Method 1: The Destreza Method, seen in many specimens from Iberia and Italy

Not sized to you at all, sized to the height of the average man, specified as 2 Madrid vara. The hilt is half a vara long. The ratio being 2 parts hilt, 6 parts blade. In English standard: the blade is ~49.45 inches long, hilt is ~16.45 inches long, and ~66” total. Antiques vary from a little longer or a little shorter. Crossguards and ricassos are sized using various geometric methods (For example: Divide the blade into 20 parts: 5 for the hilt, 15 for the blade, the crossguard can be anywhere from 4 to 6 parts, ricasso anywhere from 1 to 4 parts.) Blade profile tends to be overall narrower, regardless of style and distal thickness. A single fuller is very common.

Method 2: The Philip II edict, 1533, as recorded in Toledo.

The montante will be no higher than the wielder’s chin. Other specifications of proportion are not mentioned. From this decade, Di Grassi states the hilt should be 4-palms long. Various geometries and proportions can be used after initial sizing though, including the above or below methods, or other geometric methods as outlined in “The Sword, Form and Thought”. The ricasso can similarly be sized to the belly-button or hip-joint, accordance with methods used below. Naturally, this ambiguity can produce a variety of styles. I cannot personally verify the Edict, so while it’s included to pair with Di Grassi’s method, know that it may be false.

Method 3: The proportionate man method (large)

This method sizes the greatsword to Da Vinci’s proportionate man, as stated in Alfieri’s “Lo Spadone,” its [the spadone’s] length must be very long, as long as a proportionate man, neither tall nor short” This proportioning method has been observed in some schlachtschwert by Peter Johnnson, This produces swords proportioned similarly to many modernly-named zweihander. This may also be what Alfieri means by the weapon “sized to the proportionate man”.

• Take the width of your shoulder joints, from divot to divot (shoulder bone to shoulder bone, follow your clavicle & acrimon to find). Multiply this by 4 to get the total length of the sword, it should match your height, and match your palm size times 18.

• Five widths of your palm make the hilt-length.

• The crossguard is the width of the shoulder-joints.

• Point down, the ricasso ends at the divots of your hip-joint divot (between your hip bone and femur bone, the meat part that divots) and the false guards are placed at the naval.

• The width of the false-guards and any hilt-rings is one-third the shoulder width.

• The width of the sharp portion of the blade is around one-ninth the width of the shoulder width. The profile taper can start at this width and taper down/not at all, or the taper can start less than this, and flare out to this width one-palm from the point.

Ideally, the total length should match or be close to your height, 4x the shoulder width, and your palm-width x18; but as Thibault says: “This theory (Da Vinci and Durer’s proportionate man) would be even better if it were always true.” Each sword made using this theory will have its own little quirks, reflecting the human it’s based upon. The three methods below contain guidelines for compensating excessively disproportionate variables. These are just guidelines to help you get started and get thinking for when you test this method on yourself. Naturally, you can always just use your height to start, and rely on the raw mathematical proportions afterward.

Method 4: The proportionate man method (small).

As recorded by Gerard Thibault, and I will add an addendum from Philipo Vadi, as they produce weapons of the same size and proportion. Thibault says this is the rapier-shattering “espadon” for his destreza, and Vadi uses it for dueling, wars, and riots. This method allows one to draw it from the hip while raising the opposite leg, despite the average blade length of this method (for a 5.5 foot tall person) being ~41.5 inches according to Luis Pacheco de Naravez. Many spadone in the Doge’s palace in Venice have the four-finger armored point of Vadi.

From Thibault: The total length of the sword is the height of your armpit. The blade comes up to the naval. The crossguard is the length of your foot. Only difference from sizing a rapier being the length of the hilt.

From Vadi: The total length of the sword is the height of your armpit. The grip is the width of your splayed hand (thumb-tip to pinky-tip). The pommel legnth is the width of your balled-up fist. The crossguard is the width of the grip+pommel combined. For use against armor, the armored point starts 4-fingers from the tip.

