The Ames Naval Cutlass

It's easy to forget the important role that navies played in the American Civil War.  Ask the man on the street if he has  heard of the Battle of Gettysburg and his answer most certainly will be in the affirmative. However, ask the same person what he knows about the naval engagement at Memphis or the Battle of Mobile Bay.  I'm not certain that the man on the street, unless he is a Civil War buff, will know anything about them.  The United States Navy played a major role in Lincoln's war plan.  Without it, the Anaconda Plan (squeezing the Confederacy to death by stopping its supplies) would not have even come to reality.  The US Navy's Blue Water (ocean) Fleet was called upon to blockade the CS ports and prevent the South from receiving supplies from Europe.   Without the US Navy's Brown Water (river) Fleet, U.S. Grant's plan to take Vicksburg would have been dramatically altered and, perhaps, unsuccessful.   It cannot be denied that the US Navy provided valuable service during the Civil War. 

As with those of the land forces, naval battle tactics in the mid 19th century had been altered by technology.   Steam engines and improvements in the range and accuracy of artillery and small arms changed the way that navy's fought.  For the most part, gone were the days of swashbuckling boarding parties.  Still, navy's armed sailors to prepare to defend against and repel boarders. For centuries prior to 1861 sailors fought with a short edged weapon known as a cutlass.  During the Civil War, sailors were still issued this weapon. 

The weapon pictured above is a US Model 1860 Naval Cutlass.  This example was made by the Ames Manufacturing Company of Chicopee, Massachusetts in 1863. Like all cutlasses, it is short-bladed as it was designed for fighting in the close quarters of  ship. A sailor swinging the 24.5 inch blade is less likely to catch same in rigging and on other shipboard obstacles than he would a longer blade.  The sheet brass handguard provides him with excellent hand protection as it covers entirely the leather and twisted wire grip. It was once housed in a leather scabbard secured to the sailors belt by a loop. 

This sword is not pristine. Like I have stated before, I don't like pristine antique weapons. Rather, I prefer those that have some history.  This sword was issued. It bears a rack and sword number hand etched on the inside if the guard.  Unfortunately, these numbers do not tell us to which ship it was issued. 

The sword's blade is darkened with age and it's metal is mottled with rust pitting. At some point in history, the tip of its blade was broken and a new point reformed -  perhaps by the ship's armourer.  

I bought this sword earlier this year. In the past, I really haven't had much interest in Civil War naval weapons. However, I have always liked this pattern, because it was designed to be used in combat. In other words, this sword is not a dress weapon.   It is my first naval sword and honestly has spurred an interest for me in the subject. 

I want to provide a few notes for the amateur collector. The pattern 1860 cutlass is readily available on the market at reasonable prices.  Most originals have banged up guards and are missing their leather grip covers and wire wrap.  Examples with clean blades command higher prices.  Examples with original scabbards are less common, but can be found.  Due to the rarity of the leather scabbard surviving, complete examples  obtain much higher prices.  Beware that this sword has been mass produced. Based upon my own examination, in general, of antique swords and reproductions, I find that modern reproductions have  heavy, less flexible blades and modern brass is more yellow and thicker that that of an original. Given the extent that this sword has been reproduced, I recommend that the novice avoid buying through an online auction. Instead, the novice should purchase from a reputable dealer who guarantees authenticity.  

The British Pattern 1796 Light Cavalry Sabre

The British 1796 light cavalry sabre is a cutting and slashing  weapon, pure and simple.  Designed by John Gaspard le Marchant, the weapon was mass produced and  issued  to all British light cavalrymen (hussars and light dragoons) as well as horse artillerymen during the Napoleonic Wars. It's form was copied and used by the fledgling United States for its Dragoons.  It was likewise copied by the Prussians for the pattern 1813, or Blucher, sabre.   The sword remained Britain's  official pattern until it was replaced in 1821 by a completely different form.  However, it served on in India with native cavalry and police units throughout the 19th century and into the 20th century.  The Blucher sabre was carried through the end of the First World War. 

