An early 14th century sword by Maciej Kopcuich.
Feb 10, 2019 7:22:18 GMT
Post by patrick kelly on Feb 10, 2019 7:22:18 GMT
Well, after a nearly two month stint in purgatory it's finally here and the ordeal has reached a satisfying conclusion.
The sword and scabbard came packaged in a very nice plastic hard case, which was in turn packaged within a cardboard box. Happily, the contents made it halfway around the world without a scratch.
Last year I reached what I felt was a significant milestone, the completion of my law enforcement career. Consequently, I felt a retirement present to myself was in order. I contacted a couple of smiths I've done business with about a custom commission, but neither attempt bore fruit. Then, I happened to see this sword listed as a work in progress on the facebook page of Maciej Kopcuich of Poland. The original upon which this sword is based is housed in the Musee de l'armee, Paris France.
Maciej had attempted this sword once before and I remember being drawn to that first effort. At the time I was disappointed that I had to let it pass me by. Usually, he doesn't repeat the same sword twice, but learned a bit of new information about the original and decided to give it another go. Understandably, I quickly decided this second effort would be mine.
Stats:
Overall length: 34.25 inches
Blade length: 28 inches
Grip length: 4 inches
Blade width: 2.55 inches
POB: 3.5 inches from guard
Weight: 2.86 pounds.
The original is dated to the early fourteenth century, circa 1300. This is the high medieval period in which a suit of mail that completely covered the body was state of the art. This is the period in which we see the thrust begin to take a place of equal importance to the cut. This sword is a good example of that philosophy. The blade is of moderate length with a broad cutting surface, but with a strong point as well. In Oakeshott's Typology this one falls somewhere between a Type XII and Type XIV. In other words, what we know as a "tweener". Sharing characteristics of both, but not strongly in either classification.
The swords over all size, being something more than a short sword but not overly long, makes for a very handy weapon and one well suited for sword and buckler work as seen in the I.33 manuscript, or for use in the battle line. In fact, this sword simply begs for use with a shield. This sword would be at home in either context. The hilt is neither too small or overly large, either one of which can be a common occurrence in modern historically based swords. The hilts size and grip length allows for a comfortable grip in several styles.
The blade is well mounted into the hilt and the whole assembly is tight, providing a very solid feel. In fact, "solid" is the best descriptor I can think of for this little brute of a sword. The blade is broad and flat, with a lenticular cross section. Yet, it's still very rigid, more so than I would have expected. Maciej has stated he felt his first version of this sword featured a blade that was too thin and exhibited too much flex. If so, he's corrected that with this 2.0 effort. The blade has very little flex, with a weighty feel to it as well. Mind you, it's not overly heavy or cumbersome. But rather, the feel is that of solidity and strength. It really feels like a sword built for use in battle against armored opponents rather than in a dueling context, ala the I.33 manuscript scenes. The sword may have a weighty feel, but this doesn't hamper its maneuverability in transitioning between the cut and thrust and it follows the point well.
I had specified a sharp edge and Maciej assured me it was. However, I would classify the edge as keen, rather than a knife like sharpness. I think the edge is perfectly sufficient for a sword meant for use in armored combat. It's sharp enough to cut, yet the edge retains plenty of material at its shoulder to impart durability and strength. Still, for the modern hobbyist who views a swords cutting ability within the context of slaying grass mats and water bottles, this edge might be in need of a dressing up. The edge does exhibit a bit of a secondary bevel. Many enthusiasts feel a lenticular blade shouldn't have an edge with a secondary bevel. However, this is seen on many surviving original examples. Whether this is from design, or resharpening is impossible to determine. That being said, it isn't severe on this sword and wouldn't negatively effect the swords cutting ability or aesthetic appeal.
Regarding aesthetic appeal: this sword and scabbard combination has it in spades. The bronze, spherical and fluted pommel is what initially drew me to this sword. I find the shape unique, beautiful and quite interesting. I've also come to love the combination of the bronze pommel and steel guard. Once upon a time I couldn't stand the mixing of metals. Now, I simply adore the texture it provides. The guard is a variant of Oakeshott's Style 2, quite common for the period. The grips leather covering is quite well done in a pleasing oxblood color and the seam is invisible.
