Robin Hood sword, gold hilt, blade 35.5", overall 45.5" Our replicas combine traditional patterns and construction with modern materials. Blades are 440C high carbon stainless steel with a traditional tang and are factory edged.
This popular attractively-priced group of decorator swords from Armaduras Medievales includes models representing several leaders and legends from medieval Europe -- the outlaw hero Robin Hood, the valiant knight Ivanhoe, the Viking legend Odin, and the Emperor Charlemagne. All blades are crafted in polished stainless steel and hilts are finished in bronze. KEY FEATURES: Bronze hilt Stainless steel blade Great display piece
The Ring-Hilt Sword was so named for the ring extension on the forward quillon and the matching relieved ricasso. This enabled the user to safely pass his forefinger over the guard, giving more control and better balance. This piece by Armaduras is full
Named for the feared 8th century Viking raider, our "Godfred" sword is built around a beautifully patterned folded steel blade to replicate the pre-9th century originals. Superbly balanced, due to the deeply fullered distal tapered blade profile, the Godfred is a true tribute to the legendary Norse smiths. KEY FEATURES: * Interwoven leather grip * Damascus guard and pommel * Leather-covered wood scabbard with bronze detailing and integral belt hooks MEASUREMENTS: BLADE LENGTH: 28 3/4 inches HANDLE LENGTH: 5 3/4 inches OVERALL LENGTH: 34 3/4 inches WEIGHT: 2lb 7oz THICKNESS: .21
Quick and elegant describe the Scottish Court sword. Replicating an original dating from the 1730s and belonging to an officer in Prince Charles Edward Stuarts army at Culloden, the finely chiseled silver-plated hilt and three-edged hollow ground blade exemplify the consummate skill of the swordsmiths of the period. The blade is hand forged from high-carbon steel, with a hollowed triangular section - a difficult blade to make but typical of smallswords of the period.
Our single-hand Marshall sword sets new standards of quality of construction and authenticity in broadsword reproduction. The sword is based on an original used by one of Englands finest knights, Sir William Marshall, who served the crown faithfully under Henry II, Richard the Lionheart and Jack Lackland. This version of the Marshall sword is equipped with a forged and folded Swedish powdersteel blade (see Model SH2000 for the high carbon steel-bladed version). The blade section features a central ridged fuller and full-length distal taper - a tough test for the bladesmith but resulting in a superb combination of speed and strength. The grip is leather wrapped and laced and the guard and pommel are elegant in their functional simplicity. The scabbard is leather-covered with steel mounts. Truly a sword for the connoisseur. KEY FEATURES: Folded steel blade Excellent balance Fully functional MEASUREMENTS: Blade length: 33 1/4� Handle length: 6 3/4� Overall length: 40� Weight: 2lb 2oz Box height: 45 1/4� Box width: 7 1/2� Thickness: .235
Although Basket-Hilt swords appeared throughout Britain from the mid-sixteenth century on, their association with the the seventeenth and eighteenth century highlander has become legendary. Our Basket-Hilt Broadsword carries a typical Glasgow-style hilt from the mid-eighteenth century. It is likely that the blade of the original sword was made in Germany a century earlier and re-hilted as basket designs were refined. Although the blade of the original bears the Andrea Ferara name, it is unlikely that it was made by this renowned Spanish swordsmith, as many good quality blades of the period were so marked (in various spellings!), irrespective of the actual maker. The forged double-edged blade of our sword is in fully tempered high-carbon steel with a solid steel basket. The grip is wire-wrapped rayskin and the basket liner is of felt-covered leather. KEY FEATURES: Authentic replica of Museum Piece Fully functional Scabbard included MEASUREMENTS: Blade length: 33 1/2� Handle length: 6� Overall length: 39 3/4� Weight: 3lb 1oz Thickness: .150
Although Basket-Hilt swords appeared throughout Britain from the mid-sixteenth century on, their association with the the seventeenth and eighteenth century highlander has become legendary. Our Basket-Hilt Broadsword carries a typical Glasgow-style hilt from the mid-eighteenth century. It is likely that the blade of the original sword was made in Germany a century earlier and re-hilted as basket designs were refined. Although the blade of the original bears the Andrea Ferara name, it is unlikely that it was made by this renowned Spanish swordsmith, as many good quality blades of the period were so marked (in various spellings!), irrespective of the actual maker. The forged double-edged blade of our sword is in fully tempered high-carbon steel with a solid steel basket. The grip is wire-wrapped rayskin and the basket liner is of felt-covered leather.
