[Joachim Nilsson]

[Aaron Schnatterly]

[Joachim Nilsson]

[Aaron Schnatterly]

[Jonathon Janusz]

I remember a while back some concern about the engraving process for this sword's blade. Now that it is complete, any thoughts about how the engraving turned out? Any insight as to the process?

Impressive. . . and big. . .

[Howard Waddell]

I got a chance to shoot some additional photos this weekend... here s a side by side with the NG Knight...



Best,

Howy

[Aaron Schnatterly]

[Peter Johnsson]

Got a moment to sit down to write a few lines...

First, thank you all for your positive respons so far!

It is to me a great joy to see the sword of Saint Maurice completed and available through Albion. This sword is special to me. One of those that have made a profound impression and have a special place in my heart. Being handed the original in the museum was a moment of intense feeling. A tingling sensation along the spine with the small hairs in my neck bristling. Electrifying and intoxicating.
I had in my hand a sword that was in such shape and preservation that it could have been left by a crusader in the vitrine just moments ago. A feeling of prescence that is hard to describe.
It was not hard to join in with countless pilgrims in adoration...

In developing this sword for Albion production I had reason to revisit this moment countless times. Many small details have to be considered and evaluated, many impressions have to be critiqued and looked at from new angles.
It is a situation where I have my documented data but also the memory of the feel of the sword as well as the impression of its prescense. A reconstruction has to be true to all these: the final sword has to follow the numbers but also remain true to a personal image of what the sword would have been when new.
With this sword very little has changed over time. It seems to have had a fall or accident at some time as there was a crack across the blade some distance from the point (together with a slight bend). The chape of the scabbard also looked like it had been banged into something. The edges were otherwise well perserved and as good as sharp (you cold probably sharpen a pencil with this sword as it is today).
The grip had a cover of textile that was glued down (no stitches) and possibly coated with shellack or just saturated with glue. My first impression was that this was the complete and intact original grip. After careful consideration, I now tend to think the textile was the foundation for another cover of some kind (and I guess that was probably leather although it could also have been textile). A textile wrap that is just glued down with hide glue does not seem to be durable enough by itself. In use the glue would also become sticky from sweat, rubbing and body heat. Rahter quickly such a grip would probably come undone. Infact, the textile wrap has begun to lift away from the wooden core of the grip at both ends: it is only in the middle that the textile still attaches securely to the core. This lifting affects the outline of the grip in photos you might have seen. The grip in the reconstruction is given a shape that is to my best understanding of that the original grip must have looked like when everything was tight and nice.
We decided to go with a cover of fine leather that is treated with beeswax, but otherwise left with its natural color (the beauty of this is that it wil slowly darken even more when subjected to sunlight, developing a nice deep and mellow patina over time). This is to harmonize with the scabbard that is well made, even if quickly put together. Spare peices were stitched together and left without any treatment, other than possibly some wax or oil for water proofing.

The hilt is sturdy and shows a very good fit. Especially the slot in the guard is tightly cut to accommodate for the blade. All surfaces are ever so slightly domed and the edges have a fine rounding, to take away the sharpness without compromising the crispness of the forging. Clearly the work of a skilled craftsman with years of experience and a good eye for shape and proportion. The pommel seems to have had a few extra strikes during the life time of the sword as the top of the pommel is a bit squashed. I choosed to carve the waxes as I think they would have looked when the sword was first put together (without this deformation): the pommel is not yet struck out of shape at the top and both arms of the guard still follow the same ark (or very nealry so). One arm of the guard of the original is slightly bent out of true and I think this happened during the working time of the sword, or possible at the same time as when the blade got the small hair line crack.
This is as you understand all my personal impressions. I write about this to show that there is more into a reconstruction apart from merely recording the numbers and go from those. The final goal is to arrive at something that is more than just a faithful duplication of dimensions, but something that is true to the character of the original.
This way a reconstruction will always be depending on how you look at the original and what you look for. Not two people will ever document a sword in exactly the same way. You are going to look for different things and appreciate different aspects of it.

The engraved letters and symbols in the blade are done with the CNC. Steve and I sat down to make sure the marks are all not "perfect" but just slightly uneven, as they are on the original. They are not geometrically perfect, but shows slight crookedness, as if carved into the blade by someone who cannot spend the whole day doing it: quickly but done with a sure hand. This is the impression I got when seeing them up close. I do not think the lines had silver inlays. I have racked my brain on this detail and looked through the photo many, many times. As far as I can make out , they were cut into the steel, but left as lines. This is what we have worked to reproduce. Steve did a great job in coverting my hand drawn signs into a program that cuts the shapes inot the fuller with a fine and pointy graving tool.

