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Maurizio D'Angelo
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 Posted: Wed 08 Jul, 2009 3:23 pm Post subject: |
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hi,
It appears from a great builder of swords.
Bravo Sean.
2 my usual questions. 
1) have you calculated the weight, before you build?
2) I thought you'd preferred a longer pob. Just a little bit.
Have more authority in the cut. But it is only my personal opinion.
The sword is in your hand, you say. Or just personal preference?
Ciao, Sean 
Maurizio
This photo has inspired me, for a longer pob.
 Attachment: 92.4 KB
Last edited by Maurizio D'Angelo on Wed 08 Jul, 2009 9:30 pm; edited 2 times in total
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Sean Flynt
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| Posted: Wed 08 Jul, 2009 8:29 pm Post subject: |
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| Maurizio D'Angelo wrote: | hi,
It appears from a great builder of swords.
Bravo Sean.
2 my usual questions.
1) you have calculated the weights first?
2) I thought you'd preferred a longer pob. Just a little bit.
Have more authority in the cut. But it is only my personal opinion.
The sword is in your hand, you say. Or just personal preference?
Ciao, Sean
Maurizio
This photo has inspired me, for a longer pob. |
When I started this project I had no idea where the balance and COP would be. Nor did I have any idea about weight. The original sword did not feel good in my hand, and gave no clues. I knew the pommel would provide a significant counterweight, and that suggested the need for a long grip. That led me to the artwork that served as my inspiration.
One of my options was to move the pommel closer to the cross, which would move the POB down the blade for a more aggressive cutting attitude. A lower balance point wouldn't be a bad thing, but it might make the sword less of a pleasure to move without necessarily contributing much to the power of a cut. I decided to emphasize the thrust by leaving the pommel farther away. It is a relatively narrow blade, after all. Still, I had to use about one inch more of the blade for tang than I had planned, and I think I would like to have that extra inch and the very slightly lower POB that would come with it.
I find it interesting that so many decapitation scenes of this period show the use of such blades. They don't seem to have the ideal mass, profile and section for that (as judged against the dedicated execution swords of later years) but I guess the speed and accuracy of the strike compensate for that.
-Sean
Author of the Little Hammer novel
https://www.amazon.com/Little-Hammer-Sean-Flynt/dp/B08XN7HZ82/ref=sr_1_1?dchild=1&keywords=little+hammer+book&qid=1627482034&sr=8-1
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Maurizio D'Angelo
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| Posted: Wed 08 Jul, 2009 9:49 pm Post subject: |
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| Sean Flynt wrote: |
One of my options was to move the pommel closer to the cross, which would move the POB down the blade for a more aggressive cutting attitude. A lower balance point wouldn't be a bad thing, but it might make the sword less of a pleasure to move without necessarily contributing much to the power of a cut. |
ok. I understood. You're right. Move the POB does not necessarily improve the cutting.
I felt that it was the only way. The blade was already built.
However, to be a publisher, your building has really surprised me.
Incredibile
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Julien M
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| Posted: Thu 09 Jul, 2009 1:56 am Post subject: |
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| Nathan Robinson wrote: | | Really, that type of thing needs to be done before dying and finishing. Doing it now would not result in crisp details. |
Yeah I'm sure that must somehow rule out carving, but surely the leather even if finished would take stamps (the leather looks thick and fat enough in that case). Simple stuff, such as the one showed below (I like the idea that the common soldier would personnalize it's own scabbard during the calmer times of a campaign).
Cheers,
J
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Sean Flynt
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Tim May
Location: Annapolis, MD Joined: 12 Nov 2006
Posts: 109
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| Posted: Thu 09 Jul, 2009 5:39 pm Post subject: |
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Brilliant, Sean, really outstanding work. I've been watching it come together, and the finished product is better than your projections.
One question, how does the scabbard wear while the sword is unsheathed? It seems as though it would hang oddly, but I'd be more than happy to be proven wrong.
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Nathan Robinson
myArmoury Admin
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| Posted: Thu 09 Jul, 2009 6:08 pm Post subject: |
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Sean, that last photo is particular excellent.
| Julien M wrote: | | Yeah I'm sure that must somehow rule out carving, but surely the leather even if finished would take stamps (the leather looks thick and fat enough in that case). |
It's best to do all that pre-dying and certainly pre-finishing of the leather. This what is technically correct, but certainly not the only way to do it. Leather, at any stage, can be compressed and manipulated, but it will produce much better results before it's been dyed or finished.
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Sean Flynt
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Sean Flynt
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| Posted: Thu 09 Jul, 2009 8:11 pm Post subject: |
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| Tim May wrote: | Brilliant, Sean, really outstanding work. I've been watching it come together, and the finished product is better than your projections.
One question, how does the scabbard wear while the sword is unsheathed? It seems as though it would hang oddly, but I'd be more than happy to be proven wrong. |
Thanks, Tim! It hangs more or less straight down when empty, as is often depicted in artwork showing this type of suspension (see the execution image on the previous page). With the sword in the scabbard, the pommel tips everything slightly forward and the knot helps keep it that way because the weight of the sword is sufficient to keep tension on the belt. Keep in mind that the belt is worn quite loose, so when the sword is out, the weight of the scabbard is free to hang and the knot configuration no longer keeps the scabbard at an angle because there's not enough weight in the scabbard to keep tension on the belt.
On a related note, I find that the weapon must be worn not exactly on the side or slightly to the rear as I expected, but slightly to the front of the hip. That keeps the scabbard clear of the legs and the grip clear of the arm when walking. The weight is hardly noticeable.
-Sean
Author of the Little Hammer novel
https://www.amazon.com/Little-Hammer-Sean-Flynt/dp/B08XN7HZ82/ref=sr_1_1?dchild=1&keywords=little+hammer+book&qid=1627482034&sr=8-1
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Sean Flynt
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Sean Flynt
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