Swords for the Elizabethan Gentleman

While European civilization of the Renaissance was far from lawless, civil laws have little meaning without the means to enforce them. Elizabethan England had courts, but no general governmental police force. What investigative money and energy the government did expend often went into pursuits such as tracking down plots against the Queen (usually real), or hunting and trying people for witchcraft (generally imagined). Beyond that, the efforts of the law generally went much further in protecting the persons and property of the nobility than it did the commoners.

To complicate things further, the rise of the middle class meant that, at least in the cities, the old feudal system of patronage had largely broken down. With no feudal lord to turn to for protection or justice, the result was that most people had to arrange for their own protection.

For a woman, that pretty much meant that her protection was her father’s responsibility until she married, after which it naturally became her husband’s problem. For a man -- at least a man of property -- it meant he was responsible for not only his own protection, but that of his family and household.

Naturally this took the form of arming – a gentleman would see to it that he, his sons, and any other male members of his household were provided with arms suitable to their station, and instructed in their use. A man of property – not just a nobleman, but also any relatively prosperous merchant or artisan – for the most part would not go out in public unarmed, nor would he allow any female members of his household out without an armed escort.

The basic personal weapon of the age was the sword. From ancient times through recent centuries, the sword has taken many forms, evolving in response to the target it was intended to hit and the defense it expected to defeat.

The sword of the Elizabethan gentleman was a one-handed weapon with a long, lightweight blade, slender and graceful. Sporting a complex “swept hilt” to protect the hand, it was descended from a Spanish style called the “arming sword,” or espada ropera. This name was quickly anglicized to “rapier.” Both edges were sharpened, and capable of cuts, but it was primarily a thrusting weapon, much more likely to impale an opponent. It lacked the weight of the earlier medieval swords that enabled them to chop through mail. This was a response to its target – whether used in a formal gentlemanly duel, or in a street brawl, it was unlikely to face an armored opponent. What it gave up in chopping weight it gained in speed, and a trained man with a rapier was very fast and very deadly. To further lighten it, the blade was often fullered – given a fuller, or a groove down its length (sometimes incorrectly called a “blood-gutter”). This can be clearly seen in figure 1 above, which is a photograph of an original swept-hilt rapier circa 1620.

It is also clearly evident in figure 2, another original from approximately the same period. Some rapiers had multiple fullers, though this was more likely a show of the bladesmith’s skill than pure utility.

A brisk trade sprang up when various swordmasters opened schools to teach secret maneuvers and techniques to those who could afford them, and the art of “defensing” was born – from which we derive the modern term, “fencing."

The shield was still known from previous times, but both shields and body armor were the tools of soldiers, not civilians in what was ostensibly peacetime. Since the left hand didn’t carry a shield, it was only logical to put it to some use. Thus came the main gauche, a long parrying dagger whose name means “left hand” in French. With a rapier in the right hand and a main gauche in the left, our Elizabethan gentleman was well equipped to face most threats.

You may have noted above that I said, “provided with arms suitable to their station.” Since wealth was commonly displayed in the form of personal clothing and accessories, it was only natural that gentlemen decided they needed swords as capable of impressing a social opponent as killing a combative one. A man of humble means, or one armed in the service of a wealthy master, might bear a weapon with a plain wooden grip and a hilt of black iron. As wealth increased, so did the ornamentation of the sword: grips were made of ivory or exotic materials; pommels and hilts were elaborately sculpted and inlaid, often chased with precious metals or enameled. Blades might be engraved, or sometimes decorated with multiple fullers pierced with drilled holes.

In the end, though, an elaborately decorated weapon meant nothing without the skill to wield it, and most noblemen were trained from boyhood by professional masters-at-arms. At age five a noble boy was “breeched” – taken out of baby’s dresses and given his first breeches, and a small sword. From this point his training with the sword began, and by young manhood his skill would have been substantial and lethal. Besides scholars and men of the church, the only men of wealth who would not be expected to bear a sword would be those whose age or extreme wealth meant that they would have men-at-arms to provide their protection (probably with halberds, slower than the rapier, but a considerable improvement where reach is concerned).

