Arr! Arrg? Yar? In Honor of [Authentically] Talk Like a Pirate Day!

Talk Like a Pirate Day! [Authentically Even, By the Powers!]
I apologize up front for this hasty homage and celebration of Talk Like a Pirate Day, for it is composed largely of text of posts of mostly authentic pirate speech I’ve made on Facebook on TLAP Day over the past decade or so. The quotes are fun and instructive.
Before I begin, I want to render honors to those who inspired this day created by “Ol’ Chumbucket and Cap’n Slappy” aka John Baur and Mark Summers in 2002: Captain John Smith (whose sea fight description was transcribed aka plagiarized into several 17th century seafaring texts), Mark Twain (yes indeed did Tom, Huck et al know how to talk like pirates!), Robert Louis Stevenson, J. M. Barrie, Jeffrey Farnol, Wallace Beery, and Robert Newton.
Several authors over the past quarter century, myself included, have identified Robert Newton as the most significant origin of caricatured “pirate speech” aka “talk like a Hollywood pirate.”
Newton starred first in Disney’s Treasure Island as Long John Silver, followed by two more pirate films, reprising his role in one of them as Long John Silver, and then again in a TV series. The earliest non-fiction author I recall identifying Newton as the origin of our idea of pirate speech is maritime historian David Cordingly in 1997.
However, the real credit should probably go to George MacDonald Fraser in his comic novel The Pyrates, 1983/84, in which he clearly identifies the origin of Hollywood pirate speech as Robert Newton and his iconic West Country accent.
Hollywood Favorites

“On, now, Jeremy!” cried Blood. “Straight into them before they recover their wits. Stand by, there! Prepare to board! Hayton … the grapnels! And pass the word to the gunner in the prow to fire as fast as he can load. … Musketeers to the prow!”
—the fictional Captain Peter Blood in Captain Blood: His Odyssey by Rafael Sabatini (1922), during the finale against the French fleet at Port Royal, Jamaica, set in the year 1689.
“All right, my hearties, follow me!”
—Errol Flynn as the fictional Captain Peter Blood in Captain Blood (Warner Bros., 1935, Casey Robinson screenwriter) during the finale against the French fleet at Port Royal, Jamaica, from the gun’l, his ship sinking, just before he swings Hollywood-style from ship to ship, leading his men in a boarding action. The line is not in the published script, but apparently was written or adlibbed during filming. The original line was “Over we go, lads!” Flynn also uses much of Sabatini’s language above prior to boarding.
Real Pirate Speeches & Exhortations in Battle

“Yes, follow me and doe not lye behind, for if I doe amise* You will all fair the worse for itt.”
—Captain Richard Sawkins, English buccaneer captain, landing himself first and leading the attack against the “stokadoes” on the río Puebla Nueva (in the modern district of Remedios, Panama) in 1680, as quoted by buccaneer “E. P.,” doubtless Edward Povey. Sawkins “went up corragiously with some brisk men with him, butt their was provided Mollattas and hunters with their launces which came to oppose him. He fierd his Pistole and shott downe one Musteese, the rest fiering and lodeing as fast as they could, but the Spaniards coming in upon them so fast that kill’d capt. Sawkins and 3 men more.” The buccaneers were forced to take to their heels.
* Probably amiss: to go amiss, to fail.
“Have a good courage. We must either defend ourselves like good soldiers, or lose our lives with all the riches we have gotten. Do as I shall do, who am your Captain. At other times we have fought with fewer men than we have in our company at present, and yet we have overcome greater numbers than there possibly can be in this town. The more they are, the more glory we shall attribute unto our fortune, and the greater riches we shall increase unto it.”
—Captain François L’Ollonois, aka Jean David Nau, prior to the attack on Gibraltar on Lake Maracaibo in 1666, as quoted by Alexandre Exquemelin, buccaneer-surgeon and buccaneer chronicler who likely sailed under him, from the 1684 English edition (Crooke) of The Buccaneers of America. The speech, while it might be authentic, might also be embellished, recreated and revised from poor memory, or even apocryphal, added after the fact for editorial emphasis. L’Ollonois, a bloody-minded buccaneer and murderer, was killed by Native Americans on the Darien coast in 1669, burned, and his ashes reportedly scattered to the wind.
“You are too experienced to not understand the peril we are running, and too brave to fear it. It is necessary here to be cautious of all yet to risk all, to defend and attack at the same time. Valor, deception, fear, and even despair must all be put to use on this occasion; where, if we fall into the hands of our enemies, nothing awaits us but all sorts of infamies, from the most cruel of torments to, finally, the end of life. We must therefore escape their barbarity; and to escape, we must fight.”
—Captain Laurens de Graff, Dutch buccaneer in the service of French flibustiers, prior to his fight against the Capitana and Almirante of the Armada de Barlovento in 1685, each ship twice the size of de Graff’s Neptune and throwing twice its weight in iron, as quoted (and perhaps embellished, and clearly edited) by Alexandre Exquemelin in the French edition of The Buccaneers of America. De Graff was later wounded in the action, but ordered his men to carry him back on deck when he noticed his ship’s guns slacking their fire. The Spanish men-of-war took enough of a beating that they fled the scene overnight. (My translation.)
Sea Battle

“Come chearly my Hearts! It is a Prize worth fighting for… Hold fast Gunner, do not Fire till we hail them with our speaking Trumpet; Port edge towards him; so, now we are fairly along side of him, and within Musket shot: Come, my brave Men, run out your Guns, and give him a Broadside, a Volley of small Arms, and a Huzza. Well done, my Hearts! He returns our Compliment, by firing his Broadside upon us. What chear, my Hearts, is all well betwixt Decks? Yea, yea, only he has rak’d us through and through; no Force, it is his Turn next; but give not Fire again, till We are within Pistol shot: Port edge towards him, he plies his Small shot. Come, Boys, Load and fire our small Arms briskly at him… Starboard a little; Give fire, Gunner! (That was well done!) This Broadside hath made their Deck thin, but the small Shot at first did gaul us. Clap in some Case-shot in the Guns you are now a loading; Brace too the Fore-top-saiI, that we may not shoot a head; He lies broad off to the Southward, to bring his other Broadside to bear upon us. (Starboard hard!) Get to Larboard Fore-tack; trim your Topsails, run out your Larboard Guns. He fires his Starboard Broadside upon us. He pours in his small Shot. Starboard give not fire until he fall off, that the Prize may receive our full Broad-side. Steady: Port a little; give fire Gunner! His Fore-mast is by the board. This last Broad-side hath done great Execution. Cheerly my Mates, the day will be ours!”
—Sturmy’s Mariner’s Magazine, 1669, with a slight update from Kelly’s The Modern Navigator’s Compleat Tutor, 1733. Exclamations added. This text is found in several various period books on seamanship, including a book on ships, seamanship, and sea fights by Captain John Smith of Pocohontas fame (or infamy). Happy Talk Like a Pirate Day!
“[H]owever nothing daunted at the disadvantage of Fight, we made a resolution rather than drown in the Sea, or beg Quarter of the Spaniard, who we used to Conquer, to run the extreamest hazard of Fire and Sword, and after a sharp Contest, still birding with our Fusees as many as durst peep over Deck, we boarded one of them, and carried her; so with her we took the second; and the third had certainly run the same fate, had not she scoured away in time…”
—Buccaneer John Cox.
“Shee fierd a Harkquebus att us, att which wee presented them with a whole Volley; she fier severall small gunns at us, and wounded 3 men. one of them after-wards died. wee laid her aboard and tooke her. She had about 30 hands in her, fitted out for an Armadillo to come downe to the Isle of Plate, to see what a posture we lay in…”
“A Barkque wee gave chase to butt could nott fetch her upp. she seeing all our cannoes getts into Pennamau and makes alarme. their was by Relacion putt on board the shipp and Barkques which came out to fight us 300 Soldados and Armed men. wee had about 3 howers dispute and tooke them all. wee killed and wounded many men. And Brave vallient capt. Peter Harriss was shott in his cannoe through both his leggs, bordeing of a greate shipp. their was nott any gott cleare only on [one] small Barkque that rann into Pennamau againe. itt being all done and Quiatt, the Spanish Gen’ll being kill’d wee tooke his Chief captaine, one capt. Berralto, who being an Antient Seaman in those seas we caused him to be our Pylott, he being the commdr. of that shipp that carried away the Riches from Pennamau to Limma about 12 years since, that same time when Sr. Henry Morgan tooke Pennamau. this capt. Berralto was much burnt, and his peopple most of them kill’d and blowne upp, for as thay fought us thay had scatter’d loose powder on their decks, which tooke a fier by some accident or other, that wee seeing itt borded them and tooke them. these 7 sayle of shipps we tooke att Pennamau was not above half unloded. their lading was flower, linnen and woolen cloath, one greate shipp half laden with Iron. wee desierd of capt. Berralto which wear the best saylors. he told us on his word the Trinnity was the best in the South Seas, soe wee pitched on her for Admirall, putting capt. Harriss abord that was wounded. the Doctors cutting of one legg itt fester’d so that itt pleased god he died, so wee lost that Valliant brave Soldiar. then wee putt in capt. Rich’d Sawlkings into the Shipp Trinity and made him Our Admirall.”
“[A]bout the middle of August one night, as the greate shipp had us in a towe, we saw a saile in the darke. wee lett goe their towe, and made what saile we could to her, comes in half a hower up with her, and ha’ls her. Shee fierd a Harkquebus att us, att which wee presented them with a whole Volley; she fier severall small gunns at us, and wounded 3 men. one of them after-wards died. wee laid her aboard and tooke her. She had about 30 hands in her, fitted out for an Armadillo to come downe to the Isle of Plate, to see what a posture wee lay in; their was on Borde 2 very Honorable gentlemen, which came out for ther Pleasure to see us, wee being term’d amounge them a strainge sort of Peopple and cal’d by the name of Laddron [Ladrones, that is, thieves, a common Spanish term for pirates—Povey is making a joke.].”
“[W]ee had two men of war cannoes gon to windward for goates and had found, by relacion, 150 fatt ones, butt sleepeing alnight by a fier att the Sea Side and in the morning went to fetch their goates, lookeing out to se if the Sea weir cleare of shipps Spyed within 3 leagues of the Island 3 greate saile of Shipps, Admirall, Vise Adm’ll and Rear Adm’ll; seeing thiss, made what hast they could to their cannoes and soe on borde shipp, leaveing all their goates behind them bound. as soone as thay came near the Shipp thay warned us with 3 Motions, that wee understoode their was 3 saile. wee gott all our peopple that weir on shore off and what other things wee could, gott our anchor on bord, had nott time to gett the Other butt lett him slipp, hoysted in Our launch and canno’s. by thiss time thay weir came within sight of us; so near that wee could se a weapon florrished on the quarter deck of the Adm’ll. wee understoode wee had left one of our Strikears on shore that had gott under a tree to Sleepe, sent a cannoe for him but could not finde him, soe came of to the Shipp and left him their. [This was Will, the Moskito striker. His marooning may have helped to inspire Robinson Crusoe.] these 3 shipps Clings the wind and stands After us. the reare Adm’ll which was the least had 12 gunns, their Vise Adm’ll 16 and their Adm’ll 24. Our new capt., being Jno. Watkins, would have gon aborde the Adm’ll if the Party had beene willing; wee could wronge them by sayling att our Pleasures, bye or large, soe that wee played with them a day and a night. then wee concluded twas our time to goe downe and take Arrica, the Place that wee made an attempt att before.”
—Buccaneer Edward Povey. His unedited personal journal is one of the most authentic sources of “pirate language” in English.
Pirate Swordplay Speech

