Because it’s critically important to know how your characters transport their swords. In my research, I’ve come to realize there’s much more to these than I thought. So, for all you writers out there, I thought I’d share this with you.
Scabbard vs Sheath
Some people use these terms interchangeably, but they’re actually referring to two different things. And both have their pros and cons.
Scabbard: Used for longer swords. These are rigid, not flexible. They’re more heavy duty and durable, hence their use for larger blades.
Sheath: Used for smaller things like daggers and knives. They’re usually made of leather (softer materials), giving them some flex. These are less durable, so will eventually suffer damage from the blade.
The verb “to sheathe” is used interchangeably with these terms, whether or not it’s actually a sheath. There’s no separate word for a scabbard. “To scabbard” a sword sounds ridiculous. Just used “sheathe.” But note that the verb is spelled with an ‘e’ at the end, distinguishing it from the noun.
Basic Parts of a Scabbard
Body: The overall covering.
Locket: The piece fitted at the scabbard’s opening, often metal.
Throat: Where the sword is inserted.
Chape: Rhymes with “cape.” This is the fitted tip at the end, often metal.
Scabbard Rings: Smalls rings, often by the throat, meant to be attached to a belt or baldric.
Suspension Rings: The difference between these and scabbard rings are not as clear. However, I’ve deduced that they are similar, but these are scabbard rings specifically used with a suspension system (a way of wearing a sword). Thus, are usually spaced little further down the scabbard.
Suspension Straps: Adjustable straps that are buckled or knotted onto the scabbard. Some have these, some don’t, depending on whether or not the carrying method is a suspension system (more on that later). These act like suspension rings, but are a separate means of doing it.
What Scabbards Are Made Of
These are made of hard materials like wood, reinforced leather (leather that’s been treated to be thicker and harder), and metal. Wood was most common, often overlaid with leather. Metal less so, as it took greater craftsmanship to make. These were mostly owned by the elite, often as a show of wealth.
A key thing to note about wooden scabbards is that the type of wood matters. Some are less ideal than others. Tannic acid is the reason behind this. Like any acid, when it makes contact with metal, it’s going to rust it. So, scabbards made of high tannin woods are not good for your swords. Oak and chestnut are among these. Good options of low tannin woods are birch and poplar.
Also, a quick note to add, some scabbards were occasionally lined with fur, which kept the sword clean and rust-free with its natural oils. And made for a smoother draw. Fabric was also used for this on occasion.
Scabbard Fitting
How well a sword fits into a scabbard can actually vary. Modern-day scabbards are usually nice and snug, able to keep the sword in, even if you turn it upside down. While still allowing you to draw it. But in medieval times, looser fittings seemed to be more popular. Not excessively loose, of course, but they didn’t really “fit like a glove,” so to speak. There are pros and cons to both.
For the tighter scabbards, you have the advantage of your sword not budging at all. Running, jumping, spinning—it doesn’t matter. You will have no need to touch it. For the looser fitting scabbards, you might need to hold onto it occasionally to keep from moving around too much. Under certain circumstances that would be inconvenient, but most of the time it shouldn’t much of a hindrance.
The disadvantage of a snug fitting, though, is far worse. Wood swells when wet. And leather is also susceptible to water damage. If your characters are trudging through rivers and thunderstorms, they better be keeping their scabbards dry, or using looser fittings. Otherwise, they risk making it much harder for them to draw their swords later. It’ll still be possible to do, even if the scabbard is snug and swollen. But it will become a two-handed job, and one that’ll take a few seconds longer than it should. Which would be a terrible thing in a fight.
This is especially problematic, because even after drying, it won’t go back to normal. This process will warp the wood a little bit, making it no longer an ideal fit for the sword.
Now, if you want to envision your character using a nicely fitted scabbard, I feel you. It’s my preference too. All you really have to do is show your characters keeping it dry. If they cross a river, it would behoove them to carry it above the water. If they’re walking through a rainstorm, they should keep it under their thick cloak (which is hopefully, mostly waterproof). Humid weather might be a problem too, but honestly it shouldn’t matter too much in a book.
If you want to take it a step further, have them replace their old scabbard for a new one when it does get warped and damaged. Could be used a cool stop in town, or a gift someone was thoughtful enough to give them.
Or you can take the idealistic approach and not account for this at all. Which is perfectly valid too, because fine details like these are necessarily vital for a good story. It very much depends on what you enjoy most from stories. Some want thoughtful details and realism, and some not as much. But there’s the information if you want it.
