|
Author
|
Topic: Historical thickness of period swords
|
Friedrich
Member
Member # 40
|
posted 01-07-2001 11:12 AM
    
Jeff Lord & I had the opportunity yesterday to handle a period sword from the late 11th (First Crusade), mid 14th (Pre-Talhoffer style longsword), and early 16th centuries (Katzbalger).The 11thC blade had a brazil nut style pommel and the 14thC blade had a disc. Even after reading of examples regarding how light and thin these period blades were, it is truly remarkable to handle these historical examples in comparison to today's "replica" and "combat ready" reproductions. (Particularly the 11thC and 14thC blades.) After having an opportunity to discover first hand the weight, balance and the ease of controlling the point/tip, it really does become more clear in how some of the intricate guards and attacks were possible and effective. (For example, Meyer's vs Sutors squinting blow.) An appreciated experience!
FvH
"Das Glück der Erde liegt auf dem Rücken der Pferde." [This message has been edited by Friedrich (edited 01-07-2001).]
Registered: Jul 2000 | IP: Logged
|
|
|
|
Peter Johnsson
New Member
Member # 98
|
posted 01-13-2001 07:58 PM
The weight and balance of swords is a very complex matter often leading to heatd debates. The potential for cutting/thrusting cannot be discussed separatly from manouverability.
The first time one handles a medieval or rennaissamce sword its heft, balance and responsiveness will most probably be very surpricing. We need to examine remaining historical swords carefully if we are to successfully reproduce weapons to their likeness today. The degree of variation in size and weight in historical swords is great and it is impossible to lay down any fixed rules in inches and ounces that will lead to good swords.
Any sword, regardless of size and type should be balanced for optimal effect in attacking and handling according to intended use.
Total weight and point of balance are naturally matters of prime importance to consider when making a sword. The correct placing of the point of balance varies from sword to sword according to the shape and dimensions of its blade and tang.
The shape of the blade, the cross section and its change in width and thickness along its length will determine the self balance of the blade, its inertia, how bending and impact stresses are disrtibuted and how vibrations travel back and forth when it strikes a target.
The distribution of mass along the length of the weapon is a very critical aspect that will determine the responsiveness of the sword. That this is a matter apart from the placing of the point of balance is often not properly understood or observed. (Example: two rods of equal length and weight can have exactly equal point of balance but still be shaped very differently. If one rod is tapering to fine points towards the ends and the other grows in dimension towards the ends, the first one will take much less force to put in motion than the later. )
If the mass should be distributed evenly along the blade (this is a blade with very little or no distal taper) the sword would need an exeedingly heavy pommel as counterbalance or become very point heavy. A sword made like this will be slow and sluggish despite every atteempt to balance it sweetly.
A blade with a correct distal taper (-a thinning of thickness of the blade) is balanced with a pommel of moderate size. A sword like this will be manipulated with speed and accuracy. It will deliver blows with authority and cut deeply with surprisingly little effort.
Too much mass in the extreme ends of a sword (point and pommel) will make it vibration prone. Vibrations will eat energy as the sword hits the target making the cut less efficient.
It is important not only how much a sword vibrates but also where. There is always a point of no vibration around one third of the blade lenght from the point. This is the point of maximum impact.
A properly balanced sword will also have a point of no vibration in the grip, in most cases rather towards the cross. By applying force through the pont of no vibration the potential of stiffness of the blade is used to its maximum.
This phenomenom regarding nodes of no vibration can be observed in historical swords. In fact, all historical swords I have documented (-that were in such a condition that vibrations could be examined without fear of causing damage;-) exhibited this feature.
The manipulation of these node points of no vibration is one of the "secrets" of an accomplished swordsmith. Through working with mass, length and cross section dramatic effects can be acheived. The swordsmiths of old were masters in this art. We have much to learn through the study of the remains of their craft and making practical experiments with well made replicas. Peter Johnsson
Registered: Dec 2000 | IP: Logged
|
|
|
|
|
|
|
|
|
|
|
UBBFriend: Email this page to someone!