“Voilà! With this I shall avenge the insult you have given me,” said Capt. Laurens de Graff as he drew his sword.
Or, in the original French: “Voilà,” dit Laurent mettant l’épée à la main, “ce qui me venger de l’injure que tu mas faite.”
—Alexandre Exquemelin in his French edition quoting Laurens de Graff.
“On Thursday afternoon Admiral Lorenzo [Laurens de Graff], seeing how we suffered [from thirst and hunger], told the General [Nicolas Van Horn] that they should cast us ashore as I wanted them to do. The General grew angry and told me he would put us to the sword. At these words the Admiral drew his cutlass with such agility that before the General had put himself on guard Lorenzo had cut him in the arm and ear. They [the pirates] stopped them and I heard the admiral call his soldiers and send him [Van Horn] to his ship which was the almiranta [Van Horn’s St. Nicolas], and from this day we saw him no more.”
—Fray Avila describing the sack of Veracruz in 1683, excerpted from The Golden Age of Piracy by Benerson Little. The duel took place in 1683 on the Isla de Sacrificios near Veracruz, between Dutch buccaneer captains Laurens de Graff and Nicolas Van Horn. The duel, fought with cutlasses, lasted but a moment, with de Graff the easy victor: Van Horn was a poseur, while de Graff was an adventurer well-skilled in arms. It is the only documented duel between buccaneer or pirate captains during the Golden Age of Piracy. Of course, de Graff’s words may be apocryphal. The Spanish eyewitness to the duel doesn’t mention them and Alexandre Exquemelin, who quotes de Graff, wasn’t present at the duel. My translation.
“Maynard and Teach themselves two begun the Fight with their Swords, Maynard making a thrust, the point of his Sword went against Teach’s Cartridge Box, and bended it to the Hilt, Teach broke the Guard of it, and wounded Maynard’s Fingers but did not disable him, whereupon he Jumpt back, threw away his Sword, and fired his Pistol, which wounded Teach, [Abraham] Demelt struck in between the with his Sword, and cut Teach’s Face pretty much; in the Interim both Companies engaged in Maynard’s Sloop, one of Maynard’s Men being a Highlander, engaged Teach with his broad sword, who gave Teach a cut on the Neck, Teach saying, well don Lad, the Highlander reply’d, if it be not well done, I’ll do it better, with that he gave hima second stroke, which cut off his Head, laying it flat on his Shoulder…”
—The Boston News-Letter, February 23, 1719 (Old Style). There are but few descriptive accounts of swordplay among sea rovers during the so-called Golden Age of Piracy, and none that give a good sense of the language, so here’s the next best thing. The first is a newspaper account, which may be embellished or even made up, the second is an excerpt from Lieutenant Robert Maynard’s account of the action. In the hand-to-hand — or more accurately, sword and pistol — action, the two sides were of roughly equal numbers: the English naval seamen killed all the pirates while losing none of their own, although they had numerous wounded. So much for the idea that the early 18th century black flag pirates were great warriors! That’s what happens when you spend all of your time robbing merchant seamen who can’t fight back…
“Immediately thereupon, he enter’d me with ‘o Men; but I2 stout Men I left there, fought like Heroes, Sword in Hand, and they kill’d every one of them that enter’d, without the loss of one Man on their [the Royal navy] Side, but they were miserably cut and mangled… We kill’d 12, besides Blackbeard, who fell with five Shot in him, and 20 dismal Cuts in several Parts of his Body…”
—Lieutenant Robert Maynard’s account of the hand-to-hand combat.
There are but few descriptive accounts of swordplay among sea rovers during the so-called Golden Age of Piracy, and none that give a good sense of the language, so here’s the next best thing. The first is a newspaper account, which may be embellished or even made up, the second is an excerpt from Lieutenant Robert Maynard’s account of the action. In the hand-to-hand — or more accurately, sword and pistol — action, the two sides were of roughly equal numbers: the English naval seamen killed all the pirates while losing none of their own, although they had numerous wounded. So much for the idea that the early 18th century black flag pirates were great warriors! That’s what happens when you spend all of your time robbing merchant seamen who can’t fight back…
A Drinking [Former] Pirate, Or Buccaneer and Privateer, If You Prefer

“In his drink Sir Henry [Morgan] reflects on the Government, swears, damns, and curses most extravagantly…”
—Calendar of State Papers, Colonial, America and West Indies.
The probably French buccaneer on the far left in the illustration at the head of the page is a detail from De Americaensche Zee-Roovers by A. O. Exquemelin, 1678, in the Library of Congress; the probably Dutch buccaneer at left center is a detail from Historie der Boecaniers, of Vrybuyters van America by Alexandre Exquemelin, 1700; the French buccaneer at right center is an eyewitness illustration, that is, what one truly looked like, a detail from a chart of Petit Goave drafted in 1688 by Paul Cornuau, Archives Nationale d’Outre-Mer; and on the far right is Errol Flynn in a detail from a publicity still for Captain Blood, Warner Bros. 1935.
Copyright Benerson Little 2026. First posted 18 September 2026.
Pirates & Brigands & Jack Tar: This “Naval Practice Cutlass” Is Not What You Think It Is (But Charles Dickens Knew!)

“Jack Tar — armed literally to the teeth — with a combat sword in each hand for use, and a third between his teeth for ornament, encountered and overcame with ease eight ‘piratical skunks,’ seven slain with bloodless slaughter, the eighth contemptuously discomfited with a ‘quid o’ bacca.'” (Excerpted from “Realism” by Philip Beck, in The Theatre, September 1, 1883.)
This is the popular personification of the English seaman of the oak and iron era, the seaman of Drake and Myngs and Nelson — Jack Tar as he came to be known! His cutlass gripped by his powerful horny hand! No brigand, no pirate, nor even scimitar-armed Barbary corsair could stand against the doughty English (or rather, British!) seaman blade-in-hand! Much less in both hands and between his teeth, long before Roronoa Zoro (Zorro l’Ollonois in English — two famous names!) independently developed this famous three-sword style in the pirate manga, anime, and live action series One Piece.

Notwithstanding the clashing and sparking of swashbuckling blades we’re going to discuss, you may consider this short essay as a Public Service Announcement as much as a rendering of sword history. Yes, it mentions pirates and brigands and Jack Tars, and cutlass practice and swordplay and fencing tempo, but it is ultimately a PSA intended to correct the record, thus:
Every once in a while, when searching for swords within my areas of interest for research or occasionally for purchase, I’ll run across a nineteenth century “naval practice cutlass” with a steel blade and iron or steel basket hilt. Recently I found one quite by accident, listed at a tenth of what I’ve often seen these swords priced at, and so I purchased it.
Typically these are listed by auction houses and antiquarian arms dealers as practice cutlasses dating variously to circa 1860, or to “the Great White Fleet” or “the Spanish-American War,” or “between WWI and WWII.” Of course, the inability of dealers to properly date an arme blanche, even a practice one, more precisely is always a red flag. More on this in a moment. For now, we’ll assume the style of the “practice cutlass” I purchased was in service for a long time, as real and practice weapons often are.

My new “practice cutlass” is in near-mint condition, the blade largely un-nicked, the blackening of the basket hilt largely unscratched, and, curiously, a gold tint to the blade (quite common with some of these swords) still quite obvious. I was immediately taken with its excellent balance permitting credible feint attacks in spite of its weight. Most cutlasses, including practice weapons and blunted re-enactment arms, are clumsy affairs, more suited to direct attacks and strong simple parries at close quarters. But not this one! It has a lovely balance, one that immediately feels perfect in the hand. For a cutlass, it is sturdy with a solid feel, yet light at the tip in spite of its two and a quarter pound weight. Moulinets? With ease! The blade practically spins in the hand.


Immediately I contacted my friend and armes blanches expert and collector, not to mention expert designer and craftsman in models and miniatures, comic artist, raconteur, and more, Jim McDougall for his expert opinion. I paraphrase his reply: the blade appears to be a cut-down 19th century saber blade, the hilt sturdy but rather crudely put together, the grip emulating a circa 1900 style, and a generally ersatz appearance. (Any error in this summary of his words to me is mine alone.)
These observations would not alone implicate the “practice cutlass” as being fake, but there’s more: naval cutlass practice in the 19th century was of two forms. In the first, sailors (or “seamen” in the UK) drilled the general cuts and parries with real cutlasses but without contact. Forget Hollywood and novelists — no one used real swords for practice with contact, ever. Such practice spoils the edge and is likely to break blades as well, given that the blades of sharps are not tempered for countless bending and beating as practice blades are, not to mention the inherent dangers of practicing with pointed, sharp-edged swords.
In the second, sailors exercised with practice cutlasses with leather basket hilts and wooden blades — short-bladed singlesticks in other words. The use of heavy steel blades for practice with contact, which was done for example by Hungarian sabreurs in the pre-Santelli era, requires heavily-padded fencing masks and jackets. When such protective equipment was seen shipboard, it was associated not with steel-bladed practice weapons but with singlesticks, a particularly useful practice given the sailor/seaman’s natural tendency to hit hard and hit often. Notably, neither secondary history nor period primary sources on naval cutlass drill and naval swordplay describe practice with steel-bladed practice cutlasses.



After Jim’s reply, I went through my extensive fencing library, both of real and digital volumes, then searched further online. Catalogs were an obvious source, and which quickly rewarded me, thus:
As is now obvious, my “naval practice cutlass” is in fact a theatrical sword known as a “combat sword” used, as one ad above notes, “for Theatres and Exhibitions; used on the stage all over the world.” Combat swords like these were “common theatrical properties” in the 19th century, and these swords and their stage combats were a common feature of 19th century British popular theater, particularly among the provincial theaters and touring troupes in the first half of the century, although their combats were performed throughout the century and in other theaters as well. So associated with the theater was the combat sword that Robert Louis Stevenson is holding one in the image at the top of the page. (Side note: the article that accompanies the image is about Stevenson and Henley’s new play, Admiral Guinea, in which Treasure Island villain Blind Pew features prominently.)
Charles Dickens (probably; he was at the very least the editor of the piece) gives perhaps the second best description (and also the best, farther below) of the 19th century practice of stage combat with “combat swords” in the popular theater:
“Broad-sword combats were at one time very popular interludes at minor theatres. They were often quite distinct performances, prized for their own sake, and quite irrespective of their dramatic relevancy. It cannot be said that they suggested much resemblance to actual warfare. Still they demanded of the performers skill of a peculiar kind, great physical endurance and ceaseless activity The combat-sword was an unlikely looking weapon, very short blade with a protuberant hilt of curved bars to protect the knuckles of the combatant. The orchestra supplied a strongly accentuated tune, and the swords clashed together in strict time with the music. The fight raged hither and thither about the stage, each blow and parry, thrust and guard, being a matter of strict pre-arrangement. The music was hurried or slackened accordingly as the combat became more or less furious. “On, two, three, and under; one, two, three, and over;” “robber’s cuts;” “sixes;” the encounter had an abundance of technical terms. And each performer was allowed a fair share of the feats accomplished: they took turns in executing the strangest exploits.
“Alternately they were beaten down on one knee, even lower still, till they crawled serpent-wise about the boards; they leaped into the air to avoid chopping blows at their lower members; they suddenly spun round on their heels, recovering themselves in time to guard a serious blow, aimed with too much deliberation, at some vital portion of their frames; occasionally they contrived an unexpected parry by swiftly passing the sword from the right hand to the left. Now and then they fought a kind of double combat, wielding a sword in either hand. Altogether, indeed, it was an extraordinary entertainment, which evoked thunders of applause from the audience. The eccentric agility of the combatants, the peculiarities of their method of engagement, the stirring staccato music of the band, the clashing of swords and the shower of sparks thus occasioned, were found quite irresistible by the numberless playgoers… Of late, however, the broad-sword combat has declined as a theatrical attraction, if it has not altogether expired. The art involved in its presentment is less studied, or its professors are less able than once was the case.” (Excerpted from “Alarums and Excursions” in All the Year Round, March 9, 1872, edited by Charles Dickens.)

From Nicholas Nickleby by Charles Dickens we have a surely experience-based description of a rehearsal combat between two young actors dresses as Jack Tars and armed with combat swords. Dickens was once a young player in the “minor theatre” in Great Britain, and more than one historian considers his description of such theater in Nicholas Nickleby to be based on his own experience. Some scholars even point to specific persons who likely inspired some of the theater characters.
“Nicholas was prepared for something odd, but not for something quite so odd as the sight he encountered. At the upper end of the room, were a couple of boys, one of them very tall and the other very short, both dressed as sailors — or at least as theatrical sailors, with belts, buckles, pigtails, and pistols complete— fighting what is called in playbills a terrific combat, with two of those short broad-swords with basket hilts which are commonly used at our minor theatres. The short boy had gained a great advantage over the tall boy, who was reduced to mortal strait, and both were overlooked by a large heavy man, perched against the corner of a table, who emphatically adjured them to strike a little more fire out of the swords, and they couldn’t fail to bring the house down, on the very first night.
“‘Mr. Vincent Crummies,’ said the landlord with an air of great deference ‘This is the young gentleman.’
“Mr. Vincent Crummles received Nicholas with an inclination of the head, something between the courtesy of a Roman emperor and the nod of a pot companion; and bade the landlord shut the door and begone.
“‘There’s a picture,’ said Mr. Crummles, motioning Nicholas not to advance and spoil it. ‘The little ‘un has him; if the big’un doesn’t knock under, in three seconds, he’s a dead man. Do that again, boys.’
“The two combatants went to work afresh, and chopped away until the swords emitted a shower of sparks: to the great satisfaction of Mr. Crummles, who appeared to consider this a very great point indeed. The engagement commenced with about two hundred chops administered by the short sailor and the tall sailor alternately, without producing any particular result, until the short sailor was chopped down on one knee ; but this was nothing to him, for he worked himself about on the one knee with the assistance of his left hand, and fought most desperately until the tall sailor chopped his sword out of his grasp. Now, the inference was, that the short sailor, reduced to this extremity, would give in at once and cry quarter, but, instead of that, he all of a sudden drew a large pistol from his belt and presented it at the face of the tall sailor, who was so overcome at this (not expecting it) that he let the short sailor pick up his sword and begin again. Then, the chopping recommenced, and a variety of fancy chops were administered on both sides; such as chops dealt with the left hand, and under the leg, and over the right shoulder, and over the left; and when the short sailor made a vigorous cut at the tall sailor’s legs, which would have shaved them clean off if it had taken effect, the tall sailor jumped over the short sailor’s sword, wherefore to balance the matter, and make it all fair, the tall sailor administered the same cut and the short sailor jumped over his sword. After this, there was a good deal of dodging about, and hitching up of the inexpressibles in the absence of braces, and then the short sailor (who was the moral character evidently, for he always had the best of it) made a violent demonstration and closed with the tall sailor, who, after a few unavailing struggles, went down, and expired in great torture as the short sailor put his foot upon his breast, and bored a hole in him through and through.
“‘That’ll be a double encore if you take care, boys,’ said Mr. Crummies. ‘You had better get your wind now, and change your clothes.'”

