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Peter Johnsson
Industry Professional
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 Posted: Mon 20 May, 2013 6:37 am Post subject: |
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| Rob Miller wrote: | | meticulous and faultless work that has me in awe of your attention to detail,crisp clean and perfect,and i am intrigued about your geometric theory,relating this to Medieval architecture is a very valid point,vesica pisces etc. |
Thanks Rob!
These words fro a fellow artisan of the sword means much to me.
Yes, the "Code of the Sword" works well on several levels. If nothing else, it is a method that will let you define and capture those subtle proportions that we find in surviving originals. It is like putting on medieval spectacles, setting aside our modern conceptions on dimension first and foremost and thereby easily forgetting about the importance of coherent shape and harmony of proportions. I know from my own experience how easy it is to be led into making easy rounding of numbers when relating work to a scale of centimeters.
Getting the dimensions directly from a geometric plan skips this step of rounding of. Knowing what the the dimension reads in inches or millimeters becomes almost unimportant when you can get an exact dimension directly with a pair of compasses, checking your work as it evolves.
The big question is naturally if and to what degree geometry was used back in the day. I see clear patterns when I analyze swords, but I am aware just how easy it is to be led astray by an attractive theory that seems to fit smoothly like a key in a long forgotten but well oiled lock.
There are many ways to go about geometric definition of proportion. I think medieval makers would have used only certain methods and followed traditions in how this was done. It is a matter of trying to see what fits not only individual swords, but also in what way principles are shared for many swords of the same general type and age. It is a little like the history of music: rules for composition changed over time and were subject to fashionable stylistic variations, but over centuries still followed some basic rules of musical harmony with only minor variations and additions.
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Peter Johnsson
Industry Professional
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| Posted: Mon 20 May, 2013 6:41 am Post subject: |
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| Bryan Heff wrote: | | Beautiful work! I didn't notice it at first, in the full sword pic, but the later pic that shows a close up of the grip where it meets the guard, that small bit of wire wrap detail is phenomenal. I don't think I have ever seen that before. It really ties the whole grip together by bridging the gap between the leather wrap and the wire on the lower half. I really like that bit of detail. |
Bryan, Thanks!
I am glad you like this detail. It was actually added just before going to Solingen. I had the sword professionally photographed without this addition, but something did not feel quite right as I kept going back looking at the sword.
I was then somehow reminded of the city sword of Køln that has partial wire wrapping in section along the length of the grip. It has always struck me as a very elegant and visually interesting design. It turned out to work well also for this sword: with the front section of wire in place I could lay the sword aside with peace of mind.
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Peter Johnsson
Industry Professional
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| Posted: Mon 20 May, 2013 6:47 am Post subject: |
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| Bruno Giordan wrote: | As ever, the usual masterwork by Peter. We must get accustomed to be visually spoiled at least twice a year, at this point.
Also it should become rather evident that the theory Peter has devised must be true, as the proportions in his swords appear to have a significant number of fine nuances that are found only on the best originals. I look forward to receive my work of the Bork's work on medieval cathedrals' hidden geometry that substantiates all this.
Congratulations to Master Johnsson! |
Thank you Bruno!
I am looking forward to hear your thoughts when you have read Bork´s work. It will be interesting to hear if and what correspondences you find in the structures he has revealed. To me there seems to be a certain way that geometry was used. It is subtle and sometimes complex, but seems to involve the same "building blocks" that are varied ad infinitum. There is much to learn here.
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Jarno-T. Pälikkö
Industry Professional
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| Posted: Mon 20 May, 2013 7:34 am Post subject: |
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-Had the opportunity to handle that sword shortly in Solingen, I think the best word to describe it is simply 'exquisite'.
The accuracy of the details (the hollow pommel is so cool) is just baffling... -And when grasping the sword it seems to leap in your hand, it is so much lighter than one expects. This sword is truly a noble weapon...
JT
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Petr Florianek
Industry Professional
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| Posted: Mon 20 May, 2013 9:02 am Post subject: |
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This is beautiful! Portable cathedral of sorts. The world is better place with such beautiful work.¨¨thanks
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Peter Johnsson
Industry Professional
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| Posted: Mon 20 May, 2013 9:06 am Post subject: |
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JT & Petr, thank you both!
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Eric W. Norenberg
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| Posted: Mon 20 May, 2013 11:00 am Post subject: |
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| Bruno Giordan wrote: | | ...Also it should become rather evident that the theory Peter has devised must be true, as the proportions in his swords appear to have a significant number of fine nuances that are found only on the best originals. I look forward to receive my work of the Bork's work on medieval cathedrals' hidden geometry that substantiates all this. |
Bruno, are you talking about The Geometry of Creation? I haven't worked up the cash for that one yet (it is on the wish list) but I'm interested in your opinion too.
As Peter warns in his web page http://www.peterjohnsson.com/higher-understan...reckoning/, one can take this concept so far as to find or force ordering concepts which are far more complex than the craftsmen actually used - scroll down to the drawing about two-thirds down the page, the cross-section of the cathedral nave with many many geometries overlaid - that's Violet-le-Duc looking for things that just aren't there... but our study and understanding of the historical use of this concept is much more grounded and (I think) proved now, at least as applied to the fields of building and fine art. Expanding this study into other areas (like swords!) is I think very worthwhile.