The scabbard is as eye catching as the sword itself. The leading surface of the leather is tooled in an elaborate, period correct pattern of intertwining vines surrounding stylized animal figures. The pattern is like that on several surviving examples, as well as that illustrated on period statuary. Maciej had asked me for input on the scabbard decoration and I simply told him to do whatever he liked. I always prefer to give a maker creative freedom with minimal involvement from myself. I feel this results in a superior finished work and that philosophy has never disappointed me. Secretly, I was hoping for just such embellishment and I wasn't disappointed.
Maciej doesn't usually mount a chape on his scabbards, since a chape wasn't ubiquitous on original scabbards as it is on modern replicas. However, a scabbard just doesn't seem finished to me without one, so I requested the addition and Maciej supplied a period correct piece.
The mouth of the scabbard is covered in red leather that is stitched to the so called "rain guard". This provides a nice bit of contrasting detail that works well with the over all style. The scabbards wood core is tightly fitted to the blade, enough so that the combined unit can be shaken while upside down without the sword coming loose. The scabbard is dyed something close to an Havana brown, with an interlaced belt of a contrasting darker chocolate color.
The belt is topped off with a bronze strap end and buckle that are heavy and well made, as well as other decorative bronze hardware. The belts adjustment holes also feature bronze eyelets. This is an uncommon feature on medieval sword belts. However, a similar feature is seen on the belt of the scabbard for the sword of Sancho IV, King of Castille, so there is some small precedence for such a thing. The only real criticism, though a minor one, I can make lies with the belts bronze hardware. These kinds of plaques and stiffeners aren't really seen on scabbard belts of this period. However, that is a minor quiblle, enough that I didn't request to have them left off and they are an attractive edition.
In terms of fit, the sword if prefect. Regarding finish, it isn't. The blades finish isn't picture perfect, containing evidence of forging and finishing. The fuller is centered, even and straight. However, there are a few small forging pits and finishing marks hear and there. These can be seen mainly at the base of the blade, on either side of the fuller.
The forged, fluted bronze pommel is quite beautiful and shows signs of its manufacturing process in the form of several pits on its fluted surface.
I don't mention these details as criticism. In fact, quite the opposite. The sword isn't perfect. But that's the whole point, it isn't meant to be. Maciej is quite clear when it comes to his aesthetic philosophy. The originals upon which his work is based are natural objects made by a natural process. Handmade imperfection is the guiding principle, not machine made perfection. The original antiques feature many such imperfections, often to a much greater degree than seen here. One only has to examine the bronze pommel of the original pictured above, then compare that to Maciej's reproduction to see the far greater degree of imperfection in the former. Many original blades have fullers that wander over the blades surface like a snake and guards that are horribly crooked, or off center. Yet, these were considered fine weapons for their day that merely exhibit the organic nature of their creation.
Maciej has tried to stay true to this spirit with his work and I think he's succeeded in fine fashion. I've seen shoddy work passed off as "handmade" and this is far from that. With that type of quality a sword will usually be found lacking in the mechanical areas of its manufacture. Many of the attributes that separate a sword from a sword like object will be missing. This isn't the case with Maciej's work. I've seen some criticism of this approach and, in my opinion, this illustrates a lack of understanding. It really takes the eye of an experienced collector and researcher to appreciate it. After handling enough real antique swords and gaining first hand experience with their quirks and imperfections, an appreciation for such things is developed. I still love modern swords, both custom and production, that illustrate the sword in its idealized form. However, after more than forty years of study, I've really come to appreciate these bits of texture that illustrate the organic nature of these objects.
My final comments concern the maker himself. Maciej was very understanding about some requests I made concerning payment which I greatly appreciated. Once the sword left Poland it disappeared for an extended period of time. I submitted a search request through the US Postal Service and never received a result. In fact, the only response I got on that was, "We can't find the package", which came on the same day that I finally received a tracking notice from the same Post Office. Apparently there were delays, both in Europe due to the year end holidays, as well as in US Customs due to the shut down of our federal government. So as a word of caution, don't have a sword shipped internationally over the holidays, or when your government reaches an unprecedented level of incompetence. On a positive note, Maciej was communicative and concerned throughout the entire time. The mans commitment to his customers seems equal to his commitment to his craft.