In The Adventures of a Strolling Player, Simon Tomkins (a pseudonym) describes a comical end to Hamlet during the duel, fought not with foils or stage rapiers but with combat swords: “Not being able to procure foils Hamlet and Laertes were obliged to indulge in those deadly weapons technically known as combat swords which are greatly used by stage robbers, pirates, and British sailors. As fencing would have proved rather ineffective with these clumsy instruments and as Laertes was not au fait in that elegant accomplishment, it was judged expedient at rehearsal to change the received mode for that of a cut and thrust melodramatic description. But alas! Polonius’s son by no means justified the encomiums of the gentleman from Normandy who gave him such report for art and exercise in his defence, for he missed half the blows and when Hamlet was striking down he was usually striking up and vice versa; in brief they performed what actors call the ‘double misses.’ This excited much derision from the audience…”
“Snifkins [playing Hamlet] brought the duel to an end as quickly as possible, but when he rushed upon his father in law instead of that gentleman suffering himself to be quietly run through the body as every Claudius has from the days of Shakespeare, he presented a sword and reeling forward exclaimed ‘Come on old cock I’ll teach you to fight the round eights!’ A touch however was sufficient to destroy his equilibrium and having prostrated his arch enemy, Hamlet died as quickly as possible and the curtain descended amidst hisses and derisive laughter.”


Philip Beck provides more detail in 1883: “Time was, and not long since, when a combat generally consisted what is technically known as round eights, singles, threes, broken fives, primes (pronounced preams), double primes, and passes. Very popular was a mysterious combination known as the ‘Glasgow Tens;’ so also was another desperate encounter, carefully arranged, and called ‘The Gladiators,’ this last being a combat fought to music, each blow being struck to its accompanying note or chord in the orchestra.” (Excerpted from “Realism” by Philip Beck, in The Theatre, September 1, 1883.)
Walter Herries Pollock (“Stage Swordsmanship,” The Theatre, June 1, 1896) notes that the swordfights were fought only with the “cutting” edges, and the thrust was used only to deliver the final blow: it was “delivered between the arm and body to make an end at last of the principal villain.” There is a late but fine example of this thrust ‘twixt arm and body in the 1924 silent film Peter Pan, in which John “kills” a pirate.
Actor Frank Price in 1892 described a stage combat he had once had with Irishman George St. George, a stage name of course; the Irishman noted that he would not be hired in England under his real Irish name, so prevalent was anti-Irish sentiment. “I was playing the heavy part,” Price writes, “and in the last scene George and I had a grand sword combat, during which the air was thick with eights, fives, Glasgow tens, and occasional bad language when a stroke was missed or a shin damaged. After great excitement George, having guarded a head blow from me, was wont to kill me in the effective but mysterious manner adopted on the stage.”
A few years later Price was traveling in disguise as an Arab for safety in Egypt during the “Soudan War” (the Mahdist War, 1881-1899) when he came across a red-whiskered Arab in his path. After mangling an Arabic expression intended to determine whether the Arab before him was friend or foe and not receiving the reply he was told to expect from a friendly Arab, Price and his likely enemy drew their swords and fought, Price using all of his stage combat skill in round eights and Glasgow tens and more. But just as he forced a head parry and was about to deliver the killing stroke, his Arab adversary shouted, “Murther alive! I’m kilt!” It was George St. George, also traveling in disguise for safety. (From Frank Price, “A Grand Combat,” The Era Almanac, 1892.)
What were the “Glasgow tens” and similar patterns? The best description I’ve found so far is in Cut and Thrust: The Subtlety of the Sabre by Leon Bertrand, 1927, in which the author refers to the “Glasgow cuts”: “Hero and villain would cross swords on either side with the points raised, the blades meeting with rare swish. These manœuvres were continued, the wide sweeping cuts describing a downward course until steel met steel again. If the encounter had to be prolonged these movements were repeated in toto — and then somebody had to die. Nobody was deceived. Rather, both principals gave an idea they were sharpening each other’s blades for the Sunday joint.” One imagines a repeated series of tierces and secondes — a series often still seen in Hollywood and on stage even today. These are not exchanges of attack, parry-riposte, counter-parry-riposted, &c, but of blades flung into position and clashing against each other. Perhaps more adept stage fencers might have thrown an occasional head cut parried by a quinte. Perhaps.
Likewise the “one, two, three, and under” and “one, two, three, and over” noted above Dickens: the former is probably a clashing of blades in tierce, seconde, tierce, then a thrust to the flank, the latter reversed, a clashing of blades in seconde, tierce, seconde, and a thrust to the torso high.
Unsurprisingly, fight director William Hobbs (The Three Musketeers, The Four Musketeers, The Duellists, and many more, plus innumerable stage combats) is quite familiar with the old series of blade contacts, in his Stage Combat (1980) listing The Square Eights, The Round Eights, The Glasgow Tens (which he writes was known in England as The Long Elevens), and even The Drunk Combat. He describes them perhaps more lively than I have, as “whacks at the blade.”
A real sword fight based on old stage combat techniques notwithstanding, Philip Beck also noted that by the late 19th century many actors were now taught conventional swordplay, even if, he writes tongue-in-cheek, it is “one, two, and third in your bosom” — probably an “un, deux, trois” (three disengages, each in the opposite direction, the first two as feints, the third “thrust home”) although it might more broadly be any two feints prior to the final, a form of attack many modern sport fencers are now, sadly, unfamiliar with except occasionally in theory or, even more rarely, as an exercise in blade control and timing, much less actually able to perform when actually fencing.
William Hobbs notes that Felix Bertrand of Salle Bertrand trained many actors in swordplay. Other sources point to William McTurk, assistant fencing master and later fencing master at King’s College London, and, according to J. D. Aylward in The English Fencing Master, Baptiste Bertrand of Salle Bertrand on Warwick Street in London, leading the effort to train actors in proper swordplay and thus they may be considered the late 19th century founders of the modern schools and efforts at theatrical and film swordplay in the UK although many actors on their own learned to fence in order to improve stage swordfights. Aylward blames Captain Alfred Hutton “and his circle” for educating the public in swordplay; no longer would theatergoers be satisfied with the mere clashing of combat swords. Even so, Leon Bertrand in his 1927 Cut and Thrust: The Subtlety of the Sabre notes that the “Glasgow tens” were still seen occasionally on stage and even in some of the silent films of the day.



Above, early 19th century nautical melodrama playbills. Courtesy of the British Library.
The combat sword doubtless owes its origin to the popularity of nautical theater in which the swords were used in choreographed combats composed of Jack Tars dispatching various villains, usually pirates, bandits, and Moors. These nautical dramas — melodramatic compositions of nautical cliches and tropes extolling the vigorous virtues of British seamen — were one of the most common presentations in the popular theater of 19th century Britain, with Jack Tar its hero and the athletic combat sword-wielding, hornpipe-dancing T. P. Cooke its most famous actor. Begun during the Napoleonic wars when the British Navy prevented Bonaparte from invading and set the stage for his defeat on land, the playful entertainment struck a chord with the working and middle classes and remained popular past mid-century. Sword combats also became a routine part of burlesques during the same period.

But as the nautical melodrama and the burlesque began to fade in popularity, the combat sword found its way into other productions, even being used to represent Medieval broadswords on occasion. Pollock notes that in the late 19th century in which he wrote, “the combat-sword, alack, is dead in almost all London theaters. It survived for a time in various burlesques, at the Olympic, for instance, in Robson’s days, and later yet; and it may very likely drag on an existence is some outlying and country theaters.”
The musical rhythm of and musical accompaniment to these popular stage combats made for safe, or at least safer, choreography, and helped rouse the audience to greater and greater excitement — just as in film swordplay today. Additionally, the weight of the combat sword made for slower movements, ideal for the stage — the audience could follow them.* The basket-hilt provided good hand protection, and this is probably the reason for its design, as Dickens noted, and not to emulate the rare true basket-hilt cutlass.
On the other hand, as I’ve pointed out in my post on Buccaneer Cutlasses, even a dull cutlass can split skin, break bones, and put eyes out, and any error in choreography could result in serious and possibly fatal injury. Thus the typical timing of the combats to musical accompaniment with a regular beat. No irregular rhythms here even though they’re ideally suited to real combat. It bears repeating: stage combat is not simply an imitation of real combat without real hits. (For further information on stage/film sword combat, see The Duel on the Beach in Captain Blood and The Duel on the Beach in Film.)
The gold tint present on many examples of combat swords was probably applied to make the blades stand out more to the audience. It was often noted how difficult it was for swordplay to stand out on the often poorly-lighted 19th century stage. Between the poor general lighting and the bright footlights, it could be difficult to follow blade movement unless the blades were broad and, as we see here, brightened with gold tint or paint. At the end of the century Pollock noted the difficulty of seeing foils on stage, and that larger hilts were developed and attached to thicker blades so that the audience could better follow the swordplay, a practice that continued well into the development of cinema — thus the anachronistic rapier hilts with Italian epee blades used in Captain Blood (1935), for example.
This practice of tinting or painting may have been applied to other swords used on the stage as well, particularly the narrow quadrangular foils that began to replace the combat sword in the latter half of the 19th century. On one of my walls are two fully functional foils, each more than a century old. One has a decorative figure eight guard, the other an etched round guard and etched blade. These are not Toledo wall hangers, but foils that could be used for fencing and indeed were, based on the nicks on blades and guards. Curiously and importantly, the blades of both have remains of gold tinting or paint, very similar in color and tone to the combat sword, leading me to believe that these are not, as I had first assumed, presentation foils, perhaps given as awards for fencing victory or service, but are in fact stage weapons — exactly the sort that begin to replace the combat sword when William McTurk and his contemporaries and their heirs began instructing actors in legitimate swordplay adapted for the stage.

Occasionally an astute arms seller or observer posting on the Internet points out that the iron-hilted, steel-bladed purported naval practice cutlasses under discussion are absolutely not such at all, but are “gymnastics” or “gymnasium” weapons used, obviously, in gymnasiums. The first point is entirely correct, and the second is correct after a fashion too, but they miss the swords’ actual or at least original use. So, were these stated “combat swords” ever used in gyms? It seems certain. First, they are ideal for individual practice, not only in cuts and parries but also for strengthening hand and forearm — I much prefer mine for solo practice rather than a replica wood singlestick cutlass.
Second, most examples found today are in excellent condition, with few if any nicks, indicating that they were not used on the stage or for any form of blade-to-blade contact. Third, there is occasional evidence that some surely did make their way into gyms. For example, regarding various existing exercise equipment in a military gym, “To these soon will be added the discus and bar bells, leaping pole, foils, combat swords; masks and gloves; and this is a complete a gymnasium as may be found in or out of the Army.” (Excerpted from “A Military Gymnasium,” Army and Navy Journal, 19 April 1884, bold italics mine.) I suspect that the majority sold in the late 19th and early 20th centuries ended up in gymnastic, not stage, use.
So, should these sword be considered of value to collectors? Of course! Their 19th century stage combats were as popular as any of our favorite film sword combats today, and their swords were as functional and historical as the foils, epees, and sabers used then for sport and for preparing for duels or battlefield combat. And, if used by a famous actor, combat and other stage swords were just as popular and just as expensive as any film sword today that was once used by Errol Flynn or in Star Wars. Who for example might not wish to own one of these or even the Hollywood foils used by Errol Flynn and Olivia de Havilland for Captain Blood publicity stills? In 1876 The Illustrated Sporting New Yorker noted that a drama editor in the city had purchased the sword used by famous actor George Frederick Cooke (no relation to T. P. Cooke) in the final act of Richard III during his notable American tour in the early 19th century. The writer notes tongue-in-cheek that the sword is the forty-ninth “original Cooke” combat sword now on display.
If the combat sword was good enough for Charles Dickens who gave us a pirate with “the one eye and the patch across the nose” in The Perils of Certain English Prisoners and Robert Louis Stevenson who gave us swashbucklers galore, it’s good enough for armchair, stage, and real swashbucklers anywhere!
Copyright Benerson Little 2025. First published 19 August 2025. Last updated on November 18, 2025.
* Heavier weapons are not only easier for an audience to follow, but also for directors and judges, or as they’re called today, referees and judges (the latter are seldom used anymore in modern fencing), to follow. Some years ago my close friend, also my former fencing master, Dr. Eugene Hamori, a Hungarian by birth, along with a Polish fellow Olympic medalist, proposed to the FIE to fix the numerous issues with modern saber by using heavier sabers of roughly 16 ounces — a mere return to the one to one-and-a-half pound weight of sport sabers in the 1920s and 30s. The proposal was ignored: the status quo will have nothing but the status quo — to keep fencing in the Olympic Games no matter the cost, no matter the degree of change from true swordplay to sport nonsense — and modern fencing will continue its decline into pure sport rather than the sport version of martial combat with swords.
The Pirate Captain & His Burning Prey Upon the Background Billows: An Iconic Image