Method 5: Pietro Monte’s Two-handed Sword

As recorded in several disparate parts throughout Pietro Monte’s Collectanea, Monte treats his late 15th early 16th century two-handed sword as a mixture between early greatsword work and Marozzo’s spadone, and in fact may have been an influence of the latter method. Monte sizes his two handed sword “between the eyes and nose.” He also says he prefers an elongated, or longer than typical, hilt rather than heavy pommel to offset the blade mass. It’s unclear whether this refers to an early 1:3 ratio over the more traditional 1:4 for classical longswords and medieval warswords (such as some of the larger finds from the battle of Ravenna). This proportioning method could also be an early use of Proportionate Man method, which would make sense for the man who taught Leonardo da Vinci self-defense. One other proportion method stands out, that of a 1:3 method, but the cross is placed in the second intersect vesica, making a 1:2.2 ratio. This final method was a common method for making smaller (around five foot) munitions greatswords, and tended to be very simple designs. Given Monte reasons that the longer sword and hilt would keep the cuts from hitting the ground (so that the point stands forward), this last method would be a very cheap and easy way to create a serviceable munitions greatsword for someone who is not fully conditioned nor practiced to keeping a weapon isometrically at full extension, or rotating it back to such, as it would allow that person to keep their point centered while having their hands at their lowest point of extension. An example of this latter 1:2.2 munitions method is mentioned in Peter Johnson’s Das Schwert Gestalt und Gedanke, an Italian Spadone of the same conformation from the New York Metropolitain Museum of Art, and a Claidheamh da Laimh from the Kelvingrove Museum of Art.

Method 1 will give you a weapon that was very common across the Mediterranean, and has deceptively long reach.

Method 2 will sacrifice some length depending on your height, and may allow you to move more dynamically.

Method 3 will give a generous amount of length, with relatively more leverage (which may sacrifice your reach, but a cut will cover your body more), and will be quite intimidating. It will also be completely unique to you, giving you “your sword.”

Method 4 will give the most reach at the expense of overall length, leverage, and perceived threat (a shorter person may also be left wanting for reach), but is the fastest and easiest to mix with other styles of combat, and the easiest to transport since it’s on your hip. A sort of versatile mini-montante / shorter schlachtschwert. Method 4 sized weapons were also quite common across Europe, and while not as unique as Method 3, will still be “your sword.”

Method 5 will give you a shorter greatsword that is relatively easier to hold at extension toward your opponents and maintain threat. While the geometry involved is quite simple, it is easy to add your own geometric flourish to make your own. This method is also a cheap, practical, and adaptable in design, in use even in the 15th century all across Europe.

Weight and feel for any of these proportions varies heavily based on distal and profile taper, balance point, and mass distribution.

Effects of Mass and Balance Dynamics on Weapon Performance

Mass Distribution Effects

Mass concentrated towards the hand: Increased dynamism & control (ricassos, false guards, hilt rings, greater distal taper, greater profile taper)

Mass concentrated towards the tip: Increased momentum and power. (Less distal taper, widening profile taper, less massive hilt fittings)

Balance Point Effects

Further Balance Point: More velocity, greater point presence, less dynamism, lighter

Closer Balance Point: Less Velocity, greater point control, more dynamism, heavier

Effects of Various Qualities on Technical Application & Mass Distribution

Blade Length Effects

Longer Blade Length: More reach, more momentum

Shorter Blade Length: Less Reach, More dynamic

Distal and Profile Taper effects

Greater Distal Taper: more dynamic, less momentum (possibly heavier, if starting thick)

Less Distal Taper: Less Dynamic, more momentum (possibly lighter, if starting thin)

High Profile taper: More dynamic, decreased cutting ability, increased thrusting ability, less intimidating, less weight

No Profile Taper: Less dynamic, increased cutting ability, decreased thrusting ability, intimidating

Widening profile taper: Least dynamism, greater cutting ability, increased momentum, floppy thrust, very intimidating, more weight

Ricasso Length Effects

No Ricasso: Mass distribution further from hand, overall lighter, flex close to hilt

Ricasso: Mass distribution closer to hand, allows false-guards, slight weight increase, minimal balance point effect, mitigates blade flexing near cross

False-Guard Effects

No False Guard: Mass distribution further from hand, somewhat lighter

False Guard: Closer mass distribution, more protection in overgripping & winding, somewhat heavier, minimal balance point effect

Low False Guard: Example Below. False guards within one-palms width of the crossguard. Usually smaller and with a large ricasso, they not only concentrate more mass closer to the grip, but protect fingers looped over the crossguard. Many swords with this feature are relatively short (45” blades or less) and completely lack hilt rings. More common in Spanish-controlled areas of the Mediterranean.

