Conservation of Swords and Other Edged
Weapons
by Mark McMorrow
As with all arts and antiques, a vast difference exists between sword
conservation and sword restoration. Restoration is the method by which an
article is repaired, mended or refitted to resemble its state when new. In the
sword world this would include recovering grips, blade polishing and refitting
guard parts. As a very general rule of thumb, if a sword has to be disassembled
for the fix, it should be considered a restoration. Anything else leaves us in
the realm of conservation. This short treatise is intended to serve merely as a
guideline. Each conservation project will be unique and every situation you will
encounter during the work will merit careful evaluation. It is always a good
idea to seek professional, specialist guidance prior to beginning work.
Conservation is the effort applied to the article whereby it is preserved &
maintained in its present antique state in addition to the application of
techniques that are intended to arrest degradation, remove harmful components
and inhibit them from re-establishing.
It may not always be physically or economically possible or even proper to
restore a sword, but it is always possible to conserve a sword. Conservation is
the least obtrusive intervention method and for reasons of maintaining
historical continuity the most widely recommended.
During a sword’s lifetime, it will encounter forces that will ultimately
affect the condition in which one finds it. Exposure to the elements, the
environment in which it has been stored in, abuse and neglect will determine how
much work you are in for. It is important to remember that the objective is to
preserve the piece in its antique state, not make it new again. Patination, or
the mellow toning metals acquire over the years, is an important characteristic
and should not be removed or altered. (Note: this is a problem when cleaning, as
in almost all cases some patination will be removed through the cleaning
process). In addition, try to identify the sword or swords you intend to
conserve. The chances of finding a historically significant sword are remote,
but it is certainly not outside of the realm of possibility. For this reason, it
is important to learn about what you have before attempting anything that may
have a destructive result.
BLADE TREATMENTS
Sword blades are found ranging over a wide spectrum of quality and decorative
enhancement. In order to have an understanding of what it is you are looking at,
let’s look at some of the most commonly encountered blade treatments, some of
which date far back into antiquity.
Bluing - A chemical treatment developed as a rust inhibitor. Modern chemical
bluing is a relatively modern process dating from the mid-19th century. Prior to
that time, all bluing was done via heat. This type of bluing is very easily
removed, and should only be cleaned by a qualified professional). Browning is
achieved by a similar process (in the old days, it was actually achieved by an
intentional rusting).
Plating - Plating is the application of a thin plate or coating of metal to
another surface. It is done either as a protective measure or to enhance the
surface’s esthetic appearance. Molten dips, chemical and electrolytic are a few
examples of plating processes. Nickel, tin, silver and gold are the common media
of plating you may expect to encounter. Regardless of the process and type of
plating, it will not be more than a few microns thick so the utmost caution
should be exercised when dealing with it. Plating is found on blades and guards.
Engraving - Engraving is the mechanical process of removing metal in a
pattern or design. It is accomplished by using sharp cutters called burins and a
wide variety of motifs and patterns are encountered. Engraving is sometimes
found with inlayed material such as gold or silver applied in the recesses (see
inlay and niello).
Inlay - Inlay is the process of ornamenting a surface by setting into it
material of different substance or contrasting color, usually in such a manner
as to maintain a continuous plane. It is a fairly uncommon Western blade
treatment, though common to Islamic and Indo-Persian arms. Softer-than-steel
metals (copper, brass, silver and gold) are those most commonly used. Also found
is a special inlay preparation called niello. In this process a metallic alloy
of sulfur, copper, silver, and usually lead are used as an inlay on engraved
metal. The metal surface is brushed with a borax flux solution and dusted with
powdered niello. The entire surface is then heated. As it is heated, the niello
blackens. After cooling, the surface is then polished and the blackened niello
pattern remains in the incised lines. Inlay is found on blades and guards.
Acid Etching - Acid etching is the process whereby an acid-resistant wax
coating is applied and the desired design motif is applied and scribed through
the coating. An acid preparation is applied to the surface of the blade. The
blade area where the wax is untouched is protected from the acid. At the same
time the acid settles in the scribed design areas, which offers no protection
against the chemical action of the acid. After sufficient time passes, the acid
is neutralized and the remaining wax removed. The resulting designs are
prominent. The opposite of this process is called acid-resist, which is applying
the desired pattern in wax and allowing the background areas to be exposed to
the acid.