Arguably only a few illustrators have matched, and none have surpassed, Howard Pyle (1853-1911) for his iconic pirate images and their contribution to the modern myth of pirates and piracy. Whether of picturesque and picaresque buccaneers, or of pirate attacks, duels, buried treasure, or extortion of prisoners, his illustrations, with few exceptions, have inspired imitation and homage.
Of all Pyle’s strikingly evocative pirate art, his painting of Captain Keitt for his novella The Ruby of Kishmoor is considered by many to be the pinnacle of his work. We see it above: the pirate captain, clearly inspired by Captain Kidd, braced seaman-fashion on the poop of his pirate ship The Good Fortune in the trough of the sea, his prey, the Rajah of Kishmoor’s great ship The Sun of the East, burning in the background upon the crest of a swell, its mainsail shot to pieces.
The ship’s lantern rises behind the pirate captain, and curiously — and surely for reasons or artistic composition — behind it the ensign staff flying the Jolly Roger. I quibble here: the lantern would historically have been astern of the flagstaff, outboard of the hull, the other inboard. Curiously, the lanterns, and in fact the stern decoration and color, of both ships appear similar if not identical (and somewhat similar ones can also be seen on Disney’s pirate ship the Black Pearl).
Keitt wears an 18th century style cocked hat (aka tricorn) with gold trim, setting off his rather ratty black hair and long mustachios framing a stern face that hints of evil, an expression suggesting he might be posing for a painter, recalling perhaps the pirate portraits in Exquemelin’s The Buccaneers of America. Or perhaps he has been caught off guard, or has been asked a stupid question.
A ratty kerchief is tied around his neck rather than a cravat, and he wears a crimson just-au-corps, waistcoat, and long swashbuckling sash. His wide loose breeches are the seaman’s, and on his feet he wears boots of some sort, perhaps intended as “sea boots” although such were worn largely by fishermen and by seamen of this era only in cold weather. The boots are a deliberate cliché or trope: even more than a century ago the audience expected to see pirates in boots, though most often of those for riding with tops folded over. Pirates wore shoes and stockings or, especially if poor, went barefooted. The idea of “pirate boots” derives via popular illustrators from those of cavaliers and musketeers.
Hanging from a buff baldric is a Spanish “bilbo” style rapier with large curved shells although he would likely have worn a cutlass instead, and from a waist-belt. A short-barreled pistol is stuffed into the sash, and Keitt holds a speaking trumpet in his hand, perhaps with which to verbally abuse those victims doubtless left behind on the burning, sinking ship — he surely no longer has any need of the trumpet for hailing. Perhaps he uses it to bellow at his crew rather than pass orders via his subordinate officers.
There is a somber aspect to the painting: those aboard The Sun of the East who did not perish in the battle and boarding action have surely been left to the severe mercy of the sea.

N. C. Wyeth’s frontispiece and dust jacket art for the US edition of Rafael Sabatini’s Captain Blood: His Odyssey (1922) is almost as famous as Pyle’s painting. Clearly an homage to his teacher’s famous painting, Wyeth’s work embraces the image of Sabatini’s eponymous hero, even if he depicts the famous literary buccaneer in more mid-17th century style rather than of the 1680s. It’s not entirely Wyeth’s fault. Foremost, he intends to evoke the novel and its hero, rather than portray them with complete historical accuracy. Further, Sabatini himself occasionally misuses terms for period dress, for example writing doublet when clearly he intends the just-au-corps, the long coat worn in the 1680s and after.
Still, Wyeth’s painting is true enough to the novel, and clearly he had read it. The illustration was first painted then later used for a novel because it was close enough, as with Wyeth’s dust jacket art and frontispiece for The Black Swan. In the painting above, Peter Blood’s hair and eyes are accurately presented — black and blue — and he has a small mustache as he did in the serialized novel but which he had lost when the novel was published.
He wears a doublet with silver-laced black sleeves, although this ought to be a black and silver just-au-corps. He wears a falling collar of Mechlin lace rather than a cravat of one, and a bullion-encrusted baldric. His hat is rather tall for the period but has the required crimson ostrich plume. The crimson feather is there to add color, but all in all Peter Blood’s dress is close enough to Sabatini’s description: “scrupulously dressed in black with silver lace, a crimson ostrich plume curled about the broad brim of his hat affording the only touch of colour.”
We can easily forgive Wyeth our quibbling criticisms, for, to repeat ourselves, the painting is intended to be figurative and evocative. It is, to quote a past editor of mine in regard to book illustrations, intended to entice potential readers to buy the book.
In the background a Spanish galleon burns, clearly an abandoned prize, although the burning of prizes, but for an English man-of-war (with a Dutch admiral, curiously) burned by the French, is not mentioned in the novel. Perhaps the image is of the Spanish fleet’s flagship Milagrosa which was to be “scuttled” after being defeated by Blood’s buccaneers. More likely, it is a generic image of one of the unnamed Spanish galleons captured by Captain Blood.
In practice burning was often easier than scuttling, particular with larger ships. Buccaneers did occasionally burn prizes, typically keeping some crew and passengers as prisoners while turning the rest loose in a boat, and occasionally sank smaller prizes as well. More often though they were likely to keep the prize or leave it with its crew and passengers, first cutting a mast down or taking some of its sails so that word of the buccaneers might not be swiftly carried to the nearest port.
Of note are the orange-gold clouds with red-black plumes of smoke in front. A sun, perhaps, setting on the galleon and Spanish Empire? Gold for plunder, and red-black for the two colors Sabatini repeatedly uses as themes in the novel?

From the 1927 et al Riverside Press Cambridge (a Houghton Mifflin imprint) edition of Captain Blood: His Odyssey, the dust jacket and front cover art by Clyde Osmer Deland (1872-1947). Although the painting is more historically accurate — no boots, correct just-au-corps and hat — it lacks the eye-catching flair of an illustration by Pyle or Wyeth, even if a burning sinking ship draws the eye. And again there’s that damned mustache that’s not in the novel! Here, Deland has no excuse, given that he painted the illustrations several years after the novel’s publication.
The ship is not burning in the illustration above, but the magazine cover was clearly inspired by Pyle and Wyeth’s paintings. The pirate depiction, in particular its resemblance to the much later Captain Jack Sparrow, is discussed here.

Another Wyeth painting hinting at an homage to his teacher Howard Pyle and which has influenced our idea of the pirate captain and his burning prey on the billows. The blue-green tropical sea is up, giving us the mountain-like billows we like to see — and which also aid in composition. The burning ship is clearly a Spanish galleon, of a style much-used by Wyeth and discussed here. That it has just been plundered is obvious: booty is piled on the poop, including a classic Pyle-style treasure chest with curved top. The buccaneer captain is almost identical to one Wyeth painted for the September 22, 1921 issue of Wall Street Number magazine, a Life magazine publication, discussed here.
The galleon rests on a crest, with the buccaneer ship below in the trough, suggesting the rover is sailing away. Classic Wyeth clouds frame the galleon, and the skull and bones — an anachronism — flies at the stern but we can see only the lower part of the field, as in Pyle’s painting at the top of the page, clearly an homage.

Yet another homage, this time Peter Hurd (1904-1984) to his teacher N. C. Wyeth. Although Hurd was best-known for his paintings and illustrations of life in the Southwest US, he edited and illustrated Marauders of the Sea, a collection of excerpts from pirate stories, 1935, with an introduction by N. C. Wyeth. In the painting, two ships are closely engaged, one of them afire. Here, the pirate captain is not standing the deck of his ship. Rather, the composition is clearly arranged after late 17th century paintings and illustrations of pirate and men-of-war captains and admirals, as will be discussed in more detail shortly.
Hurd’s pirate captain reminds us of the famous depictions of Exquemelin’s buccaneers shown farther below. His eyes are blue and his hair black, like Peter Blood’s, but he also has a Spanish-style mustache and a scar across his cheek. He wields a classic shell-hilt cutlass with large brass rather than iron shells, though all the large shells I’ve seen on cutlasses were iron — only smaller shells might be made of brass. His face is scarred, his jacket is either Spanish or an earlier English doublet, and he wears breast and backplate which Peter Blood did fictitiously and some captains of men-of-war did in reality. Whether any buccaneer captains actually did is entirely speculative, for there is no record of them doing so.

In the image above we “see” not a recently captured prize burning just out of sight but the Quedagh Merchant, a rich ship of the Mughal Emperor captured off the coast of India in 1698, converted to use by Captain Kidd, and burned at Santo Domingo (Hispaniola) in the Caribbean after a return voyage home.
Other Notable Homages
I’ve chosen one authorized imitation of Wyeth’s “Captain Blood,” one authorized inspiration of the Pyle/Wyeth paintings, and also several notable homages, five of them to Howard Pyle’s “famous painting at the top” Captain Keitt,” and rest to Pyle and perhaps to Wyeth and others as well — an homage to homages and to the original.



Three illustrations by George Alfred Williams, the first from The Boy’s Book of Pirates and the Sea Rovers by George Alfred Williams (New York: Frederick A. Stokes Company, 1913). It is a likely homage to Pyle’s painting — and only five years afterward. The second and third are from The Pirates of Panama or The Buccaneers of America by John Esquemeling (New York: Frederick A. Stokes, 1914). Both are clearly homages to Pyle’s famous painting. All three doubtless contributed to the image of the iconic image of the pirate captain and his burning ship on the background billows.




The first image of the four just above is the front cover of the program for the 1924 film version of Captain Blood (Vitagraph) at Astor Theatre, Broadway and 45th, in New York City. The image was also used on a poster for the film. The cover style has been copied from a combination of the dust jacket of the 1922 US release of the novel and of the front board of the book. I’m no fan: here Captain Blood looks more like an unadventurous bourgeois dressed as a pirate for a costume party, rather than the long, lean, hawk-faced adventurer-physician-buccaneer described in the novel.
The likeness is intended to represent J. Warren Kerrigan who played the starring role. Perhaps the unknown illustrator was getting a dig in at Kerrigan and felt the same way I do about him. The actor famously told The Denver Times during the First World War that “I am not going to war. I will go, of course, if my country needs me, but I think that first they should take the great mass of men who aren’t good for anything else, or are only good for the lower grades of work.” Clearly he was no Sabatini-esque hero in real life, nor even an Errol Flynn, at least in regard to courage, panache, dignity, and empathy.
The bottom image is a copy of one of the many posters designed for the 1924 film, clearly inspired by both Pyle and Wyeth. Atypically, the ship is exploding rather than simply burning, although the latter often led to the former.

Clearly inspired by Howard Pyle’s illustration of Captain Kidd burning the Quedagh Merchant, here Captain Kidd burns a captured “English galleon” at Madagascar. Compare with the Pyle illustration above.
The writers and artists of “Buccaneer Bunny” (Warner Bros. Looney Tunes, 1948) clearly intended an homage to Pyle and Wyeth. It’s basically a reverse or mirror image of the Captain Blood cover art and frontispiece done by N. C. Wyeth. DVD screen capture.
Above is a possible homage to Pyle and Wyeth: Errol Flynn as Brian Hawke just having rescued Alice Kelley as Princess Padma from the burning ship of the Mughal Emperor. Compare with The Goonies screen capture below.

In the painting above there is no burning ship, but one firing a broadside instead. Even so, the image is clearly inspired by the paintings of Pyle and Wyeth, and as much by the illustrations from Alexandre Exquemelin’s The Buccaneers of America discussed below. The painting, artist unknown but suggested by some to be Ed Kohn, has hung for many years in the Pieces of Eight store adjacent to the Pirates of the Caribbean ride at Disneyland. Originally it hung in the Pirates Arcade Museum (mostly an arcade) before the shop replaced it in 1980. It may depict Fortune Red, the animatronic fortune teller in the arcade.
Above, an homage if you like, and clearly a comic riff, on Pyle’s famous painting. A damsel-in-distress has been added — and Chunk’s tongue too… From the attic scene in The Goonies, 1985. Compare with the Against All Flags screen capture above it.
The Goonies painting as imagined by Lego, part of a kit (“The Goonies: The Walshes’ Attic”) to accompany The Goonies ship and the film scenes depicted inside.