Wearing Scabbards
The best way to wear a scabbard is on your hips. It’s convenient to carry, easy to draw from (as long as the sword isn’t too long), and compliments our bodies. We’re designed to carry weight at our hips, so it’s the least tiring way to transport a sword. But did you know that there are multiple ways to wear it? And multiple ways it can be secured? Here’s a brief list of options for you:
Suspension: Probably the most familiar and fanciest method. This a type of carrying system used with a belt where the scabbard isn’t directly secured onto it, but hanging from straps. I’ve found less information on this, but there seems to be two main types: Two-point suspension and three-point suspension. Understanding each is simple enough. Two-point: Your sword is hanging from two points of attachment. Three-point: Your sword is hanging from three points of attachment, usually used on longer swords, where you could definitely use some more security.
There are style variations in these, but the idea remains the same.
Not Suspended: This is when the sword is attached directly onto the belt, in whatever manner (some ways are mentioned below), not hanging off of it.
Frogs: These are leather loops that are attached to the belt, and allow the scabbard to slip in and rest inside them.
Baldrics: These do not actually let the weight rest on your hip, but on your shoulder. This is like a belt that slings over your shoulder and hangs the sword on the opposite hip. You can let it hang freely, or you can tuck it behind a belt that’s around your waist to keep it against your body.
Knotted, Woven, or Detachable: Some belts are knotted onto the scabbard. Some belts are woven into the leather covering, making it a part of it. And there are also scabbards that have attachments designed to hook on or off your belt.
Knots vs Buckles: We’re most familiar with belts having buckles. But a lot of older medieval belts were designed to actually be knotted around your waist instead.
Angles: Depending on what method you use, the sword might hang completely vertical (parallel to your leg), or at an angle, whether shallow or steep. There are also examples of swords worn horizontally, but these were usually with smaller swords. For obvious reasons. To have a long sword sticking out completely straight could cause some problems. Styles changed throughout history and cultures for both fashion and practical purposes.
Which method you should use depends on the practicality needed, your preference, and whether or not you’re sticking to a time period. Having it parallel to your leg is more ideal in confined spaces, for example, while having it at an angle can make it easier to draw.
History: I’m mentioning a lot of different ways swords can be worn, and have been worn, based on real examples from life and history. When writing fantasy, you have more leeway in what styles to use. Even if you’re going the more realistic approach and trying to make it practical for the character, there’s still freedom to it. However, if you’re writing a more historical piece, or if your fantasy world is based on actual history, then I encourage you to research the kind of swords used then, and the most popular method of carrying them. Rapiers, for example, grew to have a distinct carrying system where the back suspension piece was a wide, solid piece of leather for extra stability (also for decoration to flaunt your wealth, as you can imagine).
Great Swords: These swords are too big to be worn on your person at all. They’re just too long to be deployable or comfortable. In that case, the way those were transported was usually slung on the shoulder, with or without a scabbard.
Back Scabbards
You probably noticed that among the options I included for wearing a scabbard, back scabbards were not mentioned. And it’s for a reason. Media has popularized the back scabbard to a great degree, but unfortunately these have too many downsides. They’re an uneven load over your shoulders, making this the most tiring way to wear a scabbard. It’s also really hard to sit down with one, unless you’re on a bench with no backrest. But the worst disadvantage is that you can’t draw a sword from your back. There are some techniques that can work, when the scabbard is worn and designed for it, but none of them are very fast or efficient. Which is a problem in a fight. Our arms are simply not long enough to do that.
Solutions: Just use a hip scabbard, honestly. But if you really want your character to use a back scabbard, I feel you. Here are a couple ideas if you want to make it seem a little more realistic:
- Mention that the scabbard is specifically designed to be drawn from the back.
- Or that the scabbard is instantly detachable, so that the character could take the whole thing off and throw the covering aside.
- You could choose a short sword, which is easier to draw from the back.
- Or choose a great sword, which can’t really be carried on the hips anyway. Just beware, in real life, that would be especially uncomfortable for someone and will tire them out. Bonus points if you portray the character experiencing this exhaustion, if he has a good reason for enduring it so he can keep it on his back.
- You can have your character traveling over long distances and not expect to use his sword for a while. Even more believable if he’s already carrying stuff on his hips.
- If he has any notion he’s going to need it in any of these cases, you can make sure he has a moment to get it out and ready to go.
Conclusion
There you have it. Several tips and facts about scabbards for us fantasy writers. If you anything more to add to this, feel free to share in the comments!