[Matthew G.M. Korenkiewicz]

I've recently acquired one of Albion's swords that I'd had my eye on for
quite some time. The Albion Regent ! I've passed up a few that have
been for sale -- for awhile I kept looking at one in the Marketplace here
with a green grip, trying to convince myself I really LIKED green ( after
awhile, you know what, it DOES look good ! ). Finally one became
available with an oxblood grip ! I know I know ... picky picky picky.



Now it will soon be time to send my Regent to Christian Fletcher for a
scabbard, I've drawn up two designs, and like to bounce them off the
gentlemen and ladies here for your impressions and even ideas ...





# 1 idea has a few more bells and whistles, while # 2 ( which I rather like
actually ) is simpler. I hope the shape of the scabbard -- meant to mirror the
Regent's grip -- IS possible, but that may pose a problem. The end chape I
hope will have a semblance to the Regent's pommel. Both details meaning
to give the whole package continuity and flow, if you follow ...

[Jean Thibodeau]

The chape could mirror the shape of the pommel but might be " morphed " in shape to be different in proportions.

It could be scaled differently: At the moment it looks as large as the pommel and a little strange if one wants it to be even mildly historical in design. ( Although one can do anything one wants if it's meant to be a fantasy design. It should still look elegant. )

O.K. lets see if I can explain it better ! A drawing would be easier than my trying to explain in words but here is what I would do: Scale it so that the tip of the chape is a scaled down version of the pommel and stretch it out from there up on the scabbard. It would have all the same shapes and bevels but it would start out small and scale back up in size.

It would look like the pommel but as a small finial at the very end of the chape that would have bevels similar to the pommel running up the length of it.

Well, I guess I said the same thing in a few different ways and maybe one of them is understandable.

[Peter Johnsson]

Today we are fond of shapes that are revisited as a theme through out a design.

If you look at the Regent you see very little of that: every element has its own unique set up of shapes.
It is only the basic elements that are repeated: hollow surfaces & sharp lines. These always come together in new ways in each component. It is actually this clash of shapes that give the Regent its character. The guard does *not* mimic the shape of the pommel, nor does it take up the concave sufaces of the blade. Rather it is the harsh contrast between thee that brings the sword together. When there is a progression of a volume from one piece to another, it always happen by a transformation: blade cross section is transformed in the shape of the midsection of the gurad, leading to a slightly altered section in the grip that ends in the shapes in the "stem" of the pommel.
Another element or theme is the way diagonal planes cut through the shaes defining new volumes. This is something the Gothic masters were experts in doing. We can learn mch from how they defined a shape by simply cutting a bevel through a body or edge. Three dimesnional effect was achieved not so much by rounding as by expressing with contrasting plances and angles. They did this in a way that is rich and inspired.

I would advice you to stay away from any attmept to mirror the pommel in the chape. It will be a very alien effect that will diminish the whole rather than enforce it. If you want to folow this route I would suggest you add a *small** acorn- or plant shaped spur at the end of the shape. You can look at the accanthus leaf decorations of gothic architecture: they show ample variation and still follow the same theme. You could trace the shape of the pommel of the Regent back to these accanthus embellishments.

Scabbards work best when they complement the sword in a subtle way. Do ot go overboard to find themes and then exaggerate them out of proportion.
Even embellished scabbards have a restrained outline to let the decorations glint like illuminated anfang letters, and never in such a way that they distract from the overall.

With the Regent you have a sword that is a faithful example of a historical style. This points you in a direction when the scabbard is considered. If you choose something wild and very fancy it might be striking, but it will never complement the Regent in a good way. It will not be a happy marriage.
Use historical style as your vehicle in the development of the scabbard. Work with the examples seen in historical work, not against it. There is plenty of art work from the period where you can find inspiration. There is no need to re-invent the wheel.
If the sword was a more eclectic design to bgin with, I would say you *should* invite just any fancy that could help exaggerate or express some shape or character.
Looking at what was done in ages past it is not like there is anything limiting us however. There is such a rich variation in shapes and styles, there is hardly any end to things to choose from and let us be inspired by.

I hope this comes across as it is meant: I can see your enthusiasm for this project. I also appreciate your enthusiasm for your sword. My advice would be to let the scabbard grow at a slow pace to begin with. Start with the simple and add or vary features little by little. Base your work on artwork and remaning examples rather than the contemporary work of active custom makers. Along this road you can find something that is unique and personal, wthout it becoming flamboyant and ut of character.
If you let yourself be restrained, you can also let some details explode like firework on a subtle background.

It will be interesting to see how this one turns out.
Best of luck in your project!

[Matthew G.M. Korenkiewicz]

Mr. T and Mr. J, thankyou for taking the time to post. I have to admit that I
did more sketch work than actual measurement work in coming up with
the two ideas, so most certainly things are not in correct perspective -- the
end chape for instance.

I'll also admit, Mr. J, when I've had scabbards made before I've had fun
coming up with a design which Christian Fletcher and myself would
then go over. He's already written back, and like you and Mr. T had a
few things to say. I try to be a bit different in my approach, and had the
notion of capturing some of the Regent's form and angles in the whole
of the scabbard, as you noted. B-)

For good or bad, I try to think that although a historical approach is very
sound, there must have been some unusual or different scabbard work
done as well. For instance, a constant thought is -- for such a long sword
as the Regent -- why not a scabbard whose end chape " allows " for being
set up-right in a stand, or on a floor without fear of it causing the sword to
very easily tip or slide ? if you follow my meaning ...

All in all, I enjoy the feedback and will certainly apply these ideas to the
final design. Thankyou again !

[T.L. Johnson]

For the chape— rather than emulate the full form of the pommel, one that resembles the center portion of the pommel (the center spray, without the leaves on either side) will carry the same suggestion of mirroring without being so obvious.

[Steven H]

I would like to encourage idea #1 on design #1 for the suspension. The metal fittings with rings on them are historically accurate and common to the period of the sword. Though they should be on opposite sides, both nearer to the top, with the front one just below the opening of the scabbard.

Of course, if historical accuracy isn't your objective than it doesn't matter.