The Royal Court

Faceted pommels for Classical Fencing foils and epees.  The previous post was a test of the facet angle and overall dimensions to yield the required shape and weight for the fencing weapons.  At first glance, these pommels, here created in brass and stainless steel, appear to all be the same but there are slight variations that I've incorporated to yield a weight range required for weapon balance.  Facet angles are also varied between 5 and 6 degrees to allow for the weight difference between the brass and the steel.  If you look closely at the second pommel (front row) from the left, you'll see that the forward end is beveled.

Four of the pommels have been countersunk at the end for decorative medallions.  The posts of the medallions are compression fitted into a drilled hole and sealed with epoxy for security.  I've used colored glass jewels in the past but the posts on the medallions offer a more secure attachment for decorative items.  Future options still in the drawing phase include spirals, grooved cuts and figures that can be cut into the facets of the pommels.  I'm also working on a source for bronze metal in a shape that can be machined without a lot of waste material.

The Faceted Pommel

The latest endeavor in creating unique pommels for Classical Fencing weapons!  Amazing that such a simple looking item can be so complicated to make.  Unlike most pommels available on the market, this one is not cast in a mold.  Rather, it is machined and milled from a solid brass slug as seen on the left.  Like previous creations, it is first turned and drilled on a metal lathe then tapped for a 6mm thread.  The complexity comes in accurately setting and reproducing each of the six facets at exactly the same angle on a vertical mill (non-CNC).

Cutting angles on a vertical mill isn't particularly difficult but this pommel required each cut to be 60 degrees apart, cut exactly to the same depth and perfectly tapered from the centerline at 6 degrees.  The part had to be moved for each cut so exact alignment for each cut position and depth was critical.

My drawings and calculations for the final weight of the pommel (100 grams) required an extremely exact taper angle.  Now, I don't know about you but I don't have a protractor that can accurately set a 6 degree angle (+ or - a few minutes) and I wasn't about to pay several hundred dollars for a set of machinist's angle templates.  The solution came from Joe Pieczynski at Advanced Innovations in Austin, Texas.  His videos showed me how to use the X and Y axis table on the mill (accurate to thousandths of an inch) and some simple trigonometry tables to create a 6 degree template to position the part and accurately reproduce each facet cut.  Not only did all the points meet drawing specifications, the part weighed in at exactly 98 grams!  I've already cut some additional angle templates to provide stepped weight variations for custom weapon balance.

For now, this pommel is one of a kind so I'll have to save it for a very special foil worthy of the design.  The successful results also open the door to more artistic variations that, for now, are still just in my head.

"Pluma Negra" (The Black Feather)

This Classical Fencing foil marks a new step in the making of custom grips using the Fabulous Machine seen in a previous post.  It is a commissioned weapon created to the specifications of a client.  The name reflects the lightness of the foil in the hand.  The blade is one of few remaining blades forged by Blaise Freres in France before the company was sold.  The quality of this blade allows it to be ground and honed for quick response to the fingers without sacrificing control of the point.

The guard selected by the client is a Fleur de Lis pattern from Benjamin Arms.  The grip is a light Poplar wood core wrapped with hardened cord and twisted steel wire.  The pommel is custom cut stainless steel in conical shape.  A stainless steel ferule cups the end of the wood grip to prevent mushrooming and compress the cord windings.

The Fabulous Machine allows the simultaneous winding of multiple wraps, in this case cords and wire, without the need for layering or spacing guesswork.  Each winding is in direct contact with the wood grip core, adding strength while maintaining sensitivity in handling.  The larger diameter cord is hardened to provide a sure grip in the hand.  Particularly amazing is how the grip transfers the lightest touch of the blade to the fingers while still damping aggressive hits from an opponents blade.

The use of wire windings, particularly multiple wires, is a complex skill still to be mastered.  Once again, I credit Joel Mason of Jacob's Armoury for designs and photos of his work.  

"The Fabulous Machine"

The Fabulous Machine is a tribute to the creativity and skill of Joel Mason, Director of Jacob's Armoury. He is renowned for the swords and fencing weapons he's made over the years. Sadly, his long battle with Parkinson's Disease no longer allows him to make complete weapons but you can find a lot of his work at http://www.jacobsarmoury.com . Since making custom grips for Classical Fencing weapons is one of my hobbies, I was particularly inspired by Joel's "Fantastic Machine," a device he built to wind multiple wires and cords on sword grips. You can see the original machine at http://www.jacobsarmoury.com/the-fantastic-machine.html . I have a particular love of gears, metal and machines so my "Fabulous Machine" has a bit of steam punk thrown in.
I'm very thrilled to contribute in small part to Joel's wish that the procedures and techniques he's developed not be lost. I don't think I'll ever achieve the beauty and mastery of wire winding that Joel has but hope that others will also take an interest in his work and carry on with his art. My dream would be to visit his home in Scotland and learn more while time allows but I don't know if that will be possible. Maybe there is someone out there that can.

A better view of the gear and pawl system that locks the wheel in place so adjustments can be made to the wraps.  The three brass pieces near the bottom of the side plate are actually heavy brass pipe, drilled and threaded to accept brass bolts from the underside.  This anchoring system provides additional strength against the pull of the tensioning system for the wrapping cords.