The hallmark  of the 1796 LC is its broad, highly curved 32.5 - 33 inch blade.  The blade, which bears one large fuller, widens to a hatchet shaped point.  For hand protection, it has a single branch "P" shaped guard.   The pattern's grip is comprised of a wooden core over which cord is wound with a leather top-covering.  The pommel assembly incorporates a steel backstrap across the top of the grip with two "ears" issuing downward midway on both sides of the grip.  A steel pin through the grip connects the ears, providing for a strong union of the assembly.  The hilt also incorporates shield shaped languets protruding down  both sides of the blade.  

The scabbard is steel with two hanging rings and a very subtle drag, or shoe -- meaning that is not very pronounced from the bottom of the scabbard.  Swords are often found marked with the cutler's name in the spine of the blade and/or the inboard and uppermost panel of the scabbard.  Swords accepted by the British Board of Ordnance have inspector's stamps in the blade. Regimentally marked 1796 LCs, both regular and yeomanry, bear markings on the top of the quillion or the knucklebow and on the scabbard.  Unmarked examples and plentiful and it is not uncommon to find swords and scabbards mismatched. 

Officer' swords may be distinguished by etched blades, the finest of which are blue and gilt. Examples are found  slightly smaller and there is a wide variety of pattern deviation.   The officer's grip is typically shagreen with twisted silver wire. It may have backstrap ears, which are usually smaller and more decorative, or none. 

The sword depicted below is one that I found in a relic shop outside the Chickamauga National Military Park.  As found, it is a example of what not to do to an antique sword.  

Mixed with US Civil War swords and muskets displayed for sale, I spotted the sword hanging on the wall.  It was shiny; far too shiny than any 200 year old weapon ought to be. I asked the store owner if I could see the 1796 sabre hanging on the wall.  As Napoleonic sabres have little interest to the Civil War enthusiast clientele which frequents his shop, the owner was surprised that I new what the sword is. Upon examination, I found that some fool had cleaned the sword and spraypainted the hilt and scabbard silver. The shop owner said that the previous owner told him that this fellow promised to make the sword look brand new.  Ummmm.....why?  It ain't new. It's 200 years old.  I ended up buying the sword at a very fair price given it's condition. 

I normally do not advocate cleaning any antique arm outside of routine conservation -  remove active rust, dirt and grime; restore and protect leather.  Do not remove patina.  Patina is age. It is part of the weapons history and should be left alone.   However, the damage had already been inflicted on this sword.  

I started by removing the paint to the best of my ability.  This required steel wool, lacquer thinner, arm fatigue and, unfortunately, stronger chemicals. After I was down to a cleaner surface, I used WD40 and steel wool to try to remove the haze left by the chemicals. I was not pleased with the finish, so I darkened the metal with several applications of black show polish over a few days.   The result was as good as I could get it.  

I wish that I had before photos, but I did not think to take any.  It didn't turn out perfect, but the sword sure looked better than it did before.  Make it look like new? Pleeeeze. 

A few parting words on the 1796 LC for the potential collector.   With all of the variations, a whole collection may made of this pattern. Examples are found relatively inexpensive, but you get what you pay for.  Make sure that what you are getting is an original 1796 LC.  This sword has been mass reproduced by modern cutlers for sword fighting enthusiasts and by Pakistani exporters for reenactors and collectors of reproductions.    Beware of Bluchers being passed off as British swords. The knucklebow and the scabbard shoe of the British sword are more subtle than those of the Blucher.   Also, note that a 1796 LC with a brass guard with a British cutler's name on it was probably made for export to the United States -- but not, as some would contend, for the Confederacy.  These swords were made long before the Civil War. 

As stated above, the 1796 LC served in India for a considerable time after the Napoleonic Wars.  If you think you are purchasing a Napoleonic example, but the sword bears Indian, Pakistani or Nepalese markings, think about it.  There is nothing wrong with buying an example made for American export, a WW I Blucher or an Indian police unit marked 1796, unless you think that you are getting a Napoleonic era British 1796 LC and paying the price for it. 