What does this mean to the Renaissance Faire reenactor? Simply this: if you’re portraying a man of property – a nobleman or prosperous merchant – you should have at least a rapier as a regular part of your costume. If not, your character was likely to get robbed, and the rule was (and often still is) that you can keep what you can protect.

Rapiers come in a dazzling array of designs and qualities, though obviously not as wide a variety now as in times past. While it may be tempting to buy the most beautiful or flashiest one you can afford, you need to keep in mind that it must be appropriate to your character. A middle-class artisan would not have a weapon sporting a gilt, or gold-plated, hilt – his sword would probably have a plain guard of iron, perhaps just a simple ring or two, with a simple wooden grip. A popular option, then and now, would be to wrap the grip in spirals of twisted wire, which helps to prevent the hand slipping when sweaty. For a wealthy man, the same purpose is served by an ivory grip, since ivory has the unique property of not getting slick when the hand is sweaty. (This is why piano keys have traditionally been made of ivory.)

There are many different designs of reproduction rapier available today, and some sword-makers are producing new designs of this elegant sword. These are available in a staggering array of shapes, styles, and qualities. Before buying one, you, as a reenactor, should determine exactly what you need.

Will you ever draw your blade from the scabbard, or will it remain safely sheathed? If it’s never to be drawn, you don’t need a fancy blade, or even a particularly accurate one – you can simply use a fencing epee or schlager blade with an appropriate hilt attached.

If the blade is drawn for show – as in a knighting ceremony – it should look good, but that’s all it needs. You don’t need a weapons-grade blade of tool steel, forged by a master swordsmith, much less a pattern-welded “Damascus” blade.

If you’re going to be participating in stage combat, as in a fight demo, different considerations apply. In this case you’re best off with a blade specifically designed for stage combat. These blades generally have rounded edges, which serve a double purpose: they make the weapons safer in case of accidental contact, and they spread the impact forces when blades meet, making them far less likely to nick each other’s edges. You may see some blades advertised of aluminum – these are light, and quick for stage combat, and probably a little safer. On the other hand, aluminum doesn’t have the distinctive ring of steel when they meet, so you need to decide if that’s important to your show.

If you’re a serious collector, and you have the means to indulge your whims, it’s quite possible to commission a sword, even today, that would inspire envy in an Elizabethan nobleman. Pattern-welded blades, and even simple steel, are as good today as ever in the past, and custom bladesmiths and swordcutlers can be found to produce nearly anything you desire – but the price can easily run into thousands of dollars. (Note: Historically, a bladesmith was a highly specialized blacksmith whose skill lay in the forging of weapons. A swordcutler would buy the blade from the smith, and he would create the hilt to the customer’s specifications, crafting the guard, the grip, and the pommel to please the customer. Often he would commission a leather worker to produce a scabbard worthy of the sword. These days many swordsmiths combine all those roles into one.) Another alternative, for the collector with deep pockets, is to buy some of the few original antique rapiers on the market today -- such as the one shown in figure 5 above -- but you should expect them to cost thousands of dollars at a minimum.

When you pick up a rapier for the first time, you might be a little surprised at its length. It’s a little longer than you would instinctively expect, and a little slower, because the last few inches of that long blade have a considerable moment of inertia to overcome. In addition, the extra inertia of the long blade meant that it was less easily deflected, requiring more of a stroke to beat it aside. (One of the deciding factors in rapier combat is tremendous wrist strength.)

Reach was considered a primary advantage in a sword, enough that in 1566 Elizabeth issued an edict limiting the length of a rapier's blade to "a yard and a half of a quarter." (I read that as 1 1/8 yards, or 40 1/2 inches.) Despite that, rapiers with blades up to 43 inches are common in collections -- remember that Elizabeth's law had no effect in continental Europe. Most rapiers being made today seem to have a default length of 36 inches, though some longer ones are available.

