He does! I have yet to handle one of his I did not like. Did you see the this latest post of his? facebook.com/permalink.php?story_fbid=pfbid02TDZBpwuJFYCeH3cYem6ExjZvpq3ya8Hybvyqkd4bf2cUymM9nKRHXQ56rantqm6cl&id=100077666115061
Saw Ádám's post about these pieces. So you got one of them. Nice! :) François l'Olonnais was a pirate, of course he was an awful man. We don't need to romanticise pirates as misunderstood good guys. Wait, never mind, that's exactly what we're doing! From wiki: "The Japanese transliteration of l'Olonnois (Roronoa) served as inspiration for the name of Roronoa Zoro in the manga series One Piece. The appearance of another character in the series, the swordsman Dracule Mihawk, is likely based on L'Olonnais' 1684 portrait as well." Anyway, maybe you can tell me why the etching has the quillons pointing in the opposite direction. It's a single-edged swords, so it's not like it was made for a left-handed person. I hate when video games get the S-type quillons wrong on things like rapiers, and I blame modern makers not really caring about swords. But I wasn't expecting that someone in the period was so unfamiliar with them.
As is often the case when talking to Ádám, what I was interested in and what he was already planing on doing came together nicely :) Well spotted on that quillon! It is something Ádám and I talked about during the making of these swords. It could just be a mistake on behalf of the artist. That is certainly not unheard of. We have Lecküchner commenting that one drawing in his tomb of Messer fencing is not very good and in my personal Favourite, Roworths "Art of Defence", the plate for the half circle guard is just not very good. Where the knuckle bow ends up just does not make a lot of sense. On the other hand (No pun intended), Ádám says it is a reoccurring thing on even very detailed illustrations. If it sits right, and you do not cut form the wrist but more from the elbow, this could actually work, or at least not bother you. It might be a nice brace and give some additional protection to the hand. I actually want to experiment with that a little in the future if I get the chance. - Peter
@@die.freifechter When you are in a bind and the other person wants to pull away, the bottom quillon being swept forward can help if you chose to step in, close the distance and push your sword into his and everything into the opponent. This works on sidesword, it should work for a dusack intended for closer combat. But even in the absence of wrist cuts, the upper quillon would annoy me. Due to the side shell and the relatively small grip, I don't even think you can hold it in hammer grip if the top quillon is bent as in the picture. So I am going to say that it's the artist's fault. He probably made a rough sketch, concentrated on the face instead of the important thing, the dusack 😄, and finished the rest from memory. Homework: just hold it with your left hand the way I mentioned and see how it feels (careful with the blade 😅). You are going to make a longer video, so let us know how it feels holding it like that. 😇
Reminds me a lot of the Storta that Tod made (th-cam.com/video/bVWq1KvVKgM/w-d-xo.html), just with the shell flipped... Wild Theory: If the piece Tod used as a basis had its shell curving the other way, because that way it looked nicer on the hip, did the artist paint the shell bending down, because it looks better that way in the hand? After all, maybe he did the same already with the quillons... had he painted them as they are on your replica (and so many originals), with the S bending the other way, the half coming towards the viewer would bend upwards and blend with the background, instead of being a foreground object, and the half pointing away from the viewer would disappear behind the hand, further removing some of the presence the sword is clearly supposed to have... so maybe he took more liberties with the shell... (But probably not, I feel like there are many dussacks/cutlasses like this(?))
Late reply, but I was thinking about this for a bit. There is certainly a very, very blurry line between some sabres, hangers, cutlasses, dussacks and stortas. Some weapons just fit a very broad timeline. As for the reason for drawing the quillons like they were in the etching the cutlass is based on... it is possible that it was just because it looked nicer that way, just like it is possible that the artist did not know better. We do not really know. Ádám has found this quillon configuration in several paintings/etchings though, so it might also have been a thing, that was just not well preserved. Until we find one (that we know was not a bad amalgamation of several originals that some collector or curator put together themselves), we won't really know :) - Peter
Watching you unpack this cutlass makes me feel so much joy. I'm happy for you, man
Thank you for the kind words. :)
- Peter
Adam makes beautiful pieces ❤
He does! I have yet to handle one of his I did not like. Did you see the this latest post of his?
facebook.com/permalink.php?story_fbid=pfbid02TDZBpwuJFYCeH3cYem6ExjZvpq3ya8Hybvyqkd4bf2cUymM9nKRHXQ56rantqm6cl&id=100077666115061
Saw Ádám's post about these pieces. So you got one of them. Nice! :)
François l'Olonnais was a pirate, of course he was an awful man. We don't need to romanticise pirates as misunderstood good guys.