Replicating a finely-preserved museum piece, our Mortuary Hilt Sword is a classic example of a cavalry or dragoon officers sword of the 17th century English Civil War period. Deriving its name from the style of sword which memorialized King Charles I, who was executed in 1649, The Mortuary Hilt swords steel basket is decorated with scrolled foliage while an engraved head of Charles I appears on the pommel. The lozenge-section double-edged blade is forged from high-carbon steel, partially fullered and bears the sword makers mark 1414
In the third century BC, Rome fought against the Iberian Celts and their iron weapons, gaining so much respect for the ir short swords that they adopted the design as their own. The sword that eventually conquered most of the then-known world evolved from the Gladius Hispanicus - Spanish sword. Originally a stabbing weapon, the Gladius quickly became a cut-and-thrust sword, with a long point and a slightly waisted blade - arguably the most elegant of Roman sword types. Our Gladius is based on the waisted pattern, its light blade and typical wooden guard and pommel making for a very quick sword. The segmented bone grip and beautifully detailed scabbard with battle scenes in bas-relief complete a sword that any legionary would have been proud to own. KEY FEATURES: Simple, uncluttered lines Fully functional Excellent handling MEASUREMENTS: Blade length: 22 1/2� Handle length: 7 3/4� Overall length: 30� Weight: 1lb 8oz Box height: 33 1/2� Box width: 5 1/4� Thickness: .220
Edward III of England was a warriorking who is remembered in history for his dramatic victory against the French at Crecy (1346) and his sword, far from being a purely ceremonial piece, was made to be wielded in battle. The sword has survived the centuries in remarkably good condition and we have been able to replicate it in great detail. The style is typical of a 14th century battle sword but the fittings are undoubtedly those of a king, from the heavy gilding to the adder-skin grip to the beautifully enamelled coat of arms. The flattened diamond-section blade bears the emblem of the Order of the Garter, badge of theKnights of St. George, founded by Edward. This well-balanced sword may be wielded single-handed or hand-and-a-half style and would (and possibly did!) give an excellent account of itself in the field of battle.
Mainstay of the Highland warriors of the late 15th and 16th centuries, the Claymore had a uniquely styled hilt that sets it apart from other great swords of the period. Typically of hand-and-a-half length, this versatile weapon could deliver great sweeping slashes or powerful thrusts. Replicated from a surviving museum piece our Claymore is classic in its design, with distinctive sloping quillons terminating in quatrefoils and a high-collared quillon block with langets following the blade fuller. The leather-covered grip is topped by a globate pommel. Originally carried slung on the back, the Claymore matches perfectly with our 1038-OK/BL back scabbard. KEY FEATURES: Authentic styling Fully functional Excellent balance MEASUREMENTS: Blade length: 41� Handle length: 14� Overall length: 59 3/4� Weight: 4lb 14oz Thickness: .220
Following in the footsteps of our SH2046 and 2047 Practical Broadswords, the Practical Hand-and-a-Half adds another weapon to the re-enactors repertoire. This very affordable piece features authentic hilt styling, with a fully tempered un-edged and un-pointed blade, and is made to withstand rugged use while providing the level of safety required by many of todays re-enactment societies. The grip is permanently mounted and the tang is riveted for safety. The blade is fullered for balance and features 1/16 inch edges and a rounded tip. The steel-mounted wooden scabbard is left unfinished for owner customization. KEY FEATURES: wooden scabbard fullered blade in the practical series by Hanwei MEASUREMENTS: Blade length: 34� Handle length: 6 1/4� Overall length: 43 3/4� Weight: 3lb 3oz Thickness: .250 As always, you can trust Hanwei for top quality sword replicas
The Agincourt, whose clean, graceful lines and excellent handling characteristics have made it one our most popular swords, is here available in a steel-hilted version. The Agincourt, an English-style single-hand sword, commemorates one of the memorable battles of the Hundred Year?s War between England and France. KEY FEATURES: Steel Fittings High-carbon steel blade leather scabbard
Flintlock pistols were so called because the lock uses a flint to strike sparks into the priming pan when the trigger is pulled. A small amount of gunpowder in this pan is ignited, which in turn ignites the main gunpowder charge in the barrel, firing the lead ball. Both the main charge and the ball were loaded from the front, or muzzle, of the barrel, after which the priming charge was poured into the pan ? all very time consuming! Often the priming charge would burn but fail to ignite the main charge ? whence the expression ?flash in the pan?! KEY FEATURES: Non-fireable Functional lock mechanism Inexpensive MEASUREMENTS: BARREL LENGTH: 8 3/4? OVERALL LENGTH: 14 5/8? WEIGHT: 1lb 2oz
History has it that when Columbus landed in the New World, he raised the royal standard and, drawing his sword, took possession of the land in the name of Spain. Armaduras version of that sword has the double ring-guards of the period and a grip inscribe
Our Practical Single-Hand sword is tailored to the needs of the re-enactor and very affordable. Featuring authentic hilt styling, with fully tempered un-edged and un-pointed blades, these swords are made to withstand rugged use while providing the level of safety required by many of todays re-enactment societies. It features a classically simple hilt, with a permanently-mounted grip and riveted tang for safety. The blade is fullered for balance and features 1/16 inch edges and a rounded tip. The steel-mounted wooden scabbard is left unfinished for owner customization. KEY FEATURES: Made for the re-enactor Authentic look and feel Complies with safety requirements MEASUREMENTS: Blade length: 30� Handle length: 6 1/2� Overall length: 36 1/2� Weight: 2lb 7oz Box height: 28� Box width: 6� Thickness: .230
Our Practical Single-Hand sword is tailored to the needs of the re-enactor and very affordable. Featuring authentic hilt styling, with fully tempered un-edged and un-pointed blades, these swords are made to withstand rugged use while providing the level of safety required by many of todays re-enactment societies. It features a classically simple hilt, with a permanently-mounted grip and riveted tang for safety. The blade is fullered for balance and features 1/16 inch edges and a rounded tip. The steel-mounted wooden scabbard is left unfinished for owner customization.