Rapiers are often sold en suite with mains gauches, sometimes making very attractive matched sets. Other times you may not find a matching main gauche, and may have to get by with whatever you can find. This isn’t really a problem, as expensive matched sets were not always the case, even among the very wealthy.

Whatever sword you wind up buying, you may want to customize it in some way. Remember, swords were all handmade in the Renaissance, and no two were exactly alike. For example, I dismounted the pommel and guard of one of my rapiers and had them gold-plated, which adds a very real richness to the impression. This means, of course, that I can only wear it when playing a very wealthy character.

I’ve seen the same sword with a jewel set in the ricasso (the unsharpened part of the blade nearest the hilt), and another of the same model with the grip wrapped in leather. Other options might include engraving or etching on the blade or hilt, changing of the pommel, or bluing the steel for a distinctive impression.

Examination of period portraits of gentlemen suggests something else: while they are generally shown with a sword (presumably their best), they are only rarely painted with the sword drawn. Usually all we see is the hilt and the scabbard – and often the scabbard itself is richly decorated. Most of the swords you can buy will come with a relatively plain scabbard wrapped in brown or black leather. While it’s beyond most people’s craft to make a totally new scabbard, it’s really pretty easy to add jewels or other embellishments – if only by gluing them on.

At the end of this article are links to a number of online artisans and dealers who handle rapiers. Note that I don't have the budget to buy swords from all of them, so (unless I specifically say so) any comments appended should be taken as commentary on the listings, not based on experience with the products or service.

When you are either visiting a Renaissance Faire, or simply creating a costume for one, you're likely to find a lot of sword types available. Once you remember the Renaissance Faire version of "caveat emptor," that is: "Not everything you can buy here should be worn here," you'll be all right.

First, let's rule out anything newer in design than a rapier. This simple stroke eliminates hundreds of potential mistakes: sabres, smallswords and colichemardes, modern fencing foils and epees, and many more. Nearly any ceremonial sword that you're likely to come across at a flea market will be too late in period -- those blades used by the Masons and Knights of Columbus are usually 17th or 18th century designs.

That still leaves a huge array of possibilities, though: military swords of the Elizabethan era, foreign patterns, and many more, older swords.

As I mentioned earlier, the rapier gained its speed by giving up much of its weight, and, with that, its chopping power. That's fine, as long as you're facing an unarmored opponent. But by the 16th century the armorer's craft had pretty much reached its peak, and about the only chance a rapier-wielding gentleman could hope for against a fully armored opponent would have been a quick, lucky strike at the eyes.

Far more likely that the armored opponent would casually cut him to ribbons, secure in his armor.

Let's sidestep a little, away from the gentleman in peacetime. The same gentleman, when called for military service, might be seen wearing at his hip a sword whose hilt might be very like that of his civilian rapier. He may even have a matching dagger. When drawn, though, we see that the elaborate hilt is attached to a broad and heavy two-edged blade.

Here again we need to remember that the sword was often a symbol of power and wealth -- like a Rolex watch or a Ferrari might be today. The gentleman uses his sword to show his wealth, his taste, and the fact that he can afford the very latest. But when the battle closes, he wants to be able to use it to preserve his life and chop his enemies up.

This is the weapon of a wealthy soldier. The elaborate hilt, besides protecting his hand, shows that he has the latest in style, the best of taste, and can afford to indulge his taste in his military equipage. The broad, workmanlike blade is heavy enough that, with an expert blow, it can cut leather or heavy cloth, chop through mail or even light plate, and still cleave flesh and sever limbs. The blade's spine is thick, and unlike the rapier, it's rigid enough that a strong thrust can punch through mail. This is sometimes called a “sword rapier,” sometimes a "cut and thrust" sword, and it's more closely related to the broadsword than the rapier.

Not all the military swords of the era had complex hilts. Some had simple crossguards, and were almost indistinguishable from the medieval swords of two or three hundred years earlier. Others had intermediate developments: a ring guard, or perhaps a partial basket. Any of these might be found in the armored fist of the military man.

