This weekend our sister-school, Barbasetti Military Sabre since 1895, based in beautiful Prague, Czechia, will host its annual event: SabreSlash! Day one consists of classes; day two presents a cutting event, the Zabłocki Sabre Tournament, and the highlight of the day, the Moustache Challenge, easily one of the more difficult historical fencing contests.
This year Michael Kňažko of Barbasetti Military Sabre is joined by another close friend, the excellent Patrick Bratton (Sala della Spada, Carlisle, PA). Patrick will be exploring Radaellian actions on the blade. They are joined by several other instructors, including Maestro Leonid Křížek (CZ), and Leonardo Britto Germoglio (D). Here is the full program:
SabreSlash 2022 program:
Saturday, October 1st – ”Actions on the blade in Radaellian sabre”, workshop led by Patrick Bratton, Sala Della Spada, Carlisle, PA, USA.
– “Akademische Fechten”, workshop led by Leonardo Britto Germoglio, Germany.
– “Molinelli in Barbasetti sabre”, workshop led by Leonid Křížek, Barbasetti Military Sabre (since 1895), Prague, Czech Republic.
– “Sciabola in Mano, controlled and conserved strength for cuts and thrusts”, workshop led by Michael Kňažko, Barbasetti Military Sabre (since 1895), Prague, Czech Republic.
Sunday, October 2nd – “SabreSlashing with light sabres”, test-cutting workshop
– “SabreSlash Moustache Challenge”. All gentlemen are encouraged to attend the event wearing a fully grown Ferdinando Masiello style moustache. The wearer of the most classical moustache will be awarded a very special prize.
– „ Zabłocki Sabre 2022“. The biggest Barbasetti sabre fencing tournament since the legendary 1895 Prague military fencing tournament organized by k.u.k lieutenant Dominik Riegel. The winner of the tournament will receive a brand new Swordsmithy practice sabre.
Guard Width at Widest: 9cm/3.54”; at mid-Knucklebow, 3cm/1.18”
Materials: steel, wood, leather
I had the privilege to borrow one of these excellent sabres in October 2021 at SabreSlash in Prague, Czech Republic, for several days. For handling, my portion of teaching day provided me a great opportunity to assess balance, heft, and nimbleness. Thanks to a bad leg which acted up, I was unable to bout as much as I should have liked, but did bout with one the redoubtable reenactors from Warsaw, Poland, Jaroslaw Kubacki from Kompania Czarnej Szabli (Black Sabre Company). As the photo demonstrates, he was using a larger sabre than I was, but the Swordsmithy sabre held its own well. In brief, these are fantastic sabres, well worth the cost (they’re handmade) and wait.
Despite ”HEMA’s” obsession with beefy, heavy sabres, most sabres intended for more than chopping from the saddle were lighter and more nimble than our trainers. J. Christoph Amberger provided a nice, small survey in an article in Fencer’s Quarterly Magazine that concluded that the difference between say Italian “featherweight” sabres and “other, heavier German-made broadswords” was about as much as a block of chocolate. Humor aside, his sample ranged from 1350 to 300g for the period between 1780 and 2000. Anecdotally, the historical examples I own or have held confirm that most sabres were not the clubs modern reproductions would have us think. Swordsmithy sabres, because they are handmade, vary slightly in weight, but the six in my order weighed on average 660g, which is within the typical range for sabres of this period. 
The balance is perfect for Radaellian/late period Italian sabre, but will work equally well for many other traditions. The model for these sabres is a Viennese sabre similar to what we see in Luigi Barbasetti’s The Art of the Sabre and Epee; it was a common trainer used in the Austro-Hungarian Empire.  My class at SabreSlash focused on various uses for the molinelli, the elbow-driven cuts that are a hallmark of this system. The Swordsmithy sabres performed perfectly, whether for molinelli as exercise or as offensive or defensive maneuvers.
One of the best features of these sabres are the grips. They are large enough for normal hands, a clear advantage on most options out there today, and comfortable. The slight swell mid-grip makes for good purchase on the grip, and the ribbed leather seats nicely against the glove. The steel backstrap is solid and close to if not identical to original examples. The only change I might suggest is to score the portion where the thumb rests with some manner of cross-hatching to make one’s grasp that much more secure. However, so long as one wears a glove there’s no need for cross-hatching. The Swordsmithy’s grip is my favorite of all the options available now.