War is the reciprocal and violent application
of force between hostile political entities aimed at
bringing about a desired political end-state via armed
conflict. In his seminal work,
Carl Von Clausewitz calls war the "continuation of
political intercourse, carried on with other means."
War is an interaction in which two or more militaries
have a “struggle of wills”.
When qualified as a
civil war, it is a dispute inherent to a given
society, and its nature is in the conflict over modes of
governance rather than
sovereignty. War is not considered to be the same as
genocide because of the reciprocal nature of the
violent struggle, and the
organized nature of the units involved.
War is also a cultural entity, and its practice is
not linked to any single type of political organisation
or society. Rather, as discussed by
John Keegan in his “History Of Warfare”, war is a
universal phenomenon whose form and scope is defined by
the society that wages it.
The conduct of war extends along a continuum, from the
tribal warfare that began well before recorded human
history, to wars between
empires. A group of combatants and their support is
army on land, a
navy at sea, and
air force in the air. Wars may be prosecuted
simultaneously in one or more different
theatres. Within each theatre, there may be one or
military campaigns. A military campaign includes not
only fighting but also intelligence, troop movements,
propaganda, and other components. Continuous
conflict is traditionally called a
battle, although this terminology is not always fed
to conflicts involving aircraft, missiles or bombs
alone, in the absence of ground troops or naval forces.
War is not limited to the
human species, as
ants engage in massive intra-species conflicts which
might be termed warfare. It is theorized that other
species also engage in similar behavior, although this
is not well documented.
Some believe war has always been with us; others
stress the lack of clear evidence that war is not in our
prehistoric past, and the fact that many peaceful,
non-military societies have and still do exist.
Originally, war likely consisted of small-scale raiding.
Since the rise of the state some 5000 years ago,
military activity has occurred over much of the globe.
The advent of gunpowder and the acceleration of
technological advances led to modern warfare.
Since the close of the
Vietnam War, the ideas expounded by the Prussian
military theorist Carl von Clausewitz (1780-1831) have
come to thoroughly permeate American military writing,
doctrinal, theoretical, and historical. His book
On War, first published (as
Vom Kriege) in 1832, was adopted as a key
text at the Naval War College in 1976, the Air War
College in 1978, the Army War College in 1981. It has
always been central at the U.S. Army's School for
Advanced Military Studies at Leavenworth (founded in
1983). The U.S. Marine Corps's brilliant little
philosophical field manual
FMFM 1: Warfighting (1989) is essentially a
distillation of On War, and the newer Marine
Corps Doctrinal Publications (MCDPs,
c.1997) are equally reflective of Clausewitz's basic
This is not the first time Clausewitz has been in
fashion. Indeed, On War has been the bible of
many thoughtful soldiers ever since Field Marshal
Helmuth von Moltke attributed to its guidance his
stunning victories in the wars of German unification
(1864, 1866, 1870-71). Nor is it the first time that
individual American soldiers and military
thinkers have been attracted by his ideas: George
Patton, Albert Wedemeyer, and—especially—Dwight
Eisenhower were intensely interested in what he had to
It is, however, the first time that the American
armed forces as institutions have turned to
Clausewitz. While the philosopher had insisted that war
was "simply the expression of politics by other means,"
the traditional attitude of American soldiers had been
that "politics and strategy are radically and
fundamentally things apart. Strategy begins where
politics end. All that soldiers ask is that once the
policy is settled, strategy and command shall be
regarded as being in a sphere apart from politics."*2
The sudden acceptability of Clausewitz in the wake of
Vietnam is not difficult to account for, for among the
major military theorists only Clausewitz seriously
struggled with the sort of dilemma that American
military leaders faced in the aftermath of their defeat.
