*watch with sound*
I was going to post this with a nice, slow contemplative track, but then this happened.
Honestly, I’m enjoying the vibe.
A bit of slo-mo battle ballet, a good demonstration of how much “area denial” is possible with a Zweihander or Montante - a bodyguard armed with one could block an entire street while his principal was hustled to safety - and one of the few situations where spinning around in combat isn’t just a Hollywood affectation.
Not sure about skipping in the air, though…
This clip - where the swords are moving at more like realistic speed - actually includes some bodyguarding.
NB that if a two-handed sword is too heavy, say 5kg / 11 lbs and up (the one in this post is 6.6kg / 14½ lbs) it was made for carrying in processions, not for fighting; such swords might not even be properly tempered for combat use.
Despite their size, combat two-handers weren’t especially heavy, no more than 3.5kg / 8 lbs, while the OP and the one in the following pic from London Longsword, with their narrow blades, may weigh even less. It meant they were both fast and nimble; with the long grip as a lever and dominant hand as its pivot, a cut or thrust could change direction faster than an opponent might expect.
So while clever stuff like ducking in behind the swing might work, if it didn’t work, the not-so-clever person could be in a world of hurt. Even if the blade didn’t cut them (the edge might be out of alignment, it happens) getting a full-force wallop on the head, shoulder or arm from five feet of steel is something anyone with sense would rather avoid.
Those little spikes on the blade near the hilt (”parrying-hooks”) function as a secondary crossguard and on some swords - like the one on the right in the photo below - are much further along, with the ricasso section covered in leather for a better grip.
Holding it like this shortens the weapon by almost a foot for fighting at closer quarters, in a combat style that IIRC abandoned great sweeping strokes and relied more on the point, as if the sword was a spear that could also inflict cuts (as some spears can do).
The wavy (”flamboyant” / “flamberge”) edges didn’t make the blade cut better, or cause worse wounds, though you’ll see such claims made on the web * but they looked cool and the increased use of water-powered grinding wheels meant they were a lot easier to create.
Start with a plain blade, grind on the fancy edges, and there you go.
* If wavy edges were so much more efficient than straight ones, there should be a lot more cut-dedicated historical swords - sabres, katanas, scimitars etc. - made that way. And there aren’t. Indo-Persian swords with wavy blades or serrated edges seem to demonstrate swordsmithing skill and conspicuous consumption more than improving the weapon’s fighting quality.
This one has serrations on the back of the blade, where they have nothing to do with the cutting edge at all….
Another suggested effect is that the wavy blade or edge - especially on a sidesword or rapier - made parrying uncomfortable for those not used to it, giving the wielder an advantage. This is possible, but such swords are rare and unusual, suggesting the “advantage” if it existed at all wasn’t enough to make it popular.
I’ve got a private theory that a lot of the wavy-edge Zweihander / montante swords currently on display date from after such weapons went out of use, and were made (or older ones pimped up) that way as decor because it made them look more impressive when hung on mansion walls.
YMMV on that one.
They’re also still part of the equipment (regalia?) of the Papal Swiss Guard, and are carried on parade in a distinctive way.
Interesting detail: these swords have parrying-hooks, but they’re right up against the main crossguard with no room for a hand, so are no use for their intended function.
My money’s on them being repros-just-for-parade. After all, the Guard have given up on metal helmets and now wear 3-D printed thermoplastic ones; I’m wondering when the rest of their armour will go the same way.