Fuller Effects

Ricasso Fullered: Lessens ricasso’s mass distribution effect, decreases weight, minimal balance point effect

Blade Fullered: Mass distribution closer to hand, somewhat pulls in balance point

Blade & Ricasso Fullered: Mass distribution further out, decreases weight, minimal balance point effect

Multiple Fullers: Increases fuller effect

Shallow/Narrow Fullers: Reduces fuller effects, maintains fuller aesthetics

Flammard Blade Effects

No Flammard: Standard blade, no effect

Gentle Flammard: No effect, more expensive

Stark Flammard: Somewhat lighter, mass distribution closer to hands, creates steel-wood binds.

Hilt Length Effects

Shorter Hilt Length: Faster overall rotation, better edge control, more reach

Longer Hilt Length: Faster Extended Rotation, more leverage, more cover, more threat during guards and preparations

Cross-Guard Length

Short Cross: Mass distribution further out, little balance point effect, more comfortable rotation (mental)

Wide Cross: Mass distribution closer in, little balance point effect, increased protection, less comfortable rotation (mental, overcome with practice)

Complex-Hilt Effects

No Cross Rings: Mass distribution further out, easy to feel edge alignment, less protection

Cross Rings: Mass distribution closer to hands, edge harder to feel, more protection, minimal balance point effect

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Two-Port Cross

High mass distribution close to hands, edge harder to feel, most protection, overgripping inhibited if falsguards are close, allows fingers over the cross, weight increase, minimal balance point effect, most common in Iberia, Germany, and Austria

Thumb or Pointer Ring

No Thumb Ring: Standard, super common, no effect

Thumb Ring: Example Right. Prevents thumb-griping entirely, prevents hand slipping down grip, increases ease of rotation. Uncommon overall, found most often in the northern portions of Western and Eastern Europe: from Belgium and the Netherlands, to Northern Germany and Poland. Found on Parade and Executioner swords.

Clamshell

No Clamshell: Standard, very common, no effect

Studded Leather Clamshell: No cross rings, prevents thumb-grip, considerable hand protection, mass distribution closer to hands, weight increase, less balance point effect, most common in Northern Europe/Scandinavia, and sometimes placed above a solid steel shell.

Steel Clamshell: No cross rings, prevents thumb-grip, most hand protection, mass distribution considerably closer to hands, substantial weight increase, balance point closer to hand, most common in Scotland and Scandinavia.

Pommel Size Effects

Small Pommel: Mass distribution further out, balance point further out

Large Pommel: Mass distribution closer in, balance point closer in, prevents hand slippage

Large Hollow Pommel: Mass distribution further out, balance further out, prevents hand slippage

Summary

However you choose to go about making your sword, keep these qualities in mind. Also keep in mind the nature of crafts: chances are the end product is going to be a little off, but not by a significant amount. Smiths weren’t super exact then, they aren’t super exact now. Even Albion blades of the same model will differ somewhat piece from piece. As long as it doesn’t affect its feel in your hands, it’s handling as you practice, and the intention behind the motions, then it is a good tool and will serve you well.

Bibliography

1. Grot-Kamp-Schepers, Barbara; Immel, Isabell; Johnson, Peter; Wetzler, Sixt; 2016; Das Schwert Gestalt und Gedanke; Deutsches Klingen Museum Solingen; ISBN 978-3-930315406

2. Thibault d’Anvers, Gerard; 1628; Greer, John Michael; 2016; The Academy of the Sword; Aeon Books; ISBN 978-1-90465-884-9

3. di Vadi, Phillipo; 1482; De Arte Gladiatoria Dimicandi; http://wiktenauer.com/wiki/Philippo_di_Vadi

4. de Naravez, Luis Pacheco; 1672; New Science and Philosophy of the Skill of Arms, Its Theory and Practice, 2nd Edition.

5. di Grassi, Giacomo; 1594; His True Arte of Defence; http://wiktenauer.com/wiki/Giacomo_di_Grassi

6. del Monte, Pietro; 1509; Foregang, Jeffery; 2018; Collectanea, The Arms, Armour and Fighting Techniques of a Fifteenth-Century Soldier, The Boydell Press, ISBN 978-1-78327-275-4

7. Francesco, Alfieri Fernando, 1653, The Spadone: Whence Handling is Shown by Means of Figures and Effects, Schastiano Sardi, Padua

James Clark, CKDF

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