But remember: The broad, heavy blade marks it as a military weapon, which would no more be carried in civilian clothing than an M-16 rifle would be used for hunting today.

Europe in the late 1500s was a busy place, with tides of money and power moving many people – and trade goods – around. The Renaissance had blossomed first in Italy, and by the time of Elizabeth Italy was considered by many the cosmopolitan center of civilization and the arts – with good reason. Many of the great fencing masters were Italian, such as Agrippa and Capo Ferro, and they had a reputation for “secret moves” – such as the lunge, which replaced the “pass” – that were said to be undefeatable.

As mentioned earlier, the name “rapier” was derived from a Spanish name, but the weapons trade was brisk enough that the sword itself was found throughout much of Europe, from Italy and Spain to Sweden. There were some distinctly foreign styles, such as the Scots claymore, the schiavona of Eastern Europe, and the German katzbalger, but these were generally military weapons, and would no more be worn by gentlemen than the English military styles.

An amusing footnote comes to mind, speaking of foreign swords: For years we’ve smiled indulgently at the guys who can’t resist a Japanese-style sword, and feel they have to wear a katana – or better yet, a full daisho – at the Renaissance Faire. Some of them at least manage the Samurai outfit, which makes it a little less jarring, if no more probable. Others, generally customers coming to their first Faire, just stick that katana or wakizashi through their belts and think it’s cool.

Well, some years ago Margo and I went to an exhibit of paintings of the Dutch Masters from the early 1600s, featuring paintings by Vermeer and Rembrandt. Among these was a portrait of a young man leaning on a sheathed sword. What brought a smile to our faces was the fact that this sword was clearly a Japanese style – it looked like a tachi, with its long hilt – while the young man was quite obviously European. Whether the sword belonged to the man in question, or whether it was kept around the painter’s studio as a prop, it did indeed mean that there was at least one Japanese sword in Amsterdam in the 1600s. Of course, Holland was the home of the Hanseatic League, the greatest international trade organization of its time, and this was before the Emperor of Japan closed it to Western influence.

Either way, that does NOT constitute an endorsement of wearing a katana with European costume!

Whether in military or civilian life, a man of wealth would show it, in part, by wearing the flashiest, most fashionable sword available – generally made to order for him, in the latest style, by a preferred swordsmith. This can be imagined like having a late-model car. But, while shields got chopped up and discarded regularly, swords didn’t – and a good sword might be handed down from father to son, and ultimately to grandson or further. In a wealthy household that old sword would probably hang in a place of honor on the wall, but in a house of modest means (or one whose fortunes had declined, as often happened), that venerable sword might still be carried as a daily weapon. Therefore, for the man of middle class or lower, an alternative to the plain rapier might be an older style of weapon – perhaps something from the 14th or 15th centuries. Like the military swords, these would likely be broader, heavier blades, lacking in speed but carrying tremendous chopping power compared to the rapier. Good against the armored opponent it was designed to defeat, that heavy sword was markedly inferior as a daily civilian weapon – but if it was the best one had, it could still make an attacker think twice. A heavier, older-style sword, therefore, should only be carried by middle-class or lower characters – especially those who might have performed military service.

As mentioned above, there are many possible sources even today for swords appropriate for wear with Elizabethan costume – in fact, there seem to be more today than just a few years ago, since the Internet allows marketing that lets small businesses thrive that otherwise could not exist (like ours!). In addition, the growth of interest in Renaissance Faires has led to a burgeoning market, and there are companies offering rapiers that formerly carried only knives.

It’s possible, now, to get a simple swept-hilt rapier, one that could at least pass for a modest weapon belonging to a man-at-arms, for under $100. While I wouldn’t want to take such a sword into a real fight, it’s perfectly passable as a “starter” weapon for a costume. As prices rise into the $200-300 range the blades get better, and the designs become more varied and better executed. For about $500 you can buy an excellent “ready-made” rapier, as good in functional “weapon quality” as many historic weapons. For a similar amount you can probably commission a custom sword, though the prices can easily rise out of sight, depending on your taste.