The smith and his product are highly recommended.
The makers website: artofswordmaking.com/
The sword and scabbard came packaged in a very nice plastic hard case, which was in turn packaged within a cardboard box. Happily, the contents made it halfway around the world without a scratch.
Last year I reached what I felt was a significant milestone, the completion of my law enforcement career. Consequently, I felt a retirement present to myself was in order. I contacted a couple of smiths I've done business with about a custom commission, but neither attempt bore fruit. Then, I happened to see this sword listed as a work in progress on the facebook page of Maciej Kopcuich of Poland. The original upon which this sword is based is housed in the Musee de l'armee, Paris France.
Maciej had attempted this sword once before and I remember being drawn to that first effort. At the time I was disappointed that I had to let it pass me by. Usually, he doesn't repeat the same sword twice, but learned a bit of new information about the original and decided to give it another go. Understandably, I quickly decided this second effort would be mine.
Stats:
Overall length: 34.25 inches
Blade length: 28 inches
Grip length: 4 inches
Blade width: 2.55 inches
POB: 3.5 inches from guard
Weight: 2.86 pounds.
The original is dated to the early fourteenth century, circa 1300. This is the high medieval period in which a suit of mail that completely covered the body was state of the art. This is the period in which we see the thrust begin to take a place of equal importance to the cut. This sword is a good example of that philosophy. The blade is of moderate length with a broad cutting surface, but with a strong point as well. In Oakeshott's Typology this one falls somewhere between a Type XII and Type XIV. In other words, what we know as a "tweener". Sharing characteristics of both, but not strongly in either classification.
The swords over all size, being something more than a short sword but not overly long, makes for a very handy weapon and one well suited for sword and buckler work as seen in the I.33 manuscript, or for use in the battle line. In fact, this sword simply begs for use with a shield. This sword would be at home in either context. The hilt is neither too small or overly large, either one of which can be a common occurrence in modern historically based swords. The hilts size and grip length allows for a comfortable grip in several styles.
The blade is well mounted into the hilt and the whole assembly is tight, providing a very solid feel. In fact, "solid" is the best descriptor I can think of for this little brute of a sword. The blade is broad and flat, with a lenticular cross section. Yet, it's still very rigid, more so than I would have expected. Maciej has stated he felt his first version of this sword featured a blade that was too thin and exhibited too much flex. If so, he's corrected that with this 2.0 effort. The blade has very little flex, with a weighty feel to it as well. Mind you, it's not overly heavy or cumbersome. But rather, the feel is that of solidity and strength. It really feels like a sword built for use in battle against armored opponents rather than in a dueling context, ala the I.33 manuscript scenes. The sword may have a weighty feel, but this doesn't hamper its maneuverability in transitioning between the cut and thrust and it follows the point well.
I had specified a sharp edge and Maciej assured me it was. However, I would classify the edge as keen, rather than a knife like sharpness. I think the edge is perfectly sufficient for a sword meant for use in armored combat. It's sharp enough to cut, yet the edge retains plenty of material at its shoulder to impart durability and strength. Still, for the modern hobbyist who views a swords cutting ability within the context of slaying grass mats and water bottles, this edge might be in need of a dressing up. The edge does exhibit a bit of a secondary bevel. Many enthusiasts feel a lenticular blade shouldn't have an edge with a secondary bevel. However, this is seen on many surviving original examples. Whether this is from design, or resharpening is impossible to determine. That being said, it isn't severe on this sword and wouldn't negatively effect the swords cutting ability or aesthetic appeal.
Regarding aesthetic appeal: this sword and scabbard combination has it in spades. The bronze, spherical and fluted pommel is what initially drew me to this sword. I find the shape unique, beautiful and quite interesting. I've also come to love the combination of the bronze pommel and steel guard. Once upon a time I couldn't stand the mixing of metals. Now, I simply adore the texture it provides. The guard is a variant of Oakeshott's Style 2, quite common for the period. The grips leather covering is quite well done in a pleasing oxblood color and the seam is invisible.