A Napoleonic Era Light Cavalry Officer's Sword

Last weekend,  a friend gave me a tip about some swords that she saw at an estate sale.  Typically, estate sales have not yielded many antique arms for me.  When, infrequently, antique guns and swords have been included in an estate sale, the specimens are usually not as described.  Face it, most of the companies that manage estate sales do not have workers who specialize in antique arms.  Often, when there are antique arms included in an estate, they are sent off with dealers or placed in specialty auctions for sale.  So, when my friend told me about three swords that she saw, I was a bit of a Doubting Thomas. 

Curiosity got the best if me.  My friend gave the number to the sale location and I called to inquire about the swords. Naturally, the person with whom I spoke knew nothing about swords.   I was told that that the swords were all from the Civil War. I asked some rudimentary questions and gave my thoughts on what I thought they were.  

The first sounded like an 1860 staff and field officer's sword. Nope.  Not interested in that one as it's a dress swords.  I don't like dress swords. The second sounded like a run of the mill 1840 heavy cavalry sword. Not really interested in it for my collection, but maybe for resale if the price is right.  The gentleman really could not describe the third one. He said that it was "fancy" and that the blade had some scrollwork.   I asked for pictures  and he agreed to send them. I asked the price. He wanted the same price for each sword, which per sword was not shockingly high or low. The asking price seemed to be good, but the gentleman said the magic words, "we are negotiable."   My interest level increased. 

While all this was taking place, I was at a craft show helping my wife with her booth. I was on the other side of town from the sale and needed to pick up our daughter from dance practice soon.  I decided to take a chance and go to the estate sale.  I picked up my daughter and informed her that we needed to run a quick errand.

I received pictures of the swords, but they didn't really tell me much.  Arriving at the sale, I asked my daughter to stay in the car. "This won't take long," I said. 

I went in and immediately found the gentleman who sent me the photos.  I was right about one sword  -- a US 1840. No makers marks, but it had its

scabbard.   If I could get it for the right price, I would buy it for resale.  The next was not an 1860 staff and field, but rather an 1840 NCO's sword. It lacked its scabbard, but was marked to a good maker. It was also overpriced, very overpriced, and I had just purchased another example during my recent trip to Chickamauga National Battlefield. Hence, my interest in the sword was negligible.   The third sword was clearly not of the Civil War vintage -- from an earlier era and I was very interested.  

I made an offer for all three -  a lowball price.  My salesman told me that he had to check with the manager.  He returned with a rather unfriendly looking woman who said "I'm not dealing today. You can come back tomorrow."   I told her that I was not coming back tomorrow. She had a cash offer and should consider it.  She said again, "I'm not dealing today.  You can submit a bid and we will consider it tomorrow."   "Nope," I said, "I'm not coming back down here tomorrow."  She was unrelenting, so I told her "oh, well," and asked that she please not offer the third sword as Civil War, because the description is blatantly untrue.  As I walked off,  the gentleman apologized to me and urged me to make an offer.  It was me this time that was unrelenting.   

I walked outside, got half way across the street and turned around.  I wanted the third sword. I walked back in and paid the asking price for it. I passed on the others. 

So what did I buy?   I'm not exactly sure.  I know that it dates from anywhere between 1790 and 1830 based upon the style of the hilt and the etching.  Beyond that, I don't know what it is, but I like it. 

The hilt is strongly French influenced. Based the shape of the hilt, lightness of the blade and the fact that it is etched, this is a light cavalry officer's sword. 

As I said, the etching dates the sword to the late 18th to early 19th centuries.   Blades of that time period are often found hand etched with flowers, stands of arms and banners.  The blade of my sword was at one time blued and the etching gold filled.  With it's gleaming brass hilt

and vibrant blue and gilt blade, it must have been something to behold. 

From where was the officer who carried this sword from?  I've seen the same etching hundreds of times on blades from Solingen.  The German cutlers in Solingen cranked out thousands if blades for export in the 18th and 19th centuries. The Germans sold to everyone. Even officers of the Napoleonic super powers, England and France, carried Solingen blades.  The etching style, being common, doesn't answer the question.  