Peter, when I brought up Viollet-le-Duc in an earlier post, I hope nobody thought I was implying that you were pushing your theories of applied geometry into that far-out territory! Rather, I meant that I see in this sword the same expression of love for the gothic aesthetic that V le Duc (and Schmidt, and etc.) had, taking the details to a level of exuberance and completeness that was not always achieved in the Middle Ages. I love that sword, Peter. Simply love it. The blade, the hilt, all amazing. I hope that the new owner can give it a repository that it deserves. May I suggest a small stone chapel? My drafting board is clear at the moment if assistance is needed...
Well, congratulations to you Peter on the realization of this work of art, thank you again for sharing its creation with us, and congrats too to the lucky owner.
Eric
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Peter Johnsson
Industry Professional
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| Posted: Mon 20 May, 2013 11:13 am Post subject: |
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| Eric W. Norenberg wrote: |
Peter, when I brought up Viollet-le-Duc in an earlier post, I hope nobody thought I was implying that you were pushing your theories of applied geometry into that far-out territory! Rather, I meant that I see in this sword the same expression of love for the gothic aesthetic that V le Duc (and Schmidt, and etc.) had, taking the details to a level of exuberance and completeness that was not always achieved in the Middle Ages. |
Eric, the thought never struck me to be offended or take amiss to be mnentioned in the same sentence as Viollet le Duc!
He did some tremendous work and at the same time we can learn about what enthusiasm and drive may entice us into.
The diagram on my web site is also the result of an drawing by V le Duc analyzed by another enthusiast of the Golden Section: Frederik Macody Lund (-a rather shady person to boot). It is not all V le Duc´s work. :-)
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Joe Fults
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| Posted: Mon 20 May, 2013 11:20 am Post subject: |
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Another marvelous work of art!
"The goal shouldn’t be to avoid being evil; it should be to actively do good." - Danah Boyd
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Benjamin Floyd II
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| Posted: Mon 20 May, 2013 11:33 am Post subject: |
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| Bryan Heff wrote: | What was the purpose of a ricasso on swords of this size? Was it for half swording, a cosmetic/fashion reason....was it practical from a strength standpoint or from a need to not have to deal with sharpening that section?
I don't have any sort of background in WMA, but if I am not mistaken, the images of half swording I have seen, seems like the off hand would be grabbing the blade further up than the ricasso area. |
Note the halfswording by the group in front and the front left . This technique is called Übergreiffen (gripping over). Also note the guys in the back right. However, you do also grip the sword further down in with more 'traditional' half-swording, in the way most think of it, like the guy in the back performing a disarm.
 Attachment: 147.28 KB
Krieg School of Historical Swordsmanship
A HEMA Alliance Affliate
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Peter Johnsson
Industry Professional
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| Posted: Mon 20 May, 2013 12:12 pm Post subject: |
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Thank you Benjamin for pointing this out.
I know the image, but have never registered the importance.
Great to know!
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Maurizio D'Angelo
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| Posted: Mon 20 May, 2013 12:28 pm Post subject: |
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Ciao Peter.
Thank you for sharing.
The attention to detail is extraordinary.
Ciao
Maurizio
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Ian Hutchison
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| Posted: Mon 20 May, 2013 12:48 pm Post subject: |
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Peter, fantastic looking sword. Is the pommel design based on any extant example?
'We are told that the pen is mightier than the sword, but I know which of these weapons I would choose.' - Adrian Carton de Wiart
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Benjamin Floyd II
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| Posted: Mon 20 May, 2013 12:57 pm Post subject: |
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| Peter Johnsson wrote: | Thank you Benjamin for pointing this out.
I know the image, but have never registered the importance.
Great to know! |
No problem! Here's the handtarbeit (handwork) description:
| Meyer via Forgeng trans. wrote: | Gripping Over (Übergreiffen) 1.22v.3
Gripping over is this: cut from your right to his upper left opening; and in the cut, grip with your fingers out over the quillons or shield, while keeping your thumb on the haft; and raise the pommel with your left hand and strike him on the head with hanging blade over or behind his parry. |
Krieg School of Historical Swordsmanship
A HEMA Alliance Affliate
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Peter Johnsson
Industry Professional
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| Posted: Mon 20 May, 2013 3:12 pm Post subject: |
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| Ian Hutchison wrote: | | Peter, fantastic looking sword. Is the pommel design based on any extant example? |
Thanks Ian!
About the pommel: No, not directly. Or perhaps: no not really. Or simply: No, not at all.
Using decorative panels for the centre of the pommel is common. You see many different metal working techniques being used in producing decorative medallions or faces of pommels.
See through "panels" are common enough and I think you will find such especially (but not exclusively) on Italian weapons.
Sculpted, relief medallions are also common, for example in making heraldic devices.
The pommel on this sword is making use of a technique that you see used both for objects like chandeliers and caskets and lock plates, and also pole arms, maces and daggers where two or more layers of sheet metal are cut through with patterns resembling gothic windows, so an effect like the tracery of architecture is achieved.
I do not know another pommel making use of this technique exactly like this in this application. It is a brain child of the "Imp of the Perverse" if you like, or perhaps just an artistic impulse or the action of an unstoppable revolutionary spirit to combine these elements in the pommel of a sword.
:-)
It is fun to explore the possibilities of an artistic style and play with it some times.
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Tim Lison
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| Posted: Mon 20 May, 2013 3:47 pm Post subject: |
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Just magnificent! Your work is so clean and technical but still manages to be alive! That is the mark of a true artist in my opinion. Thanks for sharing photos, it's just lovely!
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This is a standard topic