The feel, character and prescence of tis sword...well, what can I say?
To me it is a splendid weapon. Stark and simple with flowing lines and balanced proportions it is a witness to the skills of a mature craftsman. I was completely overwhelmed by it. To me this is beyond a question if it has "good balanbce" or not. This sword is what it is without making any excuses whatsoever. It is big, bold, sturdy and very powerful. It will take a strong arm to wield it efficiently. I guess that is why it was made the way it is. It was forged for someone that was very full grown, perhaps going to the holy land. It is the sword of a knight, who would fight fully clad in mail using a large shiled, sitting on a powerful charger. This sword is made to strike fear into the heart of any man who would oppose this knight.
Oakeshott writes about these big swords in his "Sword in Hand": a class of weapons of unusual size and mass. Great big swords for single hand use that had to deal with mail, thick shields and very tough opposition. This is one of those (I don´t think it is the biggest, but that is beside the point).
I do not doubt this is the reason this sword was chosen to represent the sword of the ancient saint. You can tell just by looking at the sword: the man who owned it must have been a powerful and fearsome fighter.

It is difficult to describe the feel of this sword. It is massive, yes. It is not one of the "quickest" swords you wil find (quickness in a fight is after all not just abot absolute speed but equally important to be in the right place at the right time). I still do not think it is clunky or cumbersome or badly designed by its original maker(or makers). Holding this statically in your hand you might be impressed with the sheer mass of it. Once you start to wield it in earnest it will begin to sing. It is meant for movement and it will move like the big charger of the knight: near unstoppable (this surely is no pony for leasure picknicks). The size and mass of the blade helps guiding it through the cut. It will make an impression on targets that are not easily affected by lighter and quicker weapons. It is meant for big deliberate blows, when timing and distance is paramount. One great cut that really will count that is delivered as you pass, sitting in your saddle or moving on foot behind you great long shield.
In this thread there has been attempts to compare the Saint Maurice to other swords avaliable from both Albion and other makers. I don´t think there are many other swords on the market that come close to the character of this one. This is from many reasons. One important reason might be that big swords like this becomes almost intimidating. You can´t appreciate them like other swords who stand out because of lightness, speed and nimbleness. To understand this sword you will have to look from another type of mindset: you have to put yourself in the situation fo a mid 13th C warrior who is trained to fight wearing heavy mail and a large shield. A horseman who is taught from childhhood the harsh conditions of the fighting knight. To appreciate this sword will be to borrow into your heart a small bit of an age that has passed by a long time ago. I think that is part of the beauty of this sword: it is demanding and makes no excuses, still gracefull in its own special way.

This sword that is now offered through Albion is the result of my documentation of the original and my impressions and memories of the moment I got to share together with the awesome original.
The tingling feel I got when working with the components tell me the result is indeed pretty close (as close as I could ever hope to get if I were to make a reconstruction myself in my own smithy).

It will be very interesting to hear reaction on this sword when it reaches the hands of you enthusiasts. I am really looking forward to your feedback.

Thank you!

[Joachim Nilsson]

[Joachim Nilsson]

[Thomas Hoogendam]

Really odd.

I can look at the pictures of this sword one day, and be totally blown away, and the next I feel a bit underwelmed. I have mixed feeling really. Somehow, though I think if I were to hold the sword in hand, I'd love it. The side by side with the Knight really puts a lot into perspective for me, since I own a Knight, and really makes me lean towards "I love it!!" again.

The color of the grip is stunning, btw.

[Brian M]

Howy,

Have you thought about donating a new SoSM and scabbard back to the museum/church that the original is held at? I suppose you could write off the value on your taxes, plus it would be great for the public to have an opportunity to see the SoSM (yours) on display in the church. It might also generate some nice publicity for y'all, especially amongst sword afficianados that see the exhibit.

Brian M

[Edward Hitchens]

Howy,
Thanks for posting that picture of the St. Maurice next to the Knight. That shows just how much of a 'beast' it is.

Oh, and I concur with Brian's idea.
-Ted

[Howard Waddell]

[Jean Thibodeau]

Howard;

If possible it might be interesting to see the SoSM next to the Gaddhjalt and the Reeve: All the Brazil NUTS together.

[Craig Peters]

I'm curious- how does the Sword of St Maurice handle in comparison with the Tritonia?

[Brian M]

I already have the Tritonia and the SoSM is coming. The weights are similar, but the SoSM has 4 more inches of blade. It will be interesting to see how the two feel side-by-side.

Brian M

[Kenton Spaulding]

[Gordon Clark]

[Brian M]

Howy, how about a side-by-side pic of the Tritonia and SoSM? And also, how about the SoSM with the other big NG single-handers -- Gaddhjalt, Templar, and Ritter?

Brian M