My sword certainly resembles the French First Empire An IX light cavalry sword and it's russian counterpart.  It hasna three branch guard, a pronounced, curled  down quillion and diamond shaped languets (protrusions from the guard over the blade the purpose if which I have heard ranges from securing the sword in the scabbard to trapping and breaking opponents' blades).  

It's not exactly the same though.  My swords pommel is different.  In fact, the pommel looks British to me - like the 1821 light cavalry sabre. 

Maybe it's a Bavarian cheveaux-leger sabre, also known as the Rumsford sabre. 

Again, it's just not exactly the same. The Bavarian sword's hilt is more box shaped and, as with the French/Russian swords, the pommel is different. 

What makes identifying mybsword to a particular pattern and nation more difficult is its status as an Ifficer's sword.  Officers had lead way to individualize their edged weapons.  It could me any if the above -- stylized by the particular officer. 

So, for right now this is a Napoleonic era continental light cavalry officer's sword.  I can live with that.  At least until I get some more information. 

The CS Howitzer

I have a fondness for Civil War artillery pieces.  I don't know what it is that draws my attention.  For the most part, they all look alike.  Typically, there are two wheels, supporting a carriage upon which the barrel, or tube, is mounted.  

The best place to view Civil War artillery pieces is at our national military parks. Cannon in private collections are few and far between.  Cannon at national military parks are readily found dotting the battlefields on the ground where artillery units  served. 

CS battery site, Bragg's Headquarters, Missionary a Ridge, Tennessee

Up close, it is easy to distinguish the differences between field pieces.  There are smoothbore guns made of bronze, iron barreled rifles, rifles bearing a reinforcing band in the breach (Parrott rifles), squat mortars, large siege guns and rifles and coastal artillery of all sorts.  As securing ownership of an original field piece is incredibly difficult given the relative scarcity, not to mention quite expensive, we are fortunate that these artillery pieces are in our national parks for the public benefit.  

CS Battery site, Lookout Mountain, Tennessee

Union battery site, Chickamauga National Military Park.

Union battery site, Grant's final line of defense, Shiloh National Military Park, Tennessee. 

Union battery site, South Loop, Vicksburg National Military Park, Mississippi. 

I recently traveled to Chattanooga, Tennessee with a  good friend to commemorate the 150th anniversary of the Battle of Chickamauga.  In front of the Visitors' Center, I found an array of field pieces including a short barreled howitzer.  Obsolete by the time of its manufacture, this 12 pound smoothbore gun (based upon the weight of its ammunition) was poured at Richmond, Virginia's Tredegar Iron Works in 1862.  

Founded in 1837, Tredegar rose to become a large metal goods manufacturing center by 1860.  During the war, Tredgar manufactured metal goods ranging from artillery tubes to ironclad warship armour for the Confederacy. 

The foundry's wartime director, Joseph Reid Anderson, acquired the facility in 1854. The mark of his company, Joseph Reid Anderson & Co., is found on the trunnions of Tredegar tubes as "J.R.A. & Co."   Such mark is found on the Chickamauga howitzer -  if only my picture had turned out!

As opposed to long tube rifles that soon projectiles on a flat trajectory towards a target, howitzers are short barreled, smoothbore guns that lob projectiles high into the air.  They are effective weapons for sending shells (artillery rounds that explode above the target and scattering shrapnel) high into the air and grape or canister (shotgun shells for artillery that pour metal balls or scrap metal into the enemies ranks) into massed infantry and cavalry. Howitzers and other smoothbore were well suited for battlefields such as Chickamauga which are marked by wooded terrain separating open fields. 

There were other southern foundry's manufacturing cannon during the war.  Cannon are found at national parks marked to manufacturers from cities such as Memphis, New Orleans and Atlanta.  I have even seen  an artillery piece at Five Forks, Virginia, marked to a foundry in Vicksburg, Mississippi.  While northern made  cannon existing today greatly outnumber the southern made counterparts, I applaud the National Park Service for placing Confederate guns and rifles at places where Confederate batteries were in action.  The dedication to historical accuracy is impressive. 

What of Tredegar Iron Works?  Richmond suffered during the late war years and the once third largest American metal foundry suffered damage as well.  Its remains, however, preserved as a historic site which offers a glimpse into 19th century technology and wartime manufacturing. 