BLADE PROBLEMS
Antique swords are evaluated primarily on blade condition and there are many
things that can impact a blade over time. Rust is the cardinal bane of all
swords. It is a natural process and it is observed occurring in two basic
stages, active and inactive. In the first stage, rust begins to form on the
surface of the steel when exposed to air and moisture. This is the active stage
and the rust appears red or reddish brown and will leave a reddish residue on
whatever it comes in contact with (hands, clothing, etc.). Consisting chiefly of
ferric hydroxide and ferric oxide formed by oxidation (the reaction in which
oxygen combines with another element), rust is essentially a chemical compound
(hydrated ferric oxide Fe2O3·nH2O). Once active rust establishes itself,
degradation and material attrition will occur at a rate consistent with the
ambient environment. If left unchecked it will eventually erode the steel,
meaning that an actual loss of physical mass will result. The degree of affect
can range from light "salt & pepper" pitting to complete surface encrustation.
In the case of the latter, the once uniform geometry of the blade will become
irregular and unattractive. Eventually, the active rust will progress to the
second or inactive stage and it is at this time that degradation will cease.
Inactive rust appears very dark brown to black. Forge de-lamination should not
be mistaken for the affects of rust or damage, though de-lamination may become
pronounced as a result of an impact that normally would not have produced the
flaw in a congruous forging. De-laminations appear as fissure-like cracks and
can be attributed to inconsistencies in the forging process or structural
defects that may not have been visible when new, but through the passage of time
have become apparent as the weakened molecular elements migrate to dislocation
points. It’s interesting to note that, unlike Japanese sword collectors, many
students of Western swords regard forge de-lamination as a characteristic rather
than a flaw. It is normally seen as the hallmark of an old blade and it often
adds to the character of a sword.
Battle damage is also encountered, but should not be confused with abuse. No
set rules exist for measuring what is and what is not battle damage. One has to
acquire a feel for it through years of hands on observation of old swords.
However, a few simple common sense points can be applied. As an example, a fair
percentage of what we encounter today in the form of edge damage can be
attributed to abuse. It is identifiable as an inordinate number of edge-to-edge
contact nicks. One or two edge nicks, especially those that have acquired
patination that matches the rest of the blade surface, may be written off to
period battle damage. A large number of nicks, especially those that appear to
have been caused by the same opposing blade, can safely be labeled abuse. Bent
blades also frequently encountered. Although it’s reasonable to assume the blade
could have been bent in the heat of battle, odds are it was bent as a result of
mistreatment. Also under this heading are post-period sharpening attempts,
amateur polishing efforts, chemical exposure, and file, grind, sand paper and
power tool marring.
BLADE CONSERVATION TIPS
All of the blade treatments described above should be approached with a
maximum of caution and a minimum of force. Over zealousness can result in
irreparable damage.
Before beginning work on the sword, it should be secured to your work
surface. This will provide stability during work while allowing you to maintain
the use of two hands. A wooden vise is the best choice for this type of work but
other table clamps or bench vices will be fine. If you intend to use a standard
vise, some modification of the retaining jaws on the clamp or vice will be
necessary in order to avoid marring any surfaces. Glue ½-inch thick strips of
leather in place on the jaw’s gripping surfaces. Lead strips of ¼-inch thickness
may also be used, but leather works just as well and will likely be more readily
available. Another option would be to use alligator clips (with rubber-padded
jaws) to secure the blade to your work surface. Also remember to cover your work
surface with several layers of newspaper. This will further protect the sword
and keep the bench area clean. Once the sword is secured (taking care not to
clamp it down at any delicate points) you are ready to begin conservation.
(Note: the purpose of this exercise is to insure that the blade is supported
fully over its surface, i.e., it is completely flat on the work surface. This
means that many hilts such as basket hilts will need to hang over the table or
work surface edge.)
If no active rust exists, you’re almost out of the woods! Simply apply a
petroleum distillate cleaner/lubricant/preservative (henceforth referred to as "CLP")
to the blade with a cotton shop rag. Allow the CLP to penetrate and repeat as
needed.
Inactive rust is generally better left alone. Since it is firmly bonded with
the steel, the only way to remove it would be to grind it off (not an option).
Apply a coating of CLP and allow it to penetrate for several hours and repeat as
needed.
If active rust exists, you will need to assess the degree of affect. The more
established rust will require more effort to remove it but always think in terms
of minimizing the risk of potential damage that may occur as a result of your
exertions. For the removal of active rust, it is recommended to use a medium
that is softer than the surface steel. Steel wool can be used but in order to
avoid damaging the surface, softer-than-steel alternatives should be considered.