Clearly, in what had come to be called in scathing terms
a "political war," the political and military components
of the American war effort had come unstuck. It ran
against the grain of America's military men to criticize
elected civilian leaders, but it was just as difficult
to take the blame upon themselves. Clausewitz's analysis
could not have been more relevant:
The more powerful and inspiring the motives for
war,... the more closely will the military aims and
the political objects of war coincide, and the more
military and less political will war appear to be.
On the other hand, the less intense the motives, the
less will the military element's natural tendency to
violence coincide with political directives. As a
result, war will be driven further from its natural
course, the political object will be more and more
at variance with the aim of ideal war, and the
conflict will seem increasingly political in
When people talk, as they often do, about
harmful political influence on the management of
war, they are not really saying what they mean.
Their quarrel should be with the policy itself, not
with its influence.
Vom Kriege (IPA: [fɔm
ˈkʁiːgə]) is a book on
military strategy by
Carl von Clausewitz, written mostly after the
Napoleonic wars, between 1816 and 1830, and
published posthumously by his wife in 1832. It has been
English several times as On War. On
War is actually an unfinished work; Clausewitz had
set about revising his accumulated manuscripts in 1827,
but did not live to finish the task. His wife eventually
compiled all the work and the final two chapters
Clausewitz never finished.
On War is one of the first books on modern
military strategy. This is mainly due to Clausewitz'
integration of politics and social and economic issues
as some of the most important factors in deciding the
outcomes of a war. It is one of the most important
treatises on strategy ever written, and is prescribed at
military academies to this day.
Carl von Clausewitz was a
Prussian officer among those baffled by how the
armies of the
French Revolution and
Napoleon had changed the nature of war through their
ability to motivate the populace and thus unleash war on
a greater scale than had previously been the case in
Europe. Clausewitz was well educated and had a strong
interest in art, science, and education, but he was a
professional soldier who spent a considerable part of
his life fighting against Napoleon. There is no doubt
that the insights he gained from his experiences,
combined with a solid grasp of European history,
provided much of the raw material for the book. On
War represents the compilation of his most cogent
Note: Clausewitz states that Napoleon's tactics were
not revolutionary at all and that Napoleonic Warfare did
not change anything greatly in military history. The
technology of weaponry for the most part remained
static, and new strategies weren't developed, but rather
Napoleon refurbished old ones, mixing them into one
The book contains a wealth of historical examples
used to illustrate its various concepts.
Frederick II of Prussia (the Great) figures
prominently for having made very efficient use of the
limited forces at his disposal.
Napoleon also is a central figure.
Among many strands of thought, three stand out as
essential to Clausewitz' concept:
War must never be seen as a purpose to itself,
but as a means of physically forcing one's will on
an opponent ("War is not merely a political act, but
also a real political instrument, a continuation of
political commerce, a carrying out of the same by
The military objectives in war that support
one's political objectives fall into two broad
types: "war to achieve limited aims" and war to
"disarm” the enemy: “to render [him] politically
helpless or militarily impotent."
The course of war will tend to favor the party
employing more force and resources (a notion
extended by Germany's leaders in World War One into
"total war"—the pursuit of complete military victory
regardless of the political consequences).
"You must not fight too often with one enemy,
or you will teach him all your art of war." –
Military strategy is the plan and execution of
the contest between very large groups of armed
adversaries. It involves each opponent's diplomatic,
informational, military, and economic resources wielded
against the other's resources to gain supremacy or
reduce the opponent's will to fight. It is a principle
tool to secure the
national interest. A contemporary military strategy
is developed via
It is as old as
society itself. It is a subdiscipline of
warfare and of
foreign policy. In comparison,
grand strategy is that strategy of the largest of
organizations which are currently the
confederation, or international
alliances. Military strategy has its origins before
Battle of the Ten Kings and will endure through the
space age. It is larger in perspective than
military tactics which is the disposition and
maneuver of units on a particular sea or battlefield.
Military strategy in the 19th century was still
viewed as one of a trivium of "arts" or "sciences" that
govern the conduct of warfare; the others being
tactics, the execution of plans and manœuvering of
forces in battle, and
logistics, the maintenance of an army. The view had
prevailed since the Roman times, and the borderline
between strategy and tactics at this time was blurred,
and sometimes categorization of a decision is a matter
of almost personal opinion.
Carnot, during the
French Revolutionary Wars thought it simply involved
concentration of troops.