I hesitated to post the image above, of Arnold Schwarzenegger as Captain Blood by William Stout. The film was under consideration in 1994, and, although I have great respect for the former Governor of California as an action hero, I am overjoyed that the film never made it into production. The proposed script was of a sort commonly pitched by studio executives, producers, and screenwriters: one intended solely to make money (art, artist, and audience be damned).
Above is an homage by arts and entertainment polymath Jim (James R.) Silke (1931-present) to Howard Pyle’s famous painting (see “After Howard Pyle” below the signature on the painting above) featuring Maureen O’Hara as Spitfire Stevens in Against All Flags (1952), also starring Errol Flynn. The 2005 work was commissioned by Brian Peck.

My good friend Antón Viejo Alonso brought the image above to my attention. Drawn by noted portrait artist and film costume concept illustrator Darrell Warner for Pirates of the Caribbean: Dead Men Tell No Tales (Disney Studios, 2017), it is clearly an homage to the Howard Pyle painting at the top of the page.

A cropped image from Netflix’s live action 2023 release of One Piece, with pirate-captain-to-be Monkey D. Luffy (played by Iñaki Godoy) in the foreground (foresea? :-)) with a burning ship in the “backsea,” clearly an homage to Pyle, Wyeth, et al. Furthering this argument is the fact that the scene with burning ship is not in the original manga written and illustrated by Eiichiro Oda nor in the anime based on it produced by Toei Animation. (N. B. there is a similar scene when the [Spoiler Alert!] Going Merry burns and sinks much farther along in the voyages of the Straw Hat Pirates, which is perhaps an homage [Spoiler Alert!] to Peter’s Blood’s loss of his beloved Arabella).
Inspirations & Influences
The most likely inspiration — the seed planted in the subconscious — might well be some of the original illustrations in Alexandre Exquemelin’s early Dutch, Spanish, and English editions of The Buccaneers of America. They include several portraits of famous buccaneers, although we have no idea how accurate the depictions are, but this matters little in regard to inspiration.



The three illustrations above are Spanish edition copies of the originals in the Dutch 1678 edition: Francois L’Ollonois, Bartholomew Portuguese, and Henry Morgan. All show battles, including sea fights, raging in the background, with billowing smoke suggesting that some ships may be afire. None of these buccaneer captains — as far as we know — are standing on the the decks of the ships. It took Howard Pyle’s genius to compose a portrait evoking the adventure and romance, at least as we believe it to have been, of piracy on the high seas.
The illustrations in Exquemelin’s books were doubtless inspired by a common form of portraiture associated with fighting seamen and soldiers, officers in particular for typically only they could afford portraits or had enough social status that a patron might commission a portrait of them.


The two portraits above are typical of those of the era: the subject in the foreground, with a depiction of a major associated action in the background. Myngs, prior to becoming an admiral, led a number of raids on the Spanish Main, with buccaneers-as-privateers as his consorts, after the English captured Jamaica from Spain. The portrait of Montague shows us a burning ship, but it may not be that of an enemy. It appears to be of English build, and is therefore more likely the HMS Royal James, Montague’s flagship burned by a Dutch fireship in 1672, resulting in Montague’s death.

Not quite yet a buccaneer or pirate in the photograph above, nor yet a burning ship on the background billows — but aspirations enough. 🙂
Copyright Benerson Little 2024. First posted 24 September 2024. Last updated April 6, 2026.
The Duel on the Beach, Part V: In Reality

If you’ve read any or all of parts I though IV of this series (In Fiction, In Film, in Rafael Sabatini’s novel The Black Swan, and of the duel between Flynn and Rathbone in Captain Blood, you might be wondering if novelists and Hollywood have depicted buccaneer and pirate duels, a common trope of the genre, accurately. Like much that is popular buccaneer and pirate image, the answer is “yes and no,” or more precisely, “sort of sometimes, but mostly no.” If anything, the duels imagined on page and screen have caught some of the spirit of historical buccaneer and pirate duels, rather than actual practice.
One thing we’re sure of is that the real duels probably did not look like those engaged in by the swordsmen in the plate above!
N. B. Besides the links above, more information about dueling, swordplay, and swords among sea rovers and mariners of the era in general can be found in Buccaneer Cutlasses: What We Know; in chapter 17 of The Buccaneer’s Realm; and in chapter 8 of The Golden Age of Piracy, which has more detail and analysis than is found in this post.
We know that buccaneers and pirates fought duels occasionally, although detailed accounts of individual duels, with an exception or two, do not exist. Further, we know even less about the tactics and techniques of individual duels. In fact, only rarely do we even know what weapons were used in specific duels. Often the description is as spare as, “Here it was that our quartermaster, James Chappel, and myself fought a duel together on shore,” as buccaneer-surgeon Basil Ringrose wrote.
And why were duels fought among buccaneers and pirates? For the same reason they’ve always been fought: usually out of some misguided form of honor, although doubtless there were occasionally good reasons to fight. The gamut of human emotion easily gave rise to duels: jealousy, envy, avarice, lust, deep-seated insecurity, narcissism, pride and its exaggeration hubris, competition, and more. Specifically, pirates might fight over injured pride, insult, gambling, or a woman’s attention. Personal conflict, rum, and the confines of a vessel at sea doubtless fueled many of these deadly challenge fights.
(Numerous books and studies investigate the social origins of the European mania for dueling, and some include analysis of the actual practice of dueling. Among my favorites are V. G. Kiernan, The Duel in European History; François Billacois, The Duel: Its Rise and Fall in Early Modern France; and, probably my most favorite, Pascal Briost et al, Croiser Le Fer: Violence et Culture de l’Epée dans la France Moderne.)

According the Francis Rogers in a journal entry dated 1705 in regard to the Jamaica colonists, “Sword, or sword and pistol, is the common challenge to decide their affronts; except among the ordinary or sea-faring there the fuzee [flintlock musket] or cutlass is the weapon.”
It was not just buccaneers who were inclined to fight duels: the practice was commonplace. Quoting Francis Rogers again on the subject of Jamaican colonists, “They seldom want courage, being too forward in duelling on very slight occasions, standing much on their honour and scorning little base litigious actions.” Likewise the French and French colonists, and the Dutch as well. And Spaniards, including Spanish pirates? Likewise surely, given Iberian honor.
Among the late 17th century buccaneers and boucaniers (cattle and swine hunters who often sailed with buccaneers, some even becoming full-time buccaneers), the fusil boucanier aka “buccaneer gun” — a very long-barrelled, heavy caliber, typically (but not always) club-butted musket used to hunt cattle, swine, and Spaniards — was the primary dueling arm, at least among French buccaneers (the English and Dutch may have used it or another), and not the cutlass or other sword.

According to buccaneer-surgeon-author Alexandre Exquemelin, these musket duelists drew lots to see who would fire first, then stood at a predetermined distance apart. One hundred yards was a likely distance, in that it required reasonable skill to hit a man-sized target at this range. First the winner of the draw fired, then, if still standing, the loser. A surgeon examined any dead body to make sure there had been no back shooting. Such duels could only be fought ashore.
Cutlass duels were likely as well, but unfortunately we lack the descriptions of many duels, and in the case of affrays, especially when liquor was involved, the pistol or musket might be the weapon grabbed first. At sea, Captain Bartholomew Sharp once took a pistol shot at one of his buccaneer crew, Richard Hendricks, barely missing killing him. All involved were drunk. Ashore, Captain John Coxon took a shot at Captain Peter Harris, possibly with a musket. A duel, perhaps, or an angry affray. In any case, the shot fired in anger was due to personal animosities and competition among leaders. Captain Robert Searles, who sacked St. Augustine in 1668 and, drunk and otherwise engaged, permitted the treasure ship Trinidad to escape with much of the city’s treasure during the sack of Panama in 1670, was killed by another buccaneer while cutting logwood at Laguna de Términos, Mexico, although the circumstances are unclear: a duel, an affray–or murder?
No matter the weapon used, duels were usually fought ashore, for two primary reasons: there was more space in which to fight than in the close confines of a vessel, and the time required for a ship to anchor or even for the adversaries simply to be rowed ashore gave time for hot heads to cool. This is not to suggest that duels might never have been fought aboard ship, but if they were they were rare among buccaneers and the evidence for them is largely non-existent but for one source that states that some duels were fought aboard ship among buccaneers, a Dutch practice perhaps.
The source that suggests this is Zeer Aanmerkelijke Reysen Gedaan door Jan Erasmus Reining by Dr. David van der Sterre. Published in 1691, the book is a biography of Captain Jan Erasmus Reyning, one of many colorful buccaneers of the era. Van der Sterre said he met him at Curaçao and wrote a book based on the tales Reyning told. However, the book is of a common style of the era, that of the heavily-embellished biography and it is difficult to tell what is true and what is imagined.
According to the book, duels were common, including between captains and members of the crew due to the aggressive independent nature of buccaneers and their sense of each being primus inter pares or first among equals. One captain reportedly threw two cutlasses onto the deck of his vessel, challenging an impudent crewman. They then fought “like lions” until the crewman fell overboard, at which point the captain followed, hoping to cut him down in the sea.

Van der Sterre also describes a duel, again aboard ship, between the infamous, probably borderline psychotic, Captain Roc Brasiliano, aka Captain Rocky aka Gerrit Gerritsen, and Reyning, the latter in command of a buccaneer vessel sailing in consort with Brasiliano in 1668. Reportedly, Captain Rocky struck Reyning’s close friend Jelles de Lecat, later better-known as Captain Yellows and who was serving as Rocky’s quartermaster, for which Reyning challenged him.
The two fought on deck with “houwers” (hewers, hackers — slang for cutlasses; the term sabel or saber, a general term for cutting sword, is also used), with several wounds received each, Reyning having the upper hand in the end. Van der Sterre writes that Rocky ordered his surgeon not to attend to Reyning’s wounds. In response, Reyning threatened to throw the surgeon’s instruments and medicines overboard; Rocky and the surgeon relented. Later, ashore at the Cayman Islands, Captain Rocky acquired a Spanish rapier and challenged Reyning again, who replied that he had a brace of pistols ready. The two vessels soon parted company and the adversaries did not fight again.

I’ve gone into detailed analysis of this duel in The Golden Age of Piracy. Suffice it here to note that the vessel was small, and that any duel fought in such conditions would force the adversaries to fight close, likely resulting in severe cutting wounds. But the duelists’ wounds, although requiring the ministrations of a surgeon (Rocky had three cuts, Reyning two), were not incapacitating. I suspect the duel, if it occurred, took place ashore or was grossly embellished, or both. Its description is highly detailed, a rarity in accounts of duels of the era. The exceptions are notable: Donald McBane’s personal accounts of his duels for example.
Could the duel have happened as described? Sure. And the fact that each man was wounded multiple times rings true, and one exchange — one man cut in the knee while the other was cut in the head, a classic, if bungled, attack at the knee which the adversary attempts to “slip” and cut at the head — is entirely likely. In fact, the bungling is quite realistic, for sword fights were rarely clean-cut (apologies for the pun!). But light cuts to the head, not to mention all the wounds received here, practically demand longer distance, ashore in other words. In all of my attempts at practical reconstruction of such duels in confined areas, as on a small vessel, both I and my adversary came to close distance, with stout blows (and black bruises) given from our hickory-bladed cutlasses, which, if made with real weapons, would have been severe. Of course, it’s also possible that neither duelist really wanted to seriously hurt the other, much less get hurt, and played it cautiously, hoping simply to draw enough blood to end the fight — which in this case was ended when Rocky took a cut to the forehead and, possibly, could no longer see, a common end to duels with cutting blades.
Further, the duel is corroborated nowhere else, including in Exquemelin’s detailed account of Roc Brasiliano’s life, although Van der Sterre considers this a deliberate slight against his hero. More so, Reyning’s biography is written with a novelist’s eye for detail — with an eye to popular consumption, that is, making it rather suspect. And all other accounts of duels among buccaneers, and even of seafaring men in general of the era, indicate that they were fought ashore. It’s also not unknown for old seafaring adventurers to exaggerate or even invent “sea stories,” taking great pleasure in misleading the gullible.
Without doubt the most famous duel among buccaneers, really a quick affray, is that between the famous Dutch buccaneer in French service Laurens de Graff and the dilettante Dutch buccaneer in French service Nicolas Van Horn. The two men despised each other. In particular, de Graff considered Van Horn a pompous fool who had by lack of patience recently lost them the treasure of the Honduras urca. The two captains, along with French gentleman-buccaneer Michel, sieur de Grammont, were co-commanders of the brutal 1683 sack of Veracruz. As the buccaneers loaded their ships with plunder and slaves on Isla Sacrificios, where they had moved from the city for security, de Graff and Van Horn’s contempt for each other came to a head.
Historical sources are uncertain on the real reason or reasons for the duel. There was the urca incident. According to Exquemelin, on the morning of the duel an English buccaneer reported that Van Horn had called de Graff a coward. Van Horn was reportedly angry that de Graff had prevented him from decapitating a dozen prisoners in retaliation for Spanish soldiers firing at French buccaneers who were fetching cornmeal to feed prisoners. Some say there was an argument over what to do next, after the sack of the city: Van Horn wanted to attack the treasure fleet in the offing, but de Graff wanted to depart with what they had, rather than risk losing it. An English governor later wrote that they fought over the division of spoils. And some Spaniards wrote later that the men fought over who could choose how the spoils were divided.