Bronze wool is a good choice, as is a bronze (or brass) bristle all-purpose
brush. Areas of the blade bearing embellishments should be approached with the
utmost caution and under these conditions always use softer-than-steel mediums
for rust removal. Discretion being the better part of valor, the only
justification for using steel wool (and nothing rougher than 000 grade at that)
would be on a blade with no embellishments at all.
Coat the affected areas liberally with CLP. For well-established rust, or in
cases where rust is affecting the entire blade surface, you may opt to allow at
least several hours of soaking time to allow the CLP to penetrate. Apply the
medium by hand and work in a circular motion, adjust the pressure you are
applying accordingly. The aim is to apply just enough pressure to cut the rust.
Concentrate your efforts on 3 or 4-inch sections of rusted area at a time. As
you work the medium, you will be able to feel the resistance of the rust’s rough
texture under your fingers. As the rust is removed, the resistance lessens and
the area will become noticeably smoother. Work the area for short periods of
time (for perhaps 30 seconds or so), then stop and wipe the area clean. Visually
inspect your progress and closely examine the area to insure that you are not
doing any damage. Then repeat the process again starting with the first CLP
step. This process may require several repetitions until the desired results are
reached. A dental pick can be used for removing rust from recessed or engraved
areas as long as care is taken to avoid scoring the surface of the steel. In
instances where the potential exists for disturbing the hard patina underneath
the rust, a pick made from the sharpened tip of antler is advisable. The
Japanese use a tool of this nature to pry scaly rust off of iron tsuba (guards).
Once the harmful elements have been dealt with there are a few options to
choose from. A light polish with a non-abrasive metal polish (Flitz or similar)
may be in order (again, the object is not to attack the blade with metal polish,
it is simply to carry the blade stabilization to the next stage) or simply treat
the blade with a protective coating of CLP or apply a wax barrier. The latter
treatment is the better option of the two due to its performance characteristics
in dealing with the hidden enemy: dust. While a sword is being displayed, dust
will inevitably begin to accumulate on it. As it settles, the dust will attract
moisture and the moisture will be transmitted directly to the blade (and other)
surfaces. A film of petroleum-based preservative will eventually break down
under these conditions. Once it does oxidation will begin. In order to avoid
this, a barrier impervious to dust and which resists moisture is necessary. A
good conservator’s wax will do the trick.
Since some petroleum-based solvents contain additives that can have a
deteriorating effect, use caution while using these preservatives in proximity
to wood, leather, fish skin or other similarly organic material.
HILT TREATMENTS
Guards/Pommels - The hilt is comprised of several different sections. The
guard is the portion of the hilt that is designed to protect the swordsman’s
hand from opposing blades. The pommel is generally the termination of the hilt.
Some pommels are separate components and some are merely extensions of the grip.
Guards and pommels are found in a wide variety of materials, iron, steel and
brass being the most common.
Grips - Grips are encountered in a variety of types. Wood, silver, brass,
steel, and horn are all common grip materials. Wire wrapped leather and wire
wrapped fish skin coverings over a wooden grip are the most common types.
Enameling - Enamel is essentially glass. Enameling is achieved by introducing
powdered silicates into recessed design areas, which are then heated to molten
state resulting in glass formation. Enamel is found on guards and pommels and
both the cloisonné and the champlevé techniques were used.
See also Blade Treatments - Plating and Inlay
HILT PROBLEMS
While the blade is more or less protected by the scabbard, the hilt section
remains the area of the sword that is most exposed to the elements in addition
to being the point of interface for the sword’s users. As a result, this area of
the sword is more highly susceptible to the effects of aging and exposure.
Guards tend to be fairly sturdy and most of the time the only attention
needed is a good stabilization. Steel guards are subject to the same affects
that occur to blades. Although not susceptible to rust, brass is vulnerable to
other environmental affects. Patination (carbonate of copper) occurs and colors
the brass in varying shades of brown. Verdigris, a natural chemical reaction of
copper acetates (blue verdigris, Cu(CH3COO)2·CuO·6H2O; green verdigris,
2Cu(CH3COO)2·CuO·6H2O; neutral verdigris, Cu(CH3COO)2·H2O) is produced by
exposing the metal to the elements or burial. It manifests as a green to
blue-green coating and the texture can be powdery, greasy or waxy.