Wait, never mind, that's exactly what we're doing! From wiki: "The Japanese transliteration of l'Olonnois (Roronoa) served as inspiration for the name of Roronoa Zoro in the manga series One Piece. The appearance of another character in the series, the swordsman Dracule Mihawk, is likely based on L'Olonnais' 1684 portrait as well."
Anyway, maybe you can tell me why the etching has the quillons pointing in the opposite direction. It's a single-edged swords, so it's not like it was made for a left-handed person. I hate when video games get the S-type quillons wrong on things like rapiers, and I blame modern makers not really caring about swords. But I wasn't expecting that someone in the period was so unfamiliar with them.
As is often the case when talking to Ádám, what I was interested in and what he was already planing on doing came together nicely :)
Well spotted on that quillon! It is something Ádám and I talked about during the making of these swords.
It could just be a mistake on behalf of the artist. That is certainly not unheard of. We have Lecküchner commenting that one drawing in his tomb of Messer fencing is not very good and in my personal Favourite, Roworths "Art of Defence", the plate for the half circle guard is just not very good. Where the knuckle bow ends up just does not make a lot of sense.
On the other hand (No pun intended), Ádám says it is a reoccurring thing on even very detailed illustrations. If it sits right, and you do not cut form the wrist but more from the elbow, this could actually work, or at least not bother you.
It might be a nice brace and give some additional protection to the hand.
I actually want to experiment with that a little in the future if I get the chance.
- Peter
@@die.freifechter When you are in a bind and the other person wants to pull away, the bottom quillon being swept forward can help if you chose to step in, close the distance and push your sword into his and everything into the opponent. This works on sidesword, it should work for a dusack intended for closer combat. But even in the absence of wrist cuts, the upper quillon would annoy me. Due to the side shell and the relatively small grip, I don't even think you can hold it in hammer grip if the top quillon is bent as in the picture. So I am going to say that it's the artist's fault. He probably made a rough sketch, concentrated on the face instead of the important thing, the dusack 😄, and finished the rest from memory.
Homework: just hold it with your left hand the way I mentioned and see how it feels (careful with the blade 😅). You are going to make a longer video, so let us know how it feels holding it like that. 😇
Lovely sword
I am very much looking forward to testing it in cutting.
- Peter
Reminds me a lot of the Storta that Tod made (th-cam.com/video/bVWq1KvVKgM/w-d-xo.html), just with the shell flipped...
Wild Theory: If the piece Tod used as a basis had its shell curving the other way, because that way it looked nicer on the hip, did the artist paint the shell bending down, because it looks better that way in the hand? After all, maybe he did the same already with the quillons... had he painted them as they are on your replica (and so many originals), with the S bending the other way, the half coming towards the viewer would bend upwards and blend with the background, instead of being a foreground object, and the half pointing away from the viewer would disappear behind the hand, further removing some of the presence the sword is clearly supposed to have... so maybe he took more liberties with the shell... (But probably not, I feel like there are many dussacks/cutlasses like this(?))
Late reply, but I was thinking about this for a bit.
There is certainly a very, very blurry line between some sabres, hangers, cutlasses, dussacks and stortas. Some weapons just fit a very broad timeline.
As for the reason for drawing the quillons like they were in the etching the cutlass is based on... it is possible that it was just because it looked nicer that way, just like it is possible that the artist did not know better. We do not really know.
Ádám has found this quillon configuration in several paintings/etchings though, so it might also have been a thing, that was just not well preserved. Until we find one (that we know was not a bad amalgamation of several originals that some collector or curator put together themselves), we won't really know :)
- Peter