The scabbard is as eye catching as the sword itself. The leading surface of the leather is tooled in an elaborate, period correct pattern of intertwining vines surrounding stylized animal figures. The pattern is like that on several surviving examples, as well as that illustrated on period statuary. Maciej had asked me for input on the scabbard decoration and I simply told him to do whatever he liked. I always prefer to give a maker creative freedom with minimal involvement from myself. I feel this results in a superior finished work and that philosophy has never disappointed me. Secretly, I was hoping for just such embellishment and I wasn't disappointed.
Maciej doesn't usually mount a chape on his scabbards, since a chape wasn't ubiquitous on original scabbards as it is on modern replicas. However, a scabbard just doesn't seem finished to me without one, so I requested the addition and Maciej supplied a period correct piece.
The mouth of the scabbard is covered in red leather that is stitched to the so called "rain guard". This provides a nice bit of contrasting detail that works well with the over all style. The scabbards wood core is tightly fitted to the blade, enough so that the combined unit can be shaken while upside down without the sword coming loose. The scabbard is dyed something close to an Havana brown, with an interlaced belt of a contrasting darker chocolate color.
The belt is topped off with a bronze strap end and buckle that are heavy and well made, as well as other decorative bronze hardware. The belts adjustment holes also feature bronze eyelets. This is an uncommon feature on medieval sword belts. However, a similar feature is seen on the belt of the scabbard for the sword of Sancho IV, King of Castille, so there is some small precedence for such a thing. The only real criticism, though a minor one, I can make lies with the belts bronze hardware. These kinds of plaques and stiffeners aren't really seen on scabbard belts of this period. However, that is a minor quiblle, enough that I didn't request to have them left off and they are an attractive edition.
In terms of fit, the sword if prefect. Regarding finish, it isn't. The blades finish isn't picture perfect, containing evidence of forging and finishing. The fuller is centered, even and straight. However, there are a few small forging pits and finishing marks hear and there. These can be seen mainly at the base of the blade, on either side of the fuller.
The forged, fluted bronze pommel is quite beautiful and shows signs of its manufacturing process in the form of several pits on its fluted surface.
I don't mention these details as criticism. In fact, quite the opposite. The sword isn't perfect. But that's the whole point, it isn't meant to be. Maciej is quite clear when it comes to his aesthetic philosophy. The originals upon which his work is based are natural objects made by a natural process. Handmade imperfection is the guiding principle, not machine made perfection. The original antiques feature many such imperfections, often to a much greater degree than seen here. One only has to examine the bronze pommel of the original pictured above, then compare that to Maciej's reproduction to see the far greater degree of imperfection in the former. Many original blades have fullers that wander over the blades surface like a snake and guards that are horribly crooked, or off center. Yet, these were considered fine weapons for their day that merely exhibit the organic nature of their creation.
Maciej has tried to stay true to this spirit with his work and I think he's succeeded in fine fashion. I've seen shoddy work passed off as "handmade" and this is far from that. With that type of quality a sword will usually be found lacking in the mechanical areas of its manufacture. Many of the attributes that separate a sword from a sword like object will be missing. This isn't the case with Maciej's work. I've seen some criticism of this approach and, in my opinion, this illustrates a lack of understanding. It really takes the eye of an experienced collector and researcher to appreciate it. After handling enough real antique swords and gaining first hand experience with their quirks and imperfections, an appreciation for such things is developed. I still love modern swords, both custom and production, that illustrate the sword in its idealized form. However, after more than forty years of study, I've really come to appreciate these bits of texture that illustrate the organic nature of these objects.
My final comments concern the maker himself. Maciej was very understanding about some requests I made concerning payment which I greatly appreciated. Once the sword left Poland it disappeared for an extended period of time. I submitted a search request through the US Postal Service and never received a result. In fact, the only response I got on that was, "We can't find the package", which came on the same day that I finally received a tracking notice from the same Post Office. Apparently there were delays, both in Europe due to the year end holidays, as well as in US Customs due to the shut down of our federal government. So as a word of caution, don't have a sword shipped internationally over the holidays, or when your government reaches an unprecedented level of incompetence. On a positive note, Maciej was communicative and concerned throughout the entire time. The mans commitment to his customers seems equal to his commitment to his craft.
The smith and his product are highly recommended.
The makers website: artofswordmaking.com/