But no matter. Alexandre Exquemelin claims de Graff drew his sword, faced Van Horn, and said, “Voilà! With this I shall avenge the insult you have given me.” If so, Van Horn was damned slow in heeding the warning and drawing his own cutlass and coming on guard.
The fight was a quick one.
According to Fray Avila describing the sack of Veracruz in 1683, “On Thursday afternoon Admiral Lorenzo [Laurens de Graff], seeing how we suffered [from thirst and hunger], told the General [Nicolas Van Horn] that they should cast us ashore as I wanted them to do. The General grew angry and told me he would put us to the sword. At these words the Admiral drew his cutlass with such agility that before the General had put himself on guard Lorenzo had cut him in the arm and ear. They [the pirates] stopped them and I heard the admiral call his soldiers and send him [Van Horn] to his ship which was the almiranta [Van Horn’s St. Nicolas, soon to become de Grammont’s Hardi], and from this day we saw him no more.”
Call de Graff’s cutlass stroke Dutch buccaneer iado if you like. We can speculate on how de Graff made his cut or cuts: a single cut upward from the scabbard striking wrist and forehead; a single blow from high to low after drawing (“lugging out” was the term in English for drawing a sword); or two cuts, perhaps the first from low to high cutting the wrist, and the second from high to low cutting the forehead. Or any of several other possibilities. Van Horn died some days afterward, possibly of gangrene, or possibly of a pestilence that swept through his crew. His death was formally laid at the feet of de Graff, who, when he was considered for a commission as a French officer a few years later, had to petition for and receive a royal pardon for killing Van Horn.

Not quite Flynn versus Rathbone aka Peter Blood versus Levasseur, but nonetheless a duel between pirate captains on a sandy shore in the 1680s — about as close historically as we can get to that most famous of film duels!
Although cutlasses were probably the norm for duels among buccaneers when muskets were not used, and likely enough among buccaneer captains, smallswords may have been used on occasion although we have no record of this. A small but fair number of buccaneers, French in particular, were gentlemen who would have been trained in the use of the smallsword, would have preferred it for formal combat, and may have carried it even in battle.

The sieur de Grammont noted above had fought at least one duel long before becoming a buccaneer: he ran his sister’s suitor thrice through. Also among these French gentlemen-buccaneers were famous buccaneer-author Raveneau de Lussan; the sieur de Chauvelin who served under de Grammont aboard one of his consorts, a half-galley and who was killed in Florida in the aftermath of an aborted attempt on St. Augustine; and the sieur d’Hulot, a veteran of two campaigns against Algiers and the Algerine corsairs, and who would later command the regular French forces on Saint-Domingue. Alas, we have no record of any duels among these smallsword-wielding gentlemen, much less of any smallsword duels on the beach.

An interesting adoption of an army dueling practice was reportedly undertaken by Red Sea pirates circa 1693-94. According the deposition of pirate Samuel Perkins in 1698, fourteen pirates, variously from the crews of captains Thomas Tew, Josiah Raynor, William Mason, and Edward Coats, divided into two factions of seven each on St. Mary’s island some five years prior, “to fight for what they had (thinking they had not made a voyage sufficient for so many) and that one of the said Sevens were all killed, and five of the other, so that the two which survived enjoyed the whole Booty.”
What weapons were used is unknown, but cutlasses are likely. And the amount of booty? If this took place in the year 1693, Tew’s crew shared 1,200 pounds (the equivalent of 6,000 pieces-of-eight) per man, an extraordinary sum, making it unlikely any crew would fight to increase this — unless they had lost their shares gaming. Such losses might make desperate men even more desperate, willing enough to fight in a group duel in which most were likely to be killed. A year prior, the crew of Edward Coats shared 500 pounds per man, still a large booty and three or more times what would be considered a profitable voyage among the Caribbean buccaneers.

It was not uncommon for army regiments, particularly during winter quarters or in garrison, to settle conflicts this way, each choosing their best swordsmen to fight those of the other. Sometimes all fought at the same time, sometimes only one from each side would fight, the victor staying up to fight the next until defeated, then another would take his place.
Famous Scottish soldier, swordsman, duelist, fencing master, and prize fighter Donald McBane describes one such compound duel, its occasion being McBane’s theft of fourteen prostitutes from a Dutch regiment — the Scotsman had a profitable side gig of gambling and prostitution. The “next Day came Twenty-four Swords Men and Demanded the Lasses again, or else give them Satisfaction, we made up Twenty-four Men and Drank together; then we Fought two and two, there was Eleven of the Dutch Killed and Seven of our Men, our Bargain was, that if they beat us, we were to give them the Lasses and Pay them a Tribute, and on the contrary, they were to Pay us Tribute: We fought a Second Time, I being of the Royal it fell to me to Fight first, the first Time I was soon done, but the Second Time before I put I my Sword, I Fought Eight of them so it ended, and they promised to Pay their Tribute, we buried our Dead and parted…” But the Dutch didn’t pay, and shot four of the six men sent for the tribute two or three days afterward.
Early eighteenth-century pirates of the Black Flag reportedly fought duels with pistols ashore, to be followed by cutlasses if necessary, at least according to pirate chronicler and liar-when-convenient Charles Johnson (a pseudonym). The articles of Bartholomew Roberts and his crew reportedly provided that “The Quarter-Master of the Ship, when the Parties will not come to any Reconciliation, accompanies them on Shore with what Assistance he thinks proper, and turns the Disputants Back to Back, at so many Paces Distance: At the Word of Command, they turn and fire immediately, (or else the Piece is knocked out of their Hands:) If both miss they come to their Cutlashes, and then he is declared Victor who draws the first Blood.” Note that this quotation is from a secondary source, albeit a period one, not an primary source; no original examples of pirate articles from the 1714 – 1726 Black Flag era exist.
There were other methods of dueling with pistols during this era, and it is possible that pirates may have used some of them as well. For example, Donald McBane describes a form of pistol duel in which a cloak is held up in each duelist’s left hand so that neither man can see the other, then on cue pistols are fired through the cloak.
One wonders at the description of pistol dueling — generally considered in the popular historical fiction mind to have been a deadly form of honor combat — engaged in first among the Black Sail pirates of Roberts’s crew, to be followed by cutlasses merely to first blood. This is in fact unsurprising: 19th century sources note that pistol duels were far less dangerous than sword duels, and this in an era in which pistols were more accurate than in the late 17th and early 18th centuries. One commentator wrote that only one in six pistol duelists were wounded, and only one in fourteen killed. In sword duels, one or both duelists were nearly always wounded or killed, although another commentator noted that pistol wounds were usually far more dangerous than sword wounds. Pistol dueling grew in popularity as a means of showing one’s “bottom” aka courage, yet it was less dangerous by far than sword duels (unless one got shot), at least until the development of the epee de combat and light Italian dueling sabre in the late 19th century, much of whose swordplay and design were intended to minimize the risk of fatal wounds in an era in which dueling remained popular yet the law had begun to severely punish dueling’s most severe results.
Notably, in spite of their romance and implied associated courage, all forms of dueling were less dangerous than the battlefield of sea or shore.
Charles Johnson describes an early 18th century challenge and its aftermath among pirates. Assuming he is telling the truth, the bosun of Captain Evans, a pirate, challenged his captain to a duel with sword and pistol “on the next shore they came to.” Unsurprisingly — challenges are easy, following up on them much more difficult — the bosun declined to fight, for which Captain Evans caned him. The bosun in turn shot him through the head and leaped overboard to swim ashore but was taken up by the pirates. For this murder the pirate crew resolved to torture the bosun, but the gunner, inflamed with passion, shot him through the body instead. The bosun, not killed, begged a week for repentance. He “should repent and be damned to him,” said another pirate, who then shot the bosun dead.
Thus ends our brief foray into the reality of piratical duels on the beach. As I close this latest blog post, here’s something to note: duels in film and fiction must be exaggerated in order to keep the viewer or reader’s attention. Not so with reality: even a simple, short duel is exciting for the simple reason that real bloodshed is likely.
N. B. The captions at the foot of the first image above read “Outside parry with the forte” & “The thrust made against those who raise their sword when parrying.” The latter thrust would be typically made if the adversary delays the riposte, or as a “high-low” feint attack. Many period masters would disagree with the extension of the un-armed hand, preferring to keep it by the head, ready to parry or oppose.
Copyright Benerson Little 2024. First published August 20, 2024. Last updated September 23, 2025.
Howard Pyle’s Famous “An Attack on a Spanish Galleon” — and Some Real Galleons Too!

Perhaps the most famous of Howard Pyle’s many piratical paintings and drawings, and certainly the most evocative, “Attack on a Spanish Galleon” has inspired many homages (and plagiarisms) in book illustrations, cinema, and advertising — not mention dreams of Spanish treasure in the minds of both armchair and real sea-going adventurers!
The illustration accompanies several other of Pyle’s most famous buccaneer paintings in “The Fate of a Treasure Town,” an article written by Howard Pyle about the 1697 sack of Cartagena de Indias and published in Harper’s Monthly Magazine, December 1905. The article includes some of Pyle’s most famous buccaneer paintings, including “The Buccaneer was a Picturesque Fellow,” “Extorting Tribute from the Citizens” (used as the cover of The Buccaneer’s Realm, for what it’s worth), and “So the Treasure Was Divided.” Of the most famous paintings of his buccaneer, as opposed to pirate, series, only “Which Shall be Captain?” for “The Buccaneers,” a book of poetry, by Don C. Seitz in Harper’s Monthly Magazine, January 1911, and “How the Buccaneers Kept Christmas,” in Harper’s Weekly, December 16, 1899, are missing.
Charles D. Abbott in Howard Pyle: A Chronicle (Harper & Brothers, 1925) considers these four paintings as the culmination of Pyle’s paintings in “the pirate vein,” although he argues that the painting of “Captain Keitt, standing on the slanting deck of ship with a high sea running behind and a burning galleon in the distance, is perhaps the best of all of Howard Pyle’s pirate pictures.” Even so, he notes that “The one called ‘Attack on a Galleon,’ with its marvelous golds and greens, is a splendid achievement in design.”
Although the attack on a galleon scene in illustration, fiction, and film in general was surely inspired by buccaneer-surgeon-author Alexandre Exquemelin’s The Buccaneers of America (first ed. 1678), Pyle’s was likely factually-inspired by Exquemelin’s possibly apocryphal tale of Pierre Le Grand who captured a Spanish treasure ship by boarding at night. The small buccaneer crew had only one craft and boarded by stealth, catching the Spanish captain and crew off-guard — they had disregarded the distant buccaneer craft as of no threat to a great galleon.

The story may be apocryphal but it has the ring of truth. We know that historically other buccaneers captured Spanish vessels by boarding from small boats, canoes, and periagers (piraguas, pirogues), that sea rovers in general have successfully made similar attacks over the millennia, and that modern naval special operations forces use the tactic as well. (For more information on the tactics of Golden Age buccaneers, pirates, privateers, and naval commerce raiders, see The Sea Rover’s Practice.)
In the painting, one buccaneer boat is already alongside, its boarders streaming up the side and into the waist, and another, gaff-rigged, a dugout canoe perhaps, is captivatingly astern, surely preparing to board as well. The smoke billowing from the deck indicates a fierce fight on deck — muskets and pistols, and probably the upper deck great guns and swivel guns as well, are in action — or possibly even that the ship may be afire, although in the latter circumstance it is unlikely that buccaneers would board, for a fire aboard ship was feared more than any other hazard of the sea.
At the stern, probably on the poop deck, one can sea a Spaniard in a broad Spanish hat, often referred to as a “two-hand hat” (or perhaps it is one of the buccaneers instead?) and aft of him, perhaps on the poop-royal (also known as the topgallant poop, Sp. chopeta/chopa/imperial, Fr. dunette sur dunette/carrosse), a pair of hands in submission and supplication.
A question that continues to perplex me is what time of day does this attack take place? Is that a golden full moon just up over the horizon at sunrise, given its red-orange color? Or is it a sunset, suggesting the setting and settling of a Spanish treasure voyage? Or even of the Spanish Empire in the Americas?


