[Howard Waddell]

We have added a new piece to the Albion site that some of you may find interesting -- showing what our aspirations are and what goes into the designing of our new sword lines. It may answer some questions.

We are still adding some photos to it, but the core of it is up:

http://albionarmorers.com/recreated.htm

Let me know what you think!

Best,

Howy

[Markus Haider]

I like it, it is very well written and informative.

How often had Jason to bend the Tritonia until it set?

[Björn Hellqvist]

Knowing Peter's work and seeing the prototypes, I know that your article is no marketing hype. What you do is nothing short of fantastic.

[Jason Dingledine]

[Shawn Mulock]

that's some serious abuse there... Pretty impressive that the blade can handle that. It is kind of creepy seeing Jason leaning into that anvil like that when bending the blade though... I am kind of waiting to hear the *ping* and see him headbutt the anvil rest...

[Patrick Kelly]

Great Article Howy!

That really goes a long way in explaining Albions philosophy, what you guys are doing up there, and what sets Albion apart from the competition.

Having spent time with Peter, and the Albion crew, I can personally attest to the fact that there is no sales hype involved in this piece. It pretty well lines out what goes on in New Glarus. I'm sure that people have a lot of questions about the Albion manufacturing process. This article should answer most of them.

One thing that I found fascinating is the correlation with the ancient guild system. In medieval times the various aspects of the swords manufacture were attended to by individual craftsman, who specialized in their own areas. It was interesting to see that system alive and well in the 21st century.

[Joe Fults]

Good article.

I enjoyed the read.

[Brian M]

Interesting to read the new information about the construction process and the destructive testing. I wouldn't have believed a sword could survive that kind of abuse with repairable damage.

[Nathan Robinson]

Here's a photo of Patrick Kelly holding the Tritonia blade that had been tested to destruction!



As bad as it may look, i was impressed at how good of shape it was still in given all the punishment it had been through.

[Roger Hooper]

Maybe this is so obvious that it isn't worth mentioning, but ----

I read the article, and what it seems to say is that there is only one real difference between the Museum Line and the NeXt Generation Albion Marks.

The Museum Line swords are faithful recreations of a specific sword, as close to that one original as Peter and Albion can make them.

Next Generation swords are more generic, or as Albion says, a blend of a number of different originals to make a sword that would certainly have fitted right into its time without comment.

Apart from this difference, there is no drop in sword quality from the Museum Line to the Next Generation line.

Right?

Addendum - to avoid any misinterpretation, this post isn't intended as a criticism of Albion

[Markus Haider]

Apart from this difference, there is no drop in sword quality from the Museum Line to the Next Generation line.

As I understand it:
The difference is in the used materials for decorations I think. Look at the viking swords: Normally the hilts of these types would have coper, silver, gold and bronze inlays and engravings like you see them on Patrick Bartà's webpage (ie: http://www.templ.net/pics/a12v.jpg ). The NG-swords are true in every aspect, but they are a plain version of these swords (cast in one piece instead of two riverted pieces with the decorations engraved). Completly historical and correct, but plain. If they would recreate a special sword like in the Museum Line, it would have the same (expensive) decorations like the original has (the hollow-ground pommel of the Bresica or that of the Svante). I also think that the research work for recreating a special single sword is higher than to make a blend of several swords.

[Patrick Kelly]

Hopefully Albion will elaborate on your question Roger, but I'll throw in my opinion as well.

I think Markus stated the point very clearly when he mentioned the research involved. It takes a huge amount of research and development to truly recreate and existing sword. While the Next Generation line is based upon the knowledge gained from the study of originals, they're not attempting to recreate a specific sword, they're more generic designs. Consequently the R&D time is a lot shorter.

There is certainly no drop in the quality of materials used.

[Eric McHugh]

There is no difference in quality between the PJML and the Albion Mark swords. Each of these lines represent a slightly different philosophy that still fits under are main goal: to recreate high quality swords.

Here are some important points about each line:

A museum line sword is an exact recreation of a specific museum sword. When I say exact, you must understand that there will always be slight differences between these recreations and the originals. Many of these originals are quite rusted, so Peter must make an educated guess about the final volume and dimension of the recreation. In spite of this educated guess work, there are more design points that have to be hit with a museum line sword than an Albion Mark sword. For example, our first hilt components were approximately 1 mm off. Well, we rejected them because they were not with in the acceptable margin of variation. When you purchase a museum line sword, you are getting a recreation that is as close as humanly possible to the original in volume and dimension. This is why the museum line swords are more costly. You have to factor in research time, production time, and the fact that there are simply more design points that have to be achieved. Add to this the fact that some of the swords that are in the PJML are in excellent condition. The Brescia for example is in almost pristine condition. To make a recreation of this sword, we cannot simply come close, we have to be as exact as humanly possible.

When it comes to the basic Albion Mark line, the quality standard is just as high, but there are fewer design points to hit. In other words, we are not recreating a specific sword from a museum. Rather, we are creating a sword that is true to its type. Our goal it to make swords that you could take back in time and place next the originals of the same type and no one could tell the difference. These swords are less costly because they are more generic in nature. There are not as many design points that must be hit to make a quality Albion Mark sword.

I hope this actually helped rather than add more confusion. Let me add this in closing, no matter which sword you purchase (an Albion Mark or PJML) you are getting an outstanding sword. I personally (as well as the rest of the Albion staff) stand behind the work! Bottom line, if you don't like it, send it back. We will refund your money or send you something that fits your taste, and if the sword ever fails under normal use, we will replace it...period.

[Joe Fults]

Clarification seems sufficient to me.

Neat to hear exactly how the philosophy differs in each line.

[Howard Waddell]

FYI: Added a few more photos this afternoon to the article of our star, Eric, assembling the Tritonia.

Best,

Howy

[Joel Whitmore]

[Eric McHugh]

Hi Joel,

I believe I'm correct in saying this, but even though the sword was found in its scabbard, the scabbard was in poor condition. I had the pleasure of seeing the original Tritonia in the Medieval Museum in Stockholm with Peter's recreation hanging next to it. It is a very impressive exhibit. The scabbard that Peter selected for the Tritonia exhibit is very similar to Patrick Kelly's scabbard for his PJ type X. The chape on Tritonia is simpler but of the same profile. If you want to have an idea of what Tritonia's scabbard will look like, take a look at Patrick's scabbard (in his review of the sword). It will be very similar to that scabbard.

Hope this helps.

Eric

[Peter Johnsson]

[Joel Whitmore]

It was interesting to hear about the scabbard chronicles. I was wondering what surviving scabbard from the medievel period used on the inside. Scabbard makers here have used everything from felt to sheep shearing (not bleached or processed) to line the scababrd. It has been my experience that if the lining is too thin and the wood too hard, you can get scratches on a highly polished blade. This is rare, I know, but I have seen it happen. I was wondering what surviving historical examples, and I know they are few, used. I remember reading about vleum being used, but I don't remember if it was used on the outside covering or the inside living. Very interesting topic to me

[Peter Johnsson]