Since grip coverings are largely organic in nature, this is an area where
much degradation occurs. As they are exposed to extremes in temperature and
humidity (or lack of humidity) leather coverings will tend to dry rot, shrink
and crack. Fish skin is less affected by time, but it is far less able to
withstanding impact or abrasion. Severe damage or loss of material in this area
almost always necessitates restoration.
HILT CONSERVATION TIPS
For steel guards the same conservation techniques you apply to the blade are
appropriate. In the case of soft metal guards, the thing to remember here is
that you do not want to remove patina from the surface. Some collectors opt to
polish guards bright, but from a conservation point of view this is not
recommended. The simple approach of stabilizing the guard is the best option. Do
not use metallic wools or abrasive chemicals or cleaners of any kind. Regular
household ammonia or acetone will work well as stabilizers since they evaporate
quickly and are water-soluble, so a mild solution can be produced in the event
you are working in close proximity to fine embellishments. A good basic is a
60/40-ammonia/water solution. Stronger solutions can be used, but should not be
allowed to soak any one area for inordinate lengths of time. Do not use ammonia
or acetone on silver hilts. If enamel work is present, it may be necessary to
stabilize the surrounding metal before conservation efforts can be undertaken.
For cleaning enamel, a basic preparation of hot, soapy water works well. Using a
nylon all-purpose brush, simply brush the enameled areas clean. Try to keep the
brush somewhat dry, so as to limit the chances of soapy water running
everywhere. While working on the hilt, take steps to protect the grip, pommel
and ricasso areas from any exposure to cleaning materials. If exposed to
cleaning solutions or moisture, leather and fish skin may become damaged.
Internal damage may occur if cleaning solutions or moisture is allowed to
penetrate into the tang areas by running down through the hole in the guard.
Due to the delicate nature of enamel it is often found damaged. In the event
of enamel damage, full restorations are possible but they are always time
consuming and costly. In addition, only a small handful of enamellists in the
world have the expertise to affect such restorations. "Cold" restorations, or
those utilizing poly-epoxy based material processes rather than heating
silicates are faster and less expensive but the finished product is often less
than satisfactory from an esthetic standpoint.
In addition, guard elements are sometimes found damaged or bent. Steel can be
re-bent but this is a process better left to a professional conservator or
restorer. In addition, do not attempt to re-bend brass. The copper to zinc ratio
is an unknown factor so it is hard to determine just how malleable the piece is.
Re-bending the piece then becomes a 50/50 proposition. If the piece is not
malleable, then the brass might fracture or break. The best approach in this
case would be to live with the bend.
Once the guard area has been treated, you can now move on to the grip. It is
not uncommon to find sword grips with only a portion of the leather or fish skin
coverings remaining. If severe degradation is evident, restoration may be in
order. If this is not an option, the only thing left to do is to treat the areas
with preservative. With leather, use a Q-Tip or soft bristle brush to apply a
coating of leather preservative (Pecard’s or similar). For very dry leather,
allow the coating to penetrate and repeat. Several applications may be
necessary, particularly in the case of very dry leather. For fish skin, good
results can be achieved with a variety of treatments. Believe it or not, light
olive oil works quite well. Its inert organic nature is an advantage since it
imports none of the chemical trace elements that may be found in petroleum
distillates. Dip a nylon all-purpose brush in the oil. Then wipe most of the oil
away from it (in this case you are going for an almost dry brush). Brush the
areas and repeat as needed.
SCABBARDS
Swords are often found with their accompanying scabbards. The scabbard acts
as the protective covering for the sword, both protecting the sword from the
elements while protecting us from the pointy end of the sword. They can be made
of leather, leather covered wood, lacquered wood, iron or steel. Scabbards will
also be found with various bits of metal hardware attached to them (drags,
chapes, loose rings, throats, collars, etc.). These scabbard fittings can be
brass, steel, bronze, bi-metal, etc.
SCABBARD PROBLEMS
The same problems that we encounter with swords can affect their scabbards
(see details on steel in the Blade section and leather in the Hilt section) -
even more so when you consider the scabbard is the *cover* for the sword blade
and is directly exposed to the outside world.
SCABBARD CONSERVATION TIPS
Refer to the tips for leather in the hilt section. Moisture may be
reintroduce into dry leather by using leather preservative. With leather
preservatives, the rule is this: if you can pour it, avoid it. Creams are the
best bet. The jury is still out on saddle soap but smart money would avoid it.
Mink oil works well but Pecard’s Leather Dressing is really the top choice for
leather treatment. With steel scabbards, follow the same processes as with
blades.