Below is a list of links I’ve compiled, with comments as they seem appropriate. In general, they start at the cheap end of the spectrum and rise in cost and quality. Note that this list is generally one of makers, rather than dealers, with preference given to those who sell their work directly. You should also be aware that this list is far from a complete list of all the rapier makers working today, or even all the good ones. Just because someone isn't listed here doesn't mean they're not good -- but it does mean I probably have little knowledge of or experience with them.

Bud K: Offers two simple rapiers for about $60 each. You wouldn’t think that would buy you much, but I got one (the black one) just to see. It’s made in China, and it’s surprisingly not terrible. The blade is stainless steel, and probably wouldn't hold an edge well, but the odds are it'll never be asked to. The grind lines are quite good -- it appears to have been shaped on a milling machine -- though the blade lacks lateral stiffness. The hilt, while replicating the general shape of a swept-hilt rapier, is clearly welded from modern barstock, and lacks any ornamentation at all. Furthermore, the black of the hilt is not the black of black iron, nor is it chemical blueing. It’s black paint, and bright metal shows through in a few (tiny) spots. Still, for a dirt-cheap price, it’ll solve your problem of walking around unarmed. If you can’t afford better, go ahead and buy one. Sure, you’ll probably see a lot of these soon, but you can always change the grip, or the pommel, or strip the paint off. It does include a scabbard, and I have to say the service was very good. How far can you go wrong? (Note: Bud K refused permission to use their photos, so I took one of my own.)

K & K Art: This Czech company offers what appears to be an assortment of very good reproduction rapiers at ranging from $145 to $160. They look good, and from their website the quality appears high. If it’s not good enough for you, they offer a higher-priced “Museum Line,” all of which are identically priced at $440. These swords are shipped without scabbards, but their website offers a wide variety of scabbards and swordbelts for prices ranging from $75 to $170(!). They also offer a number of rapiers with ambidextrous hilts for the left-handed swordsman. Beware of shipping costs, however – your best bet is to convince a few friends, and buy a number of these weapons together, to combine shipping and save money.

Hanwei Forge/Paul Chen: This company has recently invaded the American market with relatively high-quality reproduction swords at a relatively low price -- they can generally be found in the $180-220 range. They do this by making them in China, like Bud K, but to a higher standard. Unlike Bud K, they do not sell their swords direct to the retail consumer, but the swords are available through a number of dealers. Mine (the Bone-Handled Rapier, #1091), came from By the Sword, and I have no complaints. (Except that the "bone" handle turns out to be simulated bone -- i.e., plastic.) The blade is carbon steel, unsharpened, heaver and wider than that of the Bud K rapier, but still narrow. It is notably stiffer, and the tang looks strong. I actually would trust this sword in a serious fight. The grind lines are not beautiful, but it’s real, and it’s probably one of the best values you can get in a rapier at this price level. For what it's worth, it also includes a plain but nice scabbard. (Note: The sword shown in figure 11 is my own; the gold plating was added. The sword comes with a plain steel hilt.)

Museum Replicas: This company was originally a division of Atlanta Cutlery. In the past they carried weapons from Del Tin, from Christopher Poor, and others, as well as commissioning Windlass Steelcrafts in India to make swords to their specifications. Well, Windlass has now bought Museum Replicas, and most of the weapons you find in their catalog come from India. This is not necessarily a bad thing – India has a long tradition of bladesmithing, and most of the weapons I’ve handled from this company have been well made and workmanlike. These swords generally fall in the $230-$400 price bracket. They usually have high carbon steel blades, shipped unsharpened but able to take and hold an edge, and a scabbard is generally included in the price (but read the product listing carefully). In addition, they offer several ambidextrous hilts, as well as a left-handed swept hilt rapier -- a real consideration for the left-handed swordsman. Jim Hrisoulas of Salamander Armory, one of the best bladesmiths in America, once told me that swords from Museum Replicas generally approximate the quality you might find in an average weapon of the time. Sure, you can buy better, but these are good swords for the money.

