Hello fellow history enthusiasts and blade aficionados,

one of the great privileges of studying original weapons is that there are things an object can reveal in your hands which are remarkably difficult to recognise from photographs, measurements or typological descriptions alone.

But researching an object is one thing; communicating what you have learned is another. Sometimes it takes a detailed drawing. Sometimes, video and photos would do the job — however, permission to share them with you is, unfortunately, not always a given.

You will find examples of both in today's newsletter — plus some news I have been looking forward to sharing for quite some time.

Reading a Medieval Sword Through the Hand

In my last newsletter, I told you about my visit to Lithuania, where I had the privilege of studying two remarkable swords at the Vytautas Magnus Military Museum in Kaunas.

One of them is an iconic 14th-century weapon with a beautifully inlaid hilt of distinctly Baltic design. The moment I picked up the sword, something about its intended handling became immediately apparent. Interestingly, archaeologist and veteran swordsman Andrius Janionis had independently arrived at exactly the same conclusion.

I made a short video about what we discovered. It premiered for my patrons and is now public for everyone to watch.

Incidentally, if you read my account of that wonderful week of swords, museums and martial arts in Lithuania, it may be worth another visit. I have since updated the original article with some excellent photographs kindly provided by HEMA Camp 1387 videographer Simas Balčiūnas.

A Sword I Can Draw — but Cannot Show You

Speaking about documenting historical swords brings me to a rather more delicate subject.

I have finally completed what is probably my most complex sword illustration to date: a full-size documentation drawing and colour reconstruction of a magnificent 16th-century longsword kept in the storage facilities of the Deutsches Historisches Museum in Berlin.

What I cannot show you are my photographs of the original.

This is not because the sword is secret, nor because its condition prevents photography. It is because the museum's current image policy does not permit me to publish the photographs and footage I take while researching objects in its collection.

I find this difficult to reconcile with the task of making our shared cultural heritage accessible. So where should the balance lie between legitimate institutional concerns and public access to cultural heritage?

I have shared my thoughts on Patreon, and the first comments suggest that I am by no means the only one pondering this question. I would be very interested to hear what you think.

Spears Up! A New Online Course Is Coming

And now for something I have been eager to announce.

A completely new online course on spear-and-shield combat is nearing completion and will be released at the end of September.

This time, however, I am not your instructor.

The course is based on the work of Finnish martial artist, professional dancer and researcher Arttu Peltoniemi and his fellow Hirdmenn.

Some of you may remember Arttu from the Ribe Bouts 2025, where he taught an outstanding workshop on close combat with short spear and shield. His approach is the result of some fifteen years of research into source material from many periods, combined with practical experimentation using realistically weighted weapons, sharp spearheads and shields.

One aspect of Arttu's approach that I find particularly convincing is that he makes the constant threat of casting the spear an integral part of his fighting system. This not only offers a compelling practical explanation for the overarm guard, which is omnipresent in historical imagery, but also naturally accommodates powerful sliding thrusts.

We are currently putting the finishing touches to the course and expect to open enrolment at the end of September.

If you would like to be among the first to know when it goes live — and receive access to the best launch offer — you can join the early-access list below.

As a free bonus, everyone who joins will also receive a surprise gift at the end of the launch — whether you ultimately decide to buy the course or not.

And if you know someone who might be interested in the course, please feel free to spread the word, and share the dedicated page where anyone can join the early-access list.

I am very pleased to finally bring Arttu and the Hirdmenn's work to the Dimicator School, and I look forward to showing you more over the coming weeks.

Thank you, as always, for your interest, encouragement and support — this is what keeps me going. I am delighted to have you along.

Spears up!

Roland

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