TOOLS CHECKLIST
Bronze Wool Rust removal / can be cleaned, dried and reused multiple times.
Brass Wire Brush Rust removal / brass bristle brushes come in a variety of
sizes and widths.
Nylon Bristle Brush Multiple uses - cleaning, material application, etc. /
nylon is "metal-friendly".
Petroleum Distillate Lubricant / Cleaner (CLP) Preparation, cleaner,
lubricant and preservative. Break Free*, Hoppes*, Remington* all make good
products
Dental Picks & Antler Picks Rust removal from recessed area, engraving lines,
etc. / excellent for getting into areas that are inaccessible to a brush (Note:
dental tools can cause great damage when used incorrectly)
Table Clamp or Vise (modified) Securing swords to work surface.
Alligator Clips (with rubber-padded jaws) Securing swords to work
surface
Mild Soap Cleaner for special guard treatments: Enamel, fine inlay,
niello, etc.
Acetone / Ammonia Brass, copper, bronze stabilizer / widely available,
water-soluble, when used correctly won’t break down patina.
Cotton Shop Rags Multiple uses, use to apply CLP, leather preservative,
wax, etc. / can be washed and reused.
Lighted Loupe Close work / brings out details and really saves your
eyes.
Non-Abrasive Metal Polish As the name implies. Flitz* or similar is
recommended.
Leather Preservative As the name implies / Pecard’s* Leather Dressing
is recommended
Conservator's Wax Long-term blade preparation. Renaissance Wax* is
recommended
* Neither the author nor SFI are under any obligation to endorse any of the
above captioned products. The specific product names are mentioned because they
have been found to be superior through years of systematic experimentation.
NOTES
1. Japanese swords: Be very careful when attempting any work on Japanese
swords. They are a science unto themselves and more harm than good may result
from your well-intentioned efforts at conservation. Consult an expert before
attempting any conservation.
2. Do not attempt any restoration work on you own. If you are unsure of what
you are dealing with, seek the opinion of a museum professional, conservator or
a knowledgeable collector or dealer for feedback.
3. Do not attempt to straighten, sharpen, grind (and/or use any power tools),
sand or apply harsh chemicals to any area of the sword.
4. Always wear eye protection while working with any tools and a simple dust
mask is a good idea as well. A bright, well-ventilated work area is highly
recommended.
5. Verdigris is poisonous. Take care not to eat while you are in contact with
it and avoid exposing open wounds to it.
6. Do not eat while doing any conservation work on swords. Food particles can
carry oils and other contaminants to the surfaces you are working on.
7. Cotton shop rags can be washed and re-used. If you buy in bulk, this is
cost saving and environmentally friendly. Do yourself a favor and wash them at
the local Laundromat (if your wife catches you washing dirty, rusty, oily rags
in your home washing machine, the author is not responsible for what happens to
you).
8. Swords can be sharp! Exercise common sense and due caution while handling
and working with swords.
9. Take steps to insure that you are not to returning a sword into a
potentially contaminated scabbard. Who knows what kind of debris has been
introduced into the scabbard over the years? Also keep in mind that steel
scabbards are susceptible to rusting. This is particularly true with the
internal areas of the scabbard, such as the retention springs (which are
themselves steel and come in direct contact with the blade). With leather
scabbards, note that leather is cured and processed with substances such as
lime, animal fats, oils, salts, tannin, chrome, alum and other compounds that
all add up to recipe for nastiness. These elements will attack the steel if
given the opportunity so it is best not to store or display a sword in a leather
scabbard.
ACKNOWLEDGEMENTS
Special thanks to curatorial staff at the Higgins Armory Museum, Worcester,
Massachusetts: Walter Karcheski, Senior Curator of Arms & Armor, Jeffrey Forgeng,
Paul S. Morgan Curator. Additional thanks to Dr. Martin A. Joyce, Adrian Ko,
Alex Chin, Rob Miller and Phil Tom.
Featured antique sword in title graphic photo courtesy of LionGate Arms &
Armour
ABOUT THE AUTHOR
Mark McMorrow is VP and Executive Editor of Sword Forum International and
heads SFI's Antique & Military Sword Institute - a division of SFI dedicated to
the conservation and preservation of antique swords as well as their education
and appreciation of their history and culture. He has spent the past 25 years
studying antique and military swords, edged weapons and pole arms, and has been
a practicing antique sword conservator for the past 15 years. He is a Member of
the Company of Military Historians and an Associate Member of the American
Institute for the Conservation of Historic and Artistic Works (AIC).
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