Darkwood Armory: These people are not bladesmiths, unlike some others here. Instead they are swordcutlers -- creators of specialized hilts to complete the blade chosen by the customer. Scott Wilson of Darkwood Armory emphasizes that, while his rapiers are available in a wide range of designs and custom options, they are really meant to be used -- not as killing weapons, but as practice weapons for fencing, SCA rapier play, Renaissance Faire shows and stage fights. This means they're as sturdy as they are beautiful -- deliberately non-lethal (except with the available sharp rapier blade), but able to take serious use in less-than-serious "combat." They are available with rapier and practice rapier blades supplied by Del Tin Armi Antiche of Italy, all shipped unsharpened for safety. Most of these swords are priced between $290 and $325, but finish and component options can add anywhere from $10 to over $100 to that price. Scabbards are not included in the price, but are available for $40 extra. Check out their website for an extensive photo gallery of their work.

Lundegaard Armory: Like Darkwood Armory, Lundegaard Armory is an operation of swordcutlers, not bladesmiths. They are swordcutlers, but their emphasis is less on replicating historic swords, and more on creating beautiful and whimsical rapier hilts (among other things). Their work is sculpture as much as function -- such as the spider-motif "Black Widow" design seen at left, or the oak-leaf motif "Special Oakeshotte" rapier shown in figure 4 above. They offer an assortment of blades for fencing, stage combat, or your specific needs. When you order a sword from Lars Lunde you specify which hilt design you want, and what blade, and they’ll create it for you. It costs more, yes (usually between $525 and $575), but you’re not likely to see anyone else wearing a sword like yours. The downside is that you’ll spend a lot of time fielding questions about it!

Lutel: Another Czech company, aimed at the higher end of the market than K & K Art. Lutel offers a variety of beautiful and unique rapiers, and though their prices are substantial (generally about $510 to $560), Lutel's weapons get consistently good reviews on MyArmoury.com. For what it's worth, they usually include scabbards. I hope to add a sample to my collection in the not-too-distant future -- I particularly like their model #14004.

Arms & Armor: This operation is run by the Minnesota armorer, Christopher Poor, who takes his historic reproduction seriously. His weapons are excellent, and the late sword expert Ewart Oakeshott was impressed enough to proclaim them "the best replicas I've ever seen." They offer a number of rapiers en suite with daggers, including the spectacular "Dresden rapier suite" pictured at right with a matching by-knife. I don’t have any of their work in my collection, but sooner or later I will, because he is also willing to discuss custom work, and I’ve seen photos of a rapier he did with the blade pierced in several places. Yes, they're expensive -- their rapier prices range from $525 (for a cup-hilt, too late for Elizabethan period) to $760 -- and that doesn't include options or custom work.. Everything I’ve seen and heard indicates that they're worth it.

Click here for a well-written review of an Arms & Armor rapier on myarmoury.com. The reviewer also gives a few basic points, and dispels a few common mythunderstandings, about rapier fencing.

Finally, anyone buying any weapons from any of the above makers is encouraged to email me with both comments and photos, so we can make this a more comprehensive buyer’s guide. Thanks!

And -- if you don't have it already -- when you get a beautiful rapier, shouldn't you have a spectacular costume to go with it? For the best Elizabethan Gentleman's patterns anywhere, click here.

Acknowledgements: I would like to express my gratitude to the representatives of the companies who graciously cooperated in my preparation of this article: Rob Miller of LionGate Arms and Armour Inc.; Craig Johnson of Arms & Armor; Lars Lunde of Lundegaard Armory; Scott and Lesley Wilson of Darkwood Armory; and Mohammed Said of Museum Replicas Ltd. This article would be poorer without their cooperation.

11: "Bone-handled" rapier by Hanwei Forge. Gold plating not included. Photo by Wayne Anderson.

This page, and all contents of this website, are Copyright (c) 2000-2005 by Wayne Anderson. Please do not distribute without permission. To contact me, email me at webmaster@Margospatterns.com. Copyright for the photographs used on this page remains property of their respective owners.