Durability & Performance
There’s no criticism I can make about the way these sabres handle and hold up in use. They’re stout, well-made, and perform equally well against different sabres as well as when a matched pair. It is saying something that Michael Knazko, one of the people behind Swordsmithy Sabres, has used the same six weapons in the tournament portion of SabreSlash three years running. I challenge most other events to make such a boast. 
The one major difference with these sabres is the hardness of the blades. Some fencers will balk at this, because most other options are made in such a way that when a sabre bends badly that’s that; we replace the blade. Swordsmithy sabres, however, are so constructed that one can beat the blade back into shape. I have seen this myself: one of the background sounds at SabreSlash is the ringing of Michael’s hammer as he beats a sabre back into shape on a lead plate (wood works too). There is an art to this, but it is easily learned and with practice easy to do. It is, however, more labor than many fencers expect or may wish to take on, though to be honest much of this depends on how they are used. Tournaments, for example, tend to be higher stress than practices, and some fencers struggle to fight with control; they hit harder and the weapons take more abuse. This matters. The fact that Michael has used the same six sabres, in such a high stress environment, speaks volumes for the design Swordsmithy has selected.
The guard is stout, strong, and well-shaped. They’re ambidextrous, a real plus for those of us who fence right and left-handed, and wide enough—assuming good structure–more than ample to cover the hand when parrying. On a personal note, I really like the hammer marks barely visible on the inside of the guard. The thickness is perfect and more than sufficient to parry a hard blow.
The blade length is just right for most systems, and the width well within historical parameters. The tip is constructed for safety, being wide enough that it’s extremely unlikely to pierce safety equipment.  I prefer spatulate tips, but even without this these blades—assuming normal practice–more than meet safety requirements.
Swordsmithy sabres are worth the cost. In the US, they go for about $390 which is expensive compared to the offerings from popular options such as Hanwei. They are, however, better made, and handmade, and this explains the price. Castille Armory’s “Italian Dueling Sabre” is, at the time of writing, $490; Darkwood’s sabres are $360.  Until I handled the Swordsmithy sabres the Castille was my favorite–they’re good blades and the guards, while undished, stout.
My go-to now, however, is this Czech-made trainer. They are not inexpensive, and the temper on the blade requires more work on part of the fencer, but in terms of longevity alone these blades will last longer than most others I’ve used, and, with fewer problems. Swordsmithy sabres are worth the cost.
On a side note, shipping in and out of Czechia can be pricey, but ordering more than one at a time (two friends and I went in on an order) helps. Michael packs these weapons well and they arrived far faster than I expected.
 See J. Christoph Amberger, “Inference and Imposition: Anachronism in Fencing Historiography,” in Fencer’s Quarterly Magazine/FQM (Summer 2004): 25-28. Amberger sampled 17 weapons (p. 26), the heaviest at 1350, the lightest at 300, with an average of 682g.
“The weight difference between the Radaelli and the lightest German Fechtsäbel–exported in large quantities to and used in Britain throughout the late 19th century as practice ‘broadsword,’ is only 40g. The much-vaunted 1796-model British Light Cavalry sabre weighs in at only 80g more. And the weight difference between the Italian ‘featherweight’ and other, heavier German-made broadswords and the model 1899 British Gymnasia Pattern practice sword corresponds to that of a bar of Milka chocolate.” 
A more recent tally, the spreadsheet maintained by Maestro Kevin Murakoshi, examines both historical examples and modern reproduction trainers, and here too we see more sabres in the 600-800g range. The examples over 1000g are all trooper sabres and thus not so much meant for “fencing” as braining retreating infantrymen.
 Luigi Barbasetti, The Art of the Sabre and Epee (1936), was published earlier in German (1899) and Italian. NB: my thanks to Chris Holzman for the correction as to type.
 In contrast, at an open sabre tournament in 2017 multiple Hanwei and Coldsteel sabres were broken; this was also the first time I’d seen anyone obtain a concussion in sabre.
 I say ”unlikely,” becauase it depends on how one fences. In Radaellian sabre we use the point a lot, but learn in such a way to minimize risk. Any sabre might potentially damage someone or equipment. Hanwei’s ”Hutton” sabre and Darkwood’s ”dueling” sabre blade both present a danger, the first because it’s tip is pointed, the second because the tip is too thin and is not wide enough. Twice I have had a DW blace pierce a glove while giving lessons.