From the left drawing above it’s easy to see that Pyle changed the early conception of the galleon’s stern, eventually elongating it greatly for effect. Even so, the stern is historically-based. Without any doubt, as his inspiration Pyle used the well-known illustration, shown below, by 17th century Dutch artist Wenceslaus Hollar in 1647, and with poetic license narrowed the stern even further. Not only is the Hollar drawing quite similar, but Pyle used it in a later illustration, copying it almost exactly.
The illustrations by Hollar below show a form of mid-17th century Dutch ship used for both East and West India voyages. By the 1660s Dutch sterns, had become a bit lower and less narrow at the upper transom. Even so, some of the East and West India-men shown below, built in the 1640s and 1650s, would have survived in the 1660s and even 1670s or later. Importantly, approximately one third of Spanish ships were Dutch-built, including some treasure ships sent to the Americas, making Pyle’s Dutch-style Spanish galleon historically-correct, or largely so.




In the comparison above, Pyle has largely kept the structure and decoration with minor modification. Importantly and correctly, he has added a large Catholic religious icon representing the ship’s name at the stern. This was the usual practice aboard Spanish ships of the era, nearly all of which had religious names although some had secular nicknames. So far, the only exception I’ve found to the religious name rule is among some Spanish privateers. Occasionally, a religiously-named Spanish privateer or man-of-war might display the Spanish arms as its main icon at the stern, but it would still display a religious icon representing its name somewhere below or above the arms. Here we can assume that Pyle’s galleon’s name begins with Nuestra Señora given that the icon appears to be of Madonna and Child.
It’s possible that Pyle may have been originally inspired by “Wager’s Action off Cartagena, 28 May 1708” by English painter Samuel Scott. Painted at some point in the 1740s, Scott depicts a classical 17th century Spanish galleon, although in fact the galleon in question, the San Jose, whose remains along with possibly a billion dollars in treasure, are currently undergoing careful salvage off Cartagena de Indias, Colombia, probably looked nothing like this. (Details in the section below on real galleons.) In any case, Pyle may have been familiar with this famous painting, and sought out similar but more detailed images, and found those of Hollar. Notably, Pyle’s billowing smoke and orange colors are similar to Scott’s. (Compare with the image of what is probably the San Jose’s actual stern later in this post.)

A word or two on the term galleon. Originally, in the late 16th and early 17th centuries, it referred to a stout ship with specific characteristics that was built for war and trade. Spanish galleons were noted in particular for their very high sterns. By the late 17th to early 18th centuries the term galleon could refer to (1) in its narrowest definition, a treasure ship of a type built to very specific guidelines for use in the Carrera de Indias (the trade to the Spanish Americas from Spain and from the Spanish Philippines), (2) any Spanish treasure ship of any sort, (3) any Spanish ship with a very high stern and multiple stern galleries, and (4) any ship of war or trade similar to those of Spanish galleons, in particular those of Portugal (occasionally still referred to as carracks as well), Venice, Genoa, and “Turkey” (the Ottoman Empire).
Further, some Spanish officials in the late 17th century incorrectly referred to Spanish men-of-war of the frigate type as galleons, retaining language from earlier in the century. True Spanish galleons, as described in (1) were largely no more by the 1640s except for a small number specifically built for the treasure fleets. Arguably, the last true galleons, and there were but few by this time, were built in the 1690s, yet privateer Woodes Rogers in A Cruising Voyage Round the World (1712) describes one in the first decade of 18th century in the South Sea (the Pacific Spanish Main): “[S]he was call’d the Ascension, built Galeon-fashion, very high with Galleries, Burden between 4 and 500 Tun…” He later refers repeatedly to the ship as a “Galleon” — and oddly, to neither of the Manila galleons as galleons, but only one or the other as the “Manila Ship.”
Although the life of a ship in this era was often less than twenty years, some were in use for thirty to forty years, ensuring that older forms of ships were still well-represented.
Pyle also painted a somewhat similar illustration in 1898, published eventually in Collier’s magazine, December 10, 1904, and it clearly shows that his inspiration was taken from Hollar’s Dutch East Indiaman.

Imitations & Homages
Pyle’s galleon, or its inspiration, has spawned numerous imitations, right down to the present. Many, most perhaps, are homages. Below are a few representative images.
A clear copy of Pyle’s ship used here for the cover of Collier’s magazine, December 10, 1921. No attempt has been made to alter the galleon’s stern — already readers knew, thanks to Pyle, what a galleon should like.

His treasure ship has often been used in advertising, for example in this add from The Saturday Evening Post, October 22, 1927, for 1847 Rogers Bros Silverplate. “Time and Tides are Kindly to Comely Captain Housewife,” reads the caption. Sexist, yet the series of ads does feature a variety of often clearly independent pirate women as opposed to more common images of domesticity. Doubtless the illustrations of sexy pirate women were intended not only to attract the attention of women readers, but also as lure to inspire husbands to buy the cleverly marketed “Pieces of Eight” set of silverware and associated pieces.

The detail below clearly shows the galleon to be a copy of Pyle’s famous ship. An homage, probably, but also good marketing, immediately evoking the pirates and buccaneers of Howard Pyle and Douglas Fairbanks.
Below is a galleon by well-known Saturday Evening Post artist Anton Otto Fischer, quite clearly in homage to Howard Pyle, based on the galleon in Pyle’s “The Burning Ship” and Hollar’s India-men. The image emphasizes pink-gold hues of ship and cloud and tropical blue sea. Both Fischer and his wife were students of Howard Pyle; Fischer was also an experienced tall ship sailor whose favorite subjects to paint and illustrate were of ships, seamen, and the sea.

A dinner plate dating from 1923 – 1936 — an era of cinematic pirate adventurers Douglas Fairbanks and Errol Flynn, and the buccaneer novels of Rafael Sabatini and Jeffery Farnol — shows likely influence of Howard Pyle’s galleon. That said, as seen above and below, there were real ships with similar sterns.


Below, the 1935 beverage and tobacco menu from the famous Cunard White Star Line for its UK to America runs. The painting used for the cover is by Scottish illustrator Alistair K. Macdonald. The galleon is clearly inspired by Howard Pyle.

I almost forgot about several famous galleons, at least one of them an English one, all painted by N. C. Wyeth — perhaps Howard Pyle’s most famous student. All clearly evoke Pyle’s galleon. Homages from student to teacher, without doubt.



I cannot decide if the Cinco Llagas aka Arabella of the 1935 Captain Blood was inspired by Pyle’s painting or not. Without doubt the designers were familiar with Pyle’s galleon, although technically the Arabella is a frigate.

Likewise the Wicked Wench, which was clearly inspired by the Arabella, as I’ve discussed here.

Even so, the galleon — surely the Arabella! — in this 1935-1936 Spanish poster for Captain Blood (Warner Bros., 1935) was copied from or inspired by Pyle’s famous galleon. And appropriately so, given Pyle’s overwhelming influence on pirate films of the era. Note that the forecastle appears to have been appropriated from any of many N. C. Wyeth Elizabethan galleons, or even earlier galleons.
The stern of the Spanish galleon in The Spanish Main (1944) starring Paul Henreid and Maureen O’Hara may well have been influenced by Pyle’s painting, in particular the ascending pointed carved decoration at the top of the stern transom. Compare with that of the Urca de Lima in the television series Black Sails later in the post.


Pyle’s influence is clear in this shot from a Quick Draw McGraw cartoon from 1961:

Famous science fiction and fantasy illustrator Frank Frazetta honored Howard Pyle with an homage to his famous galleon in 1973.

N. C. Wyeth’s grandson, Jamie Wyeth, a famous and outstanding painter in his own right and son of iconic artist Andrew Wyeth, did the artwork for the plate below, a clear homage to both his grandfather and to the man who taught his father, Howard Pyle. In this case it is a “pirate galleon” — clearly a Spanish galleon fallen into the hands of buccaneers per classic trope. (N. B. Buccaneers didn’t fly the black flag with skull and bones, although at least one crew did fly the red banner of no quarter with skull and bones. But it’s the image that counts in storytelling, and we’ve come to expect the black flag on all pirate ships of all eras. See The Golden Age of Piracy for more details.)



Almost certainly the “galleons” (they appear to be manned with English marines) below, especially the one of the left, in this art by cartoonist François Ruyer for a puzzle is an homage to Pyle’s famous painting, with their excessive height and pirates attempting to board one of them via boat. Even the sky color evokes Pyle’s painting.

Likewise an earlier image by Jean-Jacques Loup for Heye, “Captain Flint’s Party,” for a puzzle evokes galleon sterns reaching for the moon, so to speak:

The box cover of Sea Legends (1996), an MS-DOS video game inspired by the 1993 version Sid Meier’s 1993 Pirates! Gold. The Spanish galleon was clearly inspired more by Frazetta space galleon above, in turn inspired by the Howard Pyle.
The stern of the Jolly Roger below from Peter Pan (2003) is clearly an homage to Pyle’s galleon.

It’s entirely possible that Pyle’s galleon even influenced the design of the Urca de Lima in the Starz dramatic series Black Sails, shown below. (Compare also to the galleon used in The Spanish Main above.) Although I was the historical consultant for all four seasons, I don’t know this for certain as I had no input into sets, including ship design, unfortunately — otherwise the ships might have been more historically accurate. Some of them in reality would not have been seaworthy.
And on a nitpicking the note, urca is the Spanish word for a type of ship originally designed by the Dutch but in use by all Western European seagoing nations. It was known as a fluyt, flute, flutte, or, in English, a pink. It had a rounded stern, not a flat one as the television galleon has, and a very small narrow transom (which might have provided some additional excuse for Pyle’s very narrow upper section of the transom for his Spanish galleon, even though it’s not an urca). In other words, the Black Sails galleon should be an urca instead. It bears noting that an urca is NOT a galleon — yet one might be referred to colloquially as a Spanish galleon if carrying Spanish treasure…



But I digress a bit under the influence of historical accuracy! Even so, this brings us to a good subject: what did Spanish galleons and their sterns actually look like from 1650 to 1700?
Spanish Galleons 1650 to 1700
For the first forty years or so of the 17th century, the large or main transom of Spanish galleons was typically “stepped” (in layman’s language), with the upper part or parts overhanging the lower, rather than flat as soon would be the case. The Spanish galleon Santa Teresa, shown in the three images below, is a good example of this style of very common early 17th century Spanish sterns.



The “Vista de Sevilla” (“View of Seville”), circa 1660, artist unknown, gives us a good view of the sterns of Spanish galleons with enclosed galleries, and the changes that came mid-century. The sterns, although still very high, all now appear “modern” in the sense that the double transom, the upper overhanging the lower, has disappeared.



Below is an illustration of “The Spanish fleet sailing from Havana in 1662.” However, neither the Flota de Nueve Espana nor the Flota y Armada de Tierra Firme sailed from Havana in 1662, nor was it likely that either fleet was there at any time that year. More likely, the year was 1661 or 1663. Note the very high sterns of the two larger ships.

Below is a Spanish two-decker man-of-war, the illustration dating probably to the 1660s, almost certainly the Spanish flagship Nuestra Señora del Pilar given the iconography on the stern. Mounting 64 guns (or 70 in one account), of which 20 were 28-pounders and 28 were 18-pounders (some of which would have been placed on the lower gundeck with the 28s), the ship was destroyed when attacked by four fireships in 1676 at the Battle of Palermo. Admirals Don Diego de Ibarra and Don Francisco de la Cerda perished in the flames along with 200 of the ship’s 740 man crew.
Although a frigate rather than a true galleon, the ship shows many of characteristics of Spanish galleons, and men-of-war as shown below often carried Spanish treasure and escorted treasure ships, earning them the appellation of galleon even if incorrect. Note the high stern, the religious iconography, the clinker planking on the upper-works, the channels mounted above the upper gundeck ports, the musketeer loopholes in the waist (identical to Dutch practice), the jeer capstan on the forecastle, and the two open wraparound external galleries, known as corredores, typical of Spanish treasure ships although not always to be found.

Another Spanish man-of-war stern, 1660s, with two open stern galleries that wrap around the hull. The ship may be the Santa Ana of 54 guns, vice-admiral at the Battle of Palermo in 1676, given the stern iconography. If so, she mounted 16 bronze 24-pounders, 26 bronze 18-pounders (some of which would have been mounted on the lower gundeck with the 24s), and 6 iron 16-pounders. She was likely burned but not destroyed at the Battle of Palermo in 1676.

Below are three very similar versions of the galleon Nuestra Señora del Mar, San José y San Francisco, showing details of her shipwreck in the Bermuda Islands in 1691. The ship was launched in Pasajes, Spain in 1681. Of 862.5 Spanish tons (toneladas), she was mounted with only 29 guns, a not uncommon practice for a large Spanish galleon, for much of her space was taken up with cargo. Note the color scheme, the style of painted decoration, the painted scroll-work on the upper-works, and three open external galleries. Each was, per Spanish period references, probably only thirty-three inches deep. The uppermost is at the level of the poop deck or even the poop royal if there is one.



Below, a Spanish galleon with three open stern galleries, flying the royal colors, enters Havana harbor in the second half of the 17th century, probably 1660s to 1680s.