German World War One Helmets.

  

The First World War brought about many changes in the world.  The conflict not only gave rise to social and political change, but also ushered in a new era of military tactics and trends.   For the first time in history, aircraft fought above the battlefield, strafed ground troops and engaged in strategic bombing.   Armored vehicles were utilized to break through fixed fortifications. Massed machine guns and chemical warfare inflicted horrific wounds on hundred of thousands.  

Gone were the bright uniform colors and braid. British crimson, Prussian light blue, Russian green and French dark blue were replaced by olive drab, field grey, khaki and dark green hidden at times by thick mud and dust.   Protection and concealment became more important than prompt and tradition.   While nations commenced the war wearing traditional 19th century non-protective headgear, by the end of the conflict most nations had re-equipped with steel helmets.  The Germans (Austrians and Prussians) were no exception. 

Prussian and Austrian troops were initially fitted with traditional spiked helmets made of leather and metal.  The picklehaub, as it is known, is a favorite of helmet and WW I collectors.  

 The frontal plates of these highly decorative helmets typically bear monarchical coats of arms, regional badges or regimental designations. 

Infantry helmets typically bear a spike as depicted above.  Artillery helmets are topped with a raised ball.

 

Cavalry helmets often bear flattop ornaments reminiscent of the Polish four cornered czapka -- a traditional lancer headgear. 

 In the field, the highly decorative headgear was covered by a protective and camouflaging cloth. 

While the picklehaub is certainly eye appealing, it lacks protective value.   Thus enter the stahlhelm, or steel helmet.   Officially  designated the m1916 helmet, the stahlhelm provided the soldat with excellent head and neck protection necessitated by the new age of warfare. So iconic is the helmets form that the 20th century German soldier is instantly recognized by the stahlhelm. 

The WW I helmet differs from its later WW II cousin, the m1932 and the collector should be familiar with the differences between the two (and later models).   The earlier helmet, which saw some WW II use, has a much higher crown and is easily recognized by a set of prominent lugs on both sides.  The lugs provided an attachment point for and additional frontal  shield of armour for snipers.   

Notice that the silhouette of the 1916 helmet  depicted above is much higher than the 1932 depicted below. 

 

1916 helmets are found with regimental designations painted on them.  However, my favorites bear hand painted camouflage.  Field applied camouflage reminds the collector that someone used this helmet for protection and raises questions about the battles at which the helmet might have been present. 

On the market, the picklehaub is a pricey item to obtain. Reproductions are plenty so be very careful. The m1916 is still quite affordable as  WW I collecting is not as popular as that of the Third Reich.  The price of a Third Reich helmet is significantly greater than that of a WW I example. There are m1916 reproductions on the market   Also, there are original helmets with modern day camouflage applied. As some camouflage was done years ago by well intentioned reenactors, it has aged with time and bears the scratches and marks of field use.  Again, be careful.   As with any militaria object, pieces identified to particular soldiers attain the highest prices followed by those that are unit identified and camouflaged.  Still, a nice camouflaged m1916 is still quite affordable - relatively speaking.  

The Breastplate of Antoine Favreau

Since I was a child I have been fascinated by the Battle of Waterloo.  Maybe it is the colorful Napoleonic uniforms that has captured my attention. Regardless, there are great personal stories surrounding the battle.  

Antoine Favreau served as one of Napoleon's heavy cavalrymen during "The Hundred Days."  The Waterloo campaign is referred to as The Hundred Days, because such is the amount of time between Napoleon's return to France after his escape from the island of Elba and his final  defeat near the small town of Waterloo, Belgium.  Heavy calvarymen, such as Antoine Favreau, played a significant role in Napoleon's victories.  They would be wasted in the defeat which ended the Napoleonic Wars. 