The first test of the complete system with the machine anchored to a portable work bench.  Note the addition of a center mounting bolt.  This allows solid mounting and the ability to angle the machine as the wraps are applied and assists in tight place placement of the wraps next to each other.

The test wrap was done with four wrapping cords.  At the beginning of the wrap, each cord is anchored radially into notches in the wood and glued into place.  As the grip is turned, each cord is picked up and included until all four cords are being wrapped at one time.  The use of a larger diameter cord allows for a more secure grip by the hand.

The line tensioning system of pulleys and weights.  The overhead pulleys can handle five lines or more if similar cords are grouped.  The two pulleys behind the main pulley block allow lines to passed to the back to prevent the weights from interfering with each other.  The weight cartridges can be opened to change the internal lead weights for optimum tension on the lines.

A detailed view of the main pulley block.  Open eyelets were used in the ceiling to allow easy removal when not in use.

The completed grip mounted on a Classical Fencing foil.  The stainless steel pommel is my own but the Fleur de Lis guard is from the collection of Benjamin Bowles at Benjamin Arms.  Although many of his surplus parts are no longer shown in his new catalog, I understand he still has a number of desirable weapon parts in stock.

The French Foil

I don't commonly create complete fencing foils because of the time involved in working even the better raw blades sold today into what I would want to use in competition.  Lately, however, a number of fellow fencers have inquired about purchasing complete weapons so I thought I would develop a more classical French foil that would meet their needs and still meet the standards that I would want in my own fencing weapons.

Pictured above is a commissioned custom foil using a French grip.  The blade is an SG premium blade but has been worked to the dimensions of a 1960's French Prieur blade that I have in my collection.  Because blades are tempered, heating is an issue when a blade is abrasively reduced.  I work my blades in batches of six to twelve, minimizing heating and allowing plenty of cooling time before a blade is worked again.

The guard I've selected is a jewel all by itself.  Cast in brass, it's in the style of the German Figure 8 and was obtained from Andrew Chin of Salle Saint-George in Seattle.  The guard is backed with thick leather cowhide.

The grip is traditional French foil design.  It is hand made of Poplar and the width, depth and length are set to the buyer's preference.  It is wrapped with single, hardened black cord.  I have found this cord to be extremely durable and provides an excellent purchase in competition use.

The end of the grip is covered with a countersunk brass ferrule to protect the wood as the pommel is tightened.  The ferrule is sized to match the pommel.

The pommel, also in brass, is inspired by and based on the research of Benjamin Bowles of Benjamin Arms.  I created mine in brass to match the guard.  Ben Bowles has a new catalog of weapons that accurately follow the designs and preferences of past fencing masters and he has been very generous in sharing his research with me.

The custom touch on the end of the pommel was a request by the buyer.  It's the first time I've ever used a boring bar in the making of a pommel.  On a metal lathe, the cut can be made so accurately that the Fleur-De-Lis emblem is actually tightly "press fit" into the bored opening.  Industrial emblem adhesive was used to prevent unseating under hard use.

"La Québécoise" (The Lady From Quebec)

The Fleur-De-Lis, a stylized lily (in French, fleur means "flower" and lis means "lily), has long been used on many European coats of arms but is particularly associated with French heraldry and the French monarchy.  The symbol was also carried to the New World by European settlers, again particularly the French, and is still seen today in areas of strong French colonial settlement.  In Canada,  the fleur-de-lis remains a symbol of cultural identity for many French-speaking people.  One of these areas is Quebec, which features it prominently on its flag.

This Classical Fencing foil guard was commissioned by a client who proudly retains that cultural identity and chose the design and name.  Often seen in white, the fleur-de-lis is displayed in blue on the flag of Quebec so the client chose to include both colors.  The guard is cut in stainless steel, with stainless steel rosette, and is backed with two layers of felt, heat-fused to leather.  As with others on this page, it is a one-of-a-kind item and will not be reproduced.

The client also chose to add a custom grip and pommel to complete his weapon.  The grip is made of dense Purple Heart wood and follows a design similar to one created by Benjamin Bowles of Benjamin Arms .  It features a slightly wider area at the rear to allow better control with the ring and little finger.  The grip is finished in wax-free shellac to reduce wear, prevent darkening and protect the wood against moisture.  The pommel is machined from solid brass and features a recessed collar that slides over the wood grip to prevent mushrooming or splitting when the pommel is tightened.

"Trinity"

Tradition says that Saint Patrick, the primary patron saint of Ireland, used the the shamrock to illustrate the Christian doctrine of the Holy Trinity when Christianizing Ireland in the 5th Century.  According to many sources, three was a significant number in pagan Ireland and the Irish had many triple deities. While the shamrock itself doesn't appear to have been sacred to the Celts, the symbolism and the relationship of the shamrock to the earth may have helped Saint Patrick in his evangelistic efforts.  The shamrock went on to become the national symbol of Ireland and is featured on many illustrations, emblems and artifacts.

This is a commissioned foil guard based on a design selected by the client.  Even though cut on stainless steel, I considered that the size and open design might not be sufficiently strong to be use in competition.  As I've mentioned before, my creations are not designed as decorative items and are intended for actual use in classical fencing bouts.  As it turned out, all sections are amazing strong.  It is sure to be clearly visible in the 2016 Palm Beach Classical Fencing Open Tournament.