We're back on the blog! Would you like to know about us a little more? This is certainly not an autobiography, but a full interview about our work and obviously our approach to swordsmithing!
After some time, we are ready to share our thoughts and philosophy....
We’re back on the blog! Would you like to know about us a little more? This is certainly not an autobiography, but a full interview about our work and obviously our approach to swordsmithing!
After some time, we are ready to share our thoughts and philosophy. Swordsmithing today is a very varied profession, but today like yesterday every swordsmith has his/her own secrets and processes to achieve the ultimate goal:
make the best sword ever!
Some time ago, we were glad to be interviewed by Hema in Italia, an indipendent project aiming to spread the historical european martial arts culture of Italy.
Why Volume 1? Because we’ll share another interesting interview in the next months, but now:
Let’s start this journey! Have a nice reading.
Interview with the swordsmith – hosting Malleus Martialis
Hello, welcome! Who are you and what do you do?
Hi! We are Rodolfo Tanara and Eleonora Rebecchi, respectively smith and designer of Malleus Martialis.
The company was founded in 2014, to craft historical blunt arms and historical cutlery.
How did your career in creating medieval weapons and/or armour begin?
Rodolfo had the idea. For a decade, he had a great passion for everything that revolved around reenactment and swordsmithing. Then, experiencing living history and a renovated approach to historical fencing as a HEMA instructor, he laid the groundwork for the constitution of the company.
What are the greatest difficulties in making a sword?
The greatest challenge is that you have to build a huge know-how, that by the way differs from a swordsmith to another, also depending on the customer base. It may not look like it, but this niche is really varied! We deal with multiple materials, from steel to iron, to non ferrous metals, leather, wood, textiles. We have to be versatile and eclectic: we are smiths, leatherworkers, sometimes goldsmiths, sometimes woodworkers. In the past centuries, the process was more differentiated than today, there was a specialised production line, with highly skilled artisans, each of them in their own workshop.
But the most ambitious aim, for us, is to obtain adequate dynamic properties and improve constructional methods. That’s why research and development are the pillars of our company: we always think that there’s a lot to learn, and to do that, the company invests not only in tools and machines, but also in training and education.
In the world of historical fencing and re-enactment, what are the requests of your customers?
In our experience, reliability and an accurate design.
When it comes to the historical reconstruction of swords, what’s the difference in the making of a historical replica, and a sword made for historical fencing?
They are deeply different, but the design concept, the project philosophy and the dynamic ratios have to actually be similar or adjusted to the purpose.
Outside of the requests of your customers, what would you like to make?
Honestly we make what we love. From the entry-level to the high-end swords, we tend to support the customer during the process, asking a feedback during the creation of the sword, in order to share a successful experience.
How do you see the future of historical fencing and re-enactment?
Thank God, the future of historical fencing is not the future of reenactment.
For years, we have been used to heavy historical fencing tools, very far from the originals, and this has contributed to influence the perception of the sword as an object. We think that the fencer, in both fields, has to be educated and become more aware of his/her instrument, through a careful divulgation. We’re working in this direction, improving the website that now hosts a little educational blog. We also appreciate a lot the aim of this interview.
In the HEMA world, agonism is leading to a healthy sportification of the martial disciplines, also if it’s not completely mature and completely indipendent from some old generation concepts. We hope that the two branches of HEMA, the competitive one and the martial study, will be able to specialise more in their respective fields, and the ones who practice both will have the athletic and mental competences to divide them.
Let’s talk about funnier topics: what was, in the span of your career, the strangest request you’ve ever received?
Truthfully, they are many, and were very frequent when we started. From the self-defense blunt sword against burglars, to the damascus ice cream scoop, to the restoration of a “13th century Tunisian katana”…. But the list is wider than that!
…And what was the best request you’ve ever received?
We received many exciting commissions that pushed us beyond our limits, demanding a big effort in terms of both trials and skills. The point is to always be stimulated to improve ourselves, to no longer simply “craft things” but create art. It’s not easy to hang in balance between these two worlds, but surely the works from our “Armeria” Collection have a place of honour in our emotional history.
Now, a bit of advertisement, why should we buy your products?
As this is a difficult question, we preferred to leave it to some of our customers. A big thanks to them! Here follows a resume of the most representative answers we collected:
Malleus Martialis’ creations have a strong historical matrix, with a factor of realism and performance that is superior than the average. There is a right balance, always suited to the budget. The team is really careful with customer care and always tends to professional and quality improvement.
You did it!
If you survived the wall of text, you’re one of the bravests!
Swordsmithing isn’t only about making tools for fencing, we think that every sword has a soul.
We work every piece by hand so it’s very important to us to share our philosophy with you.
Our first interview ends here but keep up following us!
We’ll talk about our heritage and roots, because making swords and fighting with them is extremely funny, don’t you think? 🙂
We’d love to hear any thoughts or questions about this topic.
The MM Team
Q7. The forge of a swordsmith in the 21st century definitely doesn’t look much like one you would have found in a medieval city. Can you tell us what the differences are?