Messr. Favreau served as a Carabinier a Cheval -- a heavy cavalryman who wore armour on the battlefield.  Specifically, Favreau would have worn a helmet made of brass and iron with a red horsehair crest.  On his chest and back he wore  a brass and iron breast and backplate over his white tunic.  As a mounted man, he wore white leather riding pants and black riding boots that extended past the knee.  His primary weapon was a long, straight bladed sword, but he would also have carried a pair of pistols in holsters mounted on his saddle and a carbine.   The Carabiniers a Cheveaux must have been something to see with the sun shining off of their brass armour.  Of course, it is debatable how complete the French uniforms were at Waterloo, given the hasty assembling of the army.  

Waterloo and Gettysburg are similar battles and battlefields.   Both have armies  facing each other from opposite ridges with a valley in between.  In both battles, desperate attacks were issued against fixed positions.  The "ground" played a major role in each battle as did the failure of a commander's  subordinate to perform as expected.   As Richard Ewell failed Robert E. Lee at the end of daylight on July 1, 1863,  Michel Ney failed Napoleon on the afternoon of June 18, 1815. 

Napoleon was a master of battlefield tactics.  Many of his victories involved flanking maneuvers and deception   rather that brute force to win the day.  Waterloo was different.  At Waterloo, Napoleon would attempt brute strength to push Wellington and his multi-national army off of the field.   Much like Robert E. Lee, Napoleon attempted to defeat his enemy with massed  assaults on the flanks as well as the center.  

Napoleon was not well at Waterloo and the fates took advantage of his predicament.   In the afternoon when by chance Napoleon was indisposed, Wellington issued an order for his entire line to redeploy several yards to the rear.  Michel Ney, Napoleon's second in command, misinterpreted the redeployment to be a retreat.  As any good commander seeing a retreating enemy would,  Ney ordered the French cavalry to charge and rout the Anglo-Allied army.  

Mother Nature also did not shine on Napoleon at Waterloo.  The night of June 17, 1815 was marked by torrential rain.  Thus, the ground was saturated when Ney's charge took place.  The French cavalrymen charged down the ridge, across the valley and up the opposite ridge to a plateau where they met the enemy infantry formed in squares.  In the days of linear tactics,  infantry  threatened by cavalry formed square.  The defensive position required the men in the  front rank of each side of the square to kneel with the butts of their muskets grounded and the bayonets angled upwards and out.  The remaining men faced out and fired at the cavalry.  Horses will not charge into the line of bayonets.  Thus, the charge is broken and the cavalrymen are picked off.  To defeat infantry in square,  either  infantry or artillery were brought up with the cavalry.  The infantry in square either stayed in square and were blown apart by musket or  cannon fire or the broke square and were run down and sabred by the cavalry. 

Because of the wet soil, the French cavalry could barely get above a gallop. They were under artillery fire the whole way and upon cresting the hill found infantry not retreating, but in square.  Looking behind, a French cavalryman saw neither supporting infantry or artillery.  No one had his back.  

One charge and Ney should have known everything -- the soil is too wet to reach a charge,  British artillery is effective and, most importantly, the British are not retreating, but rather are formed in square.   While the initial charge was not improper, the successive charges ordered by Ney were.  Again and again the French cavalry were sent against the British squares.  Ney could have sent infantry and artillery support, but he didn't.  Ney could have ordered the British cannon hauled off or spiked (the British artillery man serviced their guns until the last second and then ran to the safety of the squares), but he didn't.  Rather, he wasted a valuable asset of Napoleon's army.  Ney failed his commander. While the French defeat cannot be blamed solely upon poor old Ney, he shares a good portion of the blame. 

But what about Antione Favreau?  Well, he died at Waterloo.  He suffered a mortal would when a cannon ball pierced his gleaming breast plate. 

The British Pattern 1803 Infantry Officer's Sword

I wrote in an earlier post that one of my favorite swords is the British pattern 1803 infantry officer's sword.  Even though my collecting interests have evolved away from British swords for the time being, the 1803 still catches my eye.  

The 1803 is immediately recognized by its lionshead pommel and the cypher of King George III incorporated into the guard.   The combination if the two, in my opinion, are a perfect balance of elegance and patriotism.   While initially to be used by grenadier and light infantry units, it's appealing look made the 1803 popular with many British officers.

