to lock the incoming opponent sword from hitting my hand and the thrusting direction was controlled without thinking. I think the hilt length dimension is a magic number that it somehow fit the distance between my two hands perfectly when I make a passing step, no matter with the left foot or the right foot. So that I didn't feel my left hand was being dragged out by the right hand as when the hilt was too short or staying too bent / unextended as if the hilt was too long.

Downward diagonal followed by reversed direction upward diagonal, 25 each side.
I gased out on this one. I have yet to build my body enough to adapt it's weight and momentum. I've learned that full armed strike like this takes toll on my stamina very quick.

Hanging guard + downward cut followed by a upward cut, 50 each side.
I started to wear glove on the right hand since this and lost some blade alignment feeling on my right hand. However, I found my left hand took up parts of the responsibility on maintaining the blade alignment by fitting the fingers into the pommel flutes. Interesting. Moves like these full arm movement still tax lots of strength.

100 full armed continuous downward and upward cuts.
I did it without taking break and it was difficult for the first time with this sword.

100 small radius quick continuous downward and upward cuts.
Usually, this is the hardest exercise for my former sword that has an 8 inches hilt. I thought this would kill me with the new sword. HOW WRONG I WAS! The new sword performed this much easier than my former one, thanks to the long hilt. It provided me a lot of leverage and made changing direction easy when one hand pushed and one hand pulled. Through this exercise, I have realized what kind of movements this sword would excel at: the small radius intricated actions featured in manuals like Fiore longsword chapter or Sigmund bind and wind.

Indeed, this one is a "fight book" sword that is very good for two handed quick cuts / thrust, feinting to deceive and attack from unexpected angles.

Lance-

I appreciate your efforts to give us as detailed a review as you can. The Brescia was already actually quite high on my wish list, though I will be acquiring a few others first - not that this piece isn't worth every penny of it's price, I can get 2 or 3 others that I am also drooling fiendishly over. Still, though, I *NEED* the Brescia, and I will have it one day. "Seeing" through your descriptions and recounting of your drilling experience reinforces for me just how pure and important this piece is. Once I get to a point where I can firmly stand on a decision to acquire one of Albion's Museum Line pieces, it will be a very tough decision between this and the Svante.

One stop-gap fix for your forearm until you can get a proper gambeson could be an archer's guard - it's a leather or synthetic 1/2 bracer that straps to the inside of the forearm to lessen / eliminate the sting of a bowstring.

I hope you continue to enjoy both your new sword and good health. Again, Lance, thanks!

I'm glad you enjoy my long winded review. Yes, I will look into getting an archer guard or something similar (like a padded forearm guard worn with the padding on the inside) instead of gambeson. In Hong Kong, you don't want to wear gambeson except the coldest days in winter, or you ended up evaporized. :P

I bought this sword as a next step for my strength building as well, and it did give me a good work out. Hopefully I can get used to it within a month or two. Then there'll be test cutting, flesh and bone style review. :D

Aaron Schnatterly wrote:

Lance- I appreciate your efforts to give us as detailed a review as you can. The Brescia was already actually quite high on my wish list, though I will be acquiring a few others first - not that this piece isn't worth every penny of it's price, I can get 2 or 3 others that I am also drooling fiendishly over. Still, though, I *NEED* the Brescia, and I will have it one day. "Seeing" through your descriptions and recounting of your drilling experience reinforces for me just how pure and important this piece is. Once I get to a point where I can firmly stand on a decision to acquire one of Albion's Museum Line pieces, it will be a very tough decision between this and the Svante. One stop-gap fix for your forearm until you can get a proper gambeson could be an archer's guard - it's a leather or synthetic 1/2 bracer that straps to the inside of the forearm to lessen / eliminate the sting of a bowstring. I hope you continue to enjoy both your new sword and good health. Again, Lance, thanks!