Rodolfo: A whole treatise could be written to answer this question. I will try to be concise: it depends a lot on the production process used by each swordsmith. Certainly very few of us have a water mill, or a mallet and grinding wheels powered by it, but we have the electric power that compensates for the lack of them, as well as electric or pneumatic tools, ultra tech abrasives and what have you, to centralise the production chain in a single workshop; this production chain was once much more segmented and specialised.
Eleonora: There were certainly no computers that could be used to draw, nor all the apps that I use to manage my workflow, like a CRM, for example!
The industrial revolution before and the digital revolution then has changed everything. If our ancestors could look at us, we would be certainly alien to them!
But as a side note, working with different processes doesn’t mean swords are not authentic. This kind of vision corrupts the value and the effort all swordsmiths put in their work today.
Q8. Imagine we are in the medieval forge mentioned in the previous question. A noble gentleman enters and, placing a bag full of silver on the table, asks to have a sword made so he can leave with the good emperor Federico on the road to the Holy Land. What happens next? How would you proceed, and how is it done now, to make a weapon from scratch that can be used in battle? We don’t want to know the secrets of the trade, but just an idea of how you would proceed, from order to delivery.
Rodolfo: To tell you exactly how a commission worked at the time of Federico di Svevia, I would have to have a lot more documented data available; during the centuries I studied from this perspective, between the 14th and the 16th century the city guilds were well-organised. Usually, the private commissions came through an entrepreneurial figure who distributed the work between the various artisans, as the work was much more specialised than as it is today. Today, the swordsmith is expected to be a carpenter, goldsmith, engraver and coppersmith, as well. In part, we have also acquired several of these skills at different levels in recent years, but it’s certainly not like having a team of experts who divide the work into different phases.
Eleonora: I can reiterate what Rodolfo said. To conclude, I can tell you how an order works today as I take care of customer service and design. If a customer chooses a piece from the sport collection, the options are already specified on the website and the order process is immediate. If, on the other hand, they go for a custom sword, whether it’s an artefact or for HEMA, the process is longer as I have to understand what the customer is looking for and if we can satisfy them.
Understanding the customer’s needs is a complex process which requires empathy and listening. You have to guide them through various ideas and proposals, and it’s really important to be creative and to know the subject both from the craftmanship and the historical point of view. So, studying the development of swords through history and swordsmanship is fundemental to connect the dots and offer a bespoke solution.
Q9. From receiving the commission to ending up with the finished sword in its scabbard, ready to be used by a nobleman, how much time do you need and how long did it take in the past?
Rodolfo: I can cite a precious testimony from the end of the 16th century where it’s said that a master weaponsmith from Brescia made 25 swords or 18 polearms in one day. Our production times are a little different. (laughs)
Eleonora: Of course, if we had a larger and better equipped workshop, even with automated processes, our production times and techniques would be different: but this is not our case yet, having built this company with little economic capital and a lot of human capital (hourly speaking), it’s all a work in progress! However, it always depends on the type of sword. Generally speaking, making swords can take anywhere from 8-10 hours for one, to weeks, to even months.
As we deal both with “standardized” products and custom projects, times are really varying. We worked a lot in the last two years to define precise deadlines, setting the production with a methodical schedule, which allows to establish more precise times of completion. For example, a Sport sword can be already in stock, or take around 3 months to be delivered. An Armeria sword, on the other hand, can currently take from 6 to 12 months.
Q10. What difference is there in making swords in different eras? With new technologies, is it still so different to forge a medieval sword compared with a Renaissance or Baroque one?
Rodolfo: There are many studies on ancient forging techniques, and blacksmiths with much more expertise. Our friend Giovanni Sartori could be decidedly more exhaustive, as he specialised in this subject. Much, I think, has always depended on the metal-working method and on the ability to enrich iron with carbon, so I limit myself to saying that in different parts of the world and in different eras, techniques have been used that had the purpose of hardening and subsequently, heat-treating the metal. Conceptually, today we still do the same things, but we have simplified the steps, being able to procure particular metals that meet our needs.
Q11. Is there a difference between forging a blade from the same historical period, but from a different place?
Rodolfo: Without a doubt, starting from the composition of the steel. For this, some production sites were more renowned than others. But then as we said earlier, each craftsman had his own formulas, which also certainly varied according to the raw materials available. If you consider Japan, for example, the master swordsmiths, not having the right technologies nor the mineral in abundance as there is in Europe, drew iron matter from the sand by process of extraction. Here in Europe, it’s always been done through the extraction of iron from the rock. Essentially, I believe it depended on the possibilities of supply of those who produced the blades.
When we think about the ancient world we cannot imagine how much travels and trades were evolved. We think that only because they hadn’t airplanes or trucks, exchanges were less and less effective. But think for a moment at Marco Polo, at the end of 13th century! Iron, as many other goods, traveled all over Europe: for example, from Nothern Italy, it was purchased even from Germany and Spain! Don’t you think it’s amazing? Keep up following us for other contents about the swordsmithing world!
〈〈 Previous Episode