Guards are typically gilded brass. Grips are found in ray skin (also known as shagreen) leather, ivory, bone and polished wood  most often accompanied with several twists of fine wire.  The blades range from slightly to ridiculously curved and from very stout and serviceable to useless except for swatting daisies.   As with all officer's swords of the 18th and 19th centuries, the 1803 is as ornate as the officer could afford.  Blades are found plain, etched and in vibrant blue and gilt.  

Scabbards are typically leather with decorative hardware.  Many 1803 scabbards provide for two suspension systems.  A frog button may be found affixed to the locket (the topmost piece of hardware) allowing the sword to be worn from an over the shoulder carrying strap with a frog fitting over the locket.  Also found are hanging rings attached to the locket and the middle band do that the sword may be worn from a waist belt or an over the shoulder strap with smaller straps descending to the sword.  Based upon uniform patterns and drawings, I believe that the more popular way to wear the 1803 was from a waist belt or shoulder belt with descending straps. 

For the collector, the 1803 provides a diverse range of examples to purchase.   The pattern is general and there is much interpretation to be found. Light infantry, grenadier, Scottish or other regimental variations as well as the  branch of service (there are naval examples) variations may be found with devices such as the stringed bugle, flaming grenade, thistle  and rose or  regimental numerals and devices incorporated into the guard. 

Variations of the pattern also exist due to regimental preference or manufacturer. There are regimental 1803s that deviate to the point if looking almost like  a completely different pattern. Some lionshead   pommels look like tame, odd shaped dogs.  Others resemble ferocious beasts.  Based upon manufacturer and quality, the composition of guards is  found to range from very substantial to cheaply thin and the quality of the decoration elaborate the amateurish.   A collector could devote his or her whole collection to the 1803.  When I was actively collecting British swords, I had three 1803s in my collection at one time with no two looking alike except for the general pattern. 

I have noticed that prices for the 1803 have dramatically risen over the past 10 years.  Also, a number of reproductions have appeared on the market.  The quality and condition of the sword matter greatly.  Expect to pay into the thousands for complete examples with an extensive amount if gilding and blue and gilt remaining.  Variations that are regimental, light infantry or grenadier are highly prized. If looking for a more economical example, the buyer should target those that are maker marked.  As with most British officer's swords of the period, maker or retailer information is often found on the blade's ricasso or spine the inboard panel of the scabbards locket.  Some cutlets inscribed their blades "warranted" meaning that the blade is guaranteed to not break.  I wonder if anyone ever asserted a claim against a cutler  for breach of warranty. 

The 1803 will always hold a special place with me.  My first Napoleonic sword was an 1803.  It had a slightly curved, pipe backed  (a rod incorporated to the blade's spine intended to increase strength) fighting blade. The guard had a substantial amount of gilding remaining with all of the leather wrap and wire present.  The etched  blade had approximately 25% of the blue and gilt still present.  Based upon the form of the royal coat of arms etched on the blade, I could date the sword to the Napoleonic era (the 1803 was carried as an official pattern for several years after the Napoleonic Wars).  It's black leather scabbard was complete and in very good shape with some minor crazing (cracking of the finish) with all of the hardware present. The locket bore the name of the retailer, but time and wear had rendered it too faint to read despite my best  efforts. 

As time passed, so did my collecting interests. I made a decision to move from Napoleonic swords into 18th century blades.  As a result, I sold off many if my Napoleonic swords to be pay the much higher prices of the 18th century short sabres and cavalry baskethilts that I was collecting.  A sword collecting friend from England contacted me and inquired into purchasing this 1803.  We agreed upon a price and I shipped the sword to him.  It normally takes a week to ten days for a package that size to make the transatlantic journey.  After a few weeks, my friend emailed and notified me that he had not received the sword.  We debated upon what to do and agreed to give it a bit more time. More weeks passed and the sword still had not arrived.  Three months after I shipped the sword, right as  I was on the verge of submitting a claim for the loss, I received a phone call from my friend.  We had never spoken in person.  I'll never forgot him saying that the sword finally arrived. The box was battered and had been rifled through, but the sword was fine.  It had been held up by British customs for two and one half months. He said that he figured that the news of the sword's final arrival merited a transatlantic phone call.  He was right.