However, in spite of our romance with the open-gallery, high stern Spanish galleon, many did not have the open galleries, but had closed galleries as shown just below in this Spanish galleon at Portobello, 1688.
As noted previously, ships of other nations were sometimes referred to as galleons in the second half of the 17th century, including some of those of Portugal (also occasionally still referred to as carracks as well), Venice, Genoa, and the Ottoman Empire (colloquially referred to as “Turkish” galleons).


The 1680s brought on changes in Spanish shipbuilding, including in its men-of-war and in its remaining true galleons. Although the latter often still had high sterns, they were soon reduced, more in keeping with European construction in general. And although galleons or treasure ships with multiple open, wraparound galleries or corredores were still seen, the enclosed gallery became much more common as did the open gallery, often two or three in number, that did not wrap around to the sides, the latter particularly evident in the 1680s.

Below are Spanish treasure ships at anchor at Portobello in 1683. The multiple galleries and high sterns are clearly still evident although it appears that not all wrap around the sides but are open only at the stern, as above.

The same treasure ships, or at least ships of the same fleet, at anchor in Portobello in 1682, as drawn by a different artist :


Through the 1680s and 1690s, Spanish men-of-war, which often escorted treasure ships and even carried treasure themselves, were changing, their designs becoming sleeker and more in line with other European navies.


Below is one of a series of proposed Spanish men-of-war, 1691. Although never built, they reflect the new trends in Spanish ship design, including lower sterns and a semi-closed single stern gallery.

Even the last Spanish treasure galleons to be built had similar features. Below is the stern of what scholars generally believe to be the famous San Jose, launched in 1698 and sunk at Cartagena de Indias by Wager’s fleet in 1708, with a treasure aboard estimated by some to be worth as much as 17 billion dollars US today. Compare this drawing with Scott’s painting above of Wager’s action against the San Jose.

With the accession of a Frenchman to the Spanish throne in the early 18th century, over which the War of the Spanish Succession had been fought, Spanish ship design became more contemporary with that of other European sea powers. Gone was the conservatism that too often hindered Spanish shipbuilding. Below is a Spanish treasure ship of the new style. It has a projecting gallery that wraps around the stern (not all Spanish treasure ships and men-of-war had this), with a shade built overhead for the section of the gallery at the transom:

A closer look at these Spanish sterns in the first half of the 18th century. The stern gallery still wraps around the hull.

A simple pen and ink view of a Spanish man-of-war with what appear to be two projecting, probably wraparound, galleries, from a Spanish chart of Isla Vieques off the coast of Puerto Rico, 1721:

Design changes notwithstanding, the high-sterned Spanish treasure ship was in use into the first quarter of the 18th century. I’ve already mentioned Woodes Rogers’s description of one in the South Sea. Below is a depiction of a Spanish treasure ship by Gueroult du Pas in 1710.

And it is these high-sterned Spanish galleons that always have captured our imagination, and continue to do so. Howard Pyle’s famous treasure galleon has helped to keep that imagination not only alive but enhanced. Even the romantically evocative dust jacket below must have been influenced by his famous galleon, with its high stern and colors of sunset or sunrise!

In fact, these iconic images of Spanish galleons from fiction, film, and more aren’t far off from those created by eyewitnesses in the 17th century, including these found on a Spanish 1669 chart of Cartagena de Indias!


Details from “Cartaxena con 46 piésas,” 1669, courtesy of the French National Library.
Copyright Benerson Little 2024-2026. First posted March 27, 2024. Last updated September 3, 2026.
“Dreams of Glory” — Captain Blood! (Updated!)

I’ve seen myself in comics before — Calvin & Hobbes, Bloom County, Peanuts, Shoe, Hagar the Horrible, Popeye, and even in an imagined sense in Buz Sawyer, Prince Valiant, and The Phantom — but never so closely as in the image above. This is my dream of glory as a child! And likewise many friends and acquaintances of mine, particularly those who’ve lived lives of real or armchair swashbuckling from childhood onward.
The comic was drawn by William Steig, best-known today for Shrek. However, he drew a series of “Dreams of Glory” comics in the 1940s and 50s (I hope I have the dates correct) for various upscale magazines, primarily The New Yorker. Most if not all of the comics were published in a single volume in 1953.
I’ve updated this…
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“Captain Blood” on Halloween!

A vampire — surely Lugosi himself! — riff on Captain Blood, with a Moby Dick reference no less, by friend and arms historian Jim McDougall. 🙂
Is the ship the Arabella, the Pequod, or the Demeter? 🙂
Comic copyright by Jim McDougall, 2021-2022. Blog copyright Benerson Little 2022. First posted October 17, 2021.
“The Buccaneer Was a Picturesque Fellow” by Howard Pyle

And indeed he was a picturesque — and picaresque! — fellow, the buccaneer! Howard Pyle’s painting of this romantic sea rover has influenced the imaginations of half a dozen generations of readers, writers, illustrators, costume designers, film-makers, and game designers. Currently on view at the Delaware Art Museum, the painting was one of four created for an article, “The Fate of a Treasure Town,” also by Pyle, published in Harper’s Monthly Magazine, December 1905.
In fact, the paintings accompanying the article are some of Pyle’s most famous buccaneer and pirate images. In addition to the picturesque buccaneer, there is “An Attack on a Galleon,” “Extorting Tribute from the Citizens” (used as the cover of The Buccaneer’s Realm, for what it’s worth), and “So the Treasure Was Divided.” Of the most famous paintings of his buccaneer, as opposed to pirate, series, only “Which Shall be Captain?” for “The Buccaneers” by Don C. Seitz, in Harper’s Monthly Magazine, January 1911, and “How the Buccaneers Kept Christmas,” Harper’s Weekly, December 16, 1899, are missing. (High resolution images are available on Wikimedia Commons.)

Pyle’s article opens with romantic tropical buccaneering scene-setting, then shifts in detail to the sack of Cartagena de Indias in 1697, a privately-funded French privateering expedition that was composed of hired ships and troops of the French navy and army, with a large body of French buccaneers and Caribbean militia in support. The Baron de Pointis, commander of the expedition, swindled the buccaneers out of their agreed share, so they returned and extored more treasure from the citizenry. Pyle’s painting, “Extorting Tribute from the Citizens,” shows buccaneers actively engaged in this pursuit. (On a side note, the painting was used for the dust jacket of The Buccaneer’s Realm, my second book.)
But few people have actually the read the article or even know about the sack of Cartagena de Indias, and it’s the images themselves that have caught our imagination. In particular, film-makers, illustrators, and Disney have borrowed heavily from the paintings: from The Black Pirate of Douglas Fairbanks and the Captain Blood of Michael Curtiz, to Disney’s Pirates of the Caribbean attraction and films, to the sea rover art of Don Maitz, Pyle’s influence is impossible to deny.

From a historical standpoint, the paintings are far more evocative than accurate, although clearly Pyle attempted to get historical details correct. But this wasn’t easy. He had to interpret written descriptions and also — the bane of truth-seeking historians and researchers everywhere! — appeal to popular tropes as well. For popular works, some degree to catering to popular expectations is considered mandatory, or so I’ve been advised (and immediately resisted, bound by nature to do my best to keep within the limits of fact and fact-finding, at least as much as possible).
For Pyle, it was not the buccaneer or pirate’s sea roving escapades that made him appealing: “It is not because of his life adventures and daring that I admire this one of my favorite heroes; nor is it because of blowing winds nor blue ocean nor palmy islands which he knew so well; nor is it because of gold he spent nor treasure he hid. He was a man who knew his own mind and what he wanted.”
He conveyed this well with his picaresque — sorry, picturesque — buccaneer even if it appears that the young man evokes a purely romantic image of a sea roving adventurer rather than a real one.

Let’s take a quick look at his arms, accoutrements, and clothing and compare them to the historical. We’ll begin with his hat. Spotting the red ball tassels, we assume the hat is intended to evoke Spain — it’s the somewhat tropish hat of a Spanish flamenco dancer or mounted matador. Perhaps the buccaneer captured it, or, I think more likely, the buccaneer is in fact a Spaniard, a mestizo perhaps. We know that there were Spanish renegados among the buccaneers. Let’s keep this in mind as we look at the rest of him.
He’s wearing two gold earrings — small simple hoops. Most European-derived buccaneers did not wear earrings, with the occasional exceptions of the Dutch (single pearl, single ear) and fops (single pearl, single ear). However, all too often our impression of pirates is influenced by our ethnocentrism: some Africans, Native Americans, mulattos, and mestizos in the Americas did in fact wear earrings. Pyle probably added earrings as part of the expected pirate cliché, but to my mind, the earrings, considered historically, are more evidence that this buccaneer is a Spanish mestizo renegade, as is the perhaps fanciful bracelet on his wrist. His dark hair and olive skin — also “Spanish” clichés — are to me more evidence of his Hispano-American origin.

He has a red cloak over his shoulders, but would a buccaneer wear one? Probably not in the daytime, given the highs in the upper 80s and lows in the upper 70s year-round in Cartagena de Indias, although in some areas of the Caribbean cloaks, jackets, blankets, “ruggs,” &c were worn or used, typically at night. That said, a 1680s image, if not eyewitness then at least based on eyewitness descriptions does show a Spanish pirate or privateer with a cloak! More on this below.
Further, French priest and eyewitness Jean-Baptiste Labat described the admiral of the Armada de Barlovento in the Caribbean as wearing a cloak, but he was an old man and perhaps needed the cloak to keep his old bones warm at sea. And Spaniards wearing them are depicted in period images of New Spain, see the last image below for example. Perhaps, as with the Spaniard’s ruff which was often added historically as a satirical symbol — Spaniards no longer wore ruffs –, Pyle added the buccaneer’s cloak as a mere symbol of dress to indicate that the man is a Spaniard. This isn’t the first time Pyle put a cloak on a buccaneer: he also did so in his painting, “How the Buccaneers Kept Christmas,” Harper’s Weekly, December 16, 1899.
His “musket” is a bit of an anachronism: it is a Jaeger or Jaeger-type hunting rifle. Developed in the late 17th century in the region later to become known as Germany, there is no indication they were ever used by buccaneers. These Caribbean sea rovers used the long fusil boucanier, especially among the French, and various other muskets at times. However, there are instances of carbines (Sp. carabinas) in use on occasion at sea and ashore, and we will assume this is what Pyle meant to represent. His pistol could represent any number of sea pistols in use at the time, and is close to their common size. Its lock is indeterminate, but it hints of a Spanish Miquelet style.

His rapier, or possibly broadsword, is a shell-hilt, of what could be a Spanish-style doble concha, although the true cup-hilt (taza) was far more common. All or nearly all English, French, and Dutch buccaneers carried cutlasses, although there are documented indications of a few exceptions for smallswords and broadswords. However, the rapier — espada ropera — was still in common use in Spain, Portugal, and Spanish-governed parts of Italy at the time, not only among gentlemen (and most Spaniards considered themselves gentlemen!), but also among soldiers and almost surely among some seamen and artilleros. In fact, the eyewitness, or nearly so, image below of a Spanish privateer or pirate from the 1680s shows him wearing a Spanish rapier. Curved quillons were uncommon on Spanish swords of the era, although they did begin to show up on some at the end of the 17th century. Again, although for Pyle the rapier may have been a necessary trope, historically it would point the buccaneer being a Spaniard, Portuguese, Italian, or Corsican.
His sash is a bit wide, at least from what eyewitness images suggest, but his belt is correctly worn over it. The pouch or box on his right may be a cartouche box worn on a strap in a rather un-buccaneer style. His breeches, buttoned at the sides, are quite typical of those shown worn by Spaniards in the era, although Pyle may have depicted this style to evoke the swashbuckler or pirate as he did in other paintings, “I Had Met My Equal” for example.
And last, his sandals: most buccaneers, according to eyewitness descriptions and images, wore conventional shoes, or boucanier shoes made from skin pulled from the hocks of hogs (see here for details), or went barefoot, at least among the poorest sort. However, as noted not all buccaneers were English, French, or Dutch. Some were Spanish renegades, including Spanish Native Americans and mestizos, and we know that some of both groups wore sandals at the time.
The image below was drawn by a French engineer in the 1680s, almost certainly based on local eyewitness accounts of French pirates or privateers who attacked Nipe on Saint-Domingue (modern Haiti). There is no chance Pyle ever saw this image, yet his picturesque buccaneer evokes it well! The Spaniard is even wearing a cloak! Many Spanish pirates and privateers — most, some eyewitnesses noted — were men of color: Native Americans, mestizos, Africans, and mulattos. Is this what Pyle intended, a Spanish or mestizo renegade buccaneer? I can’t be entirely certain, but the evidence and my gut assure it is.

Bookends, Bookcovers, & More…
The painting has inspired a variety of objects and art, ranging from bookends to bookcovers to game miniatures. The bronze-clad bookend below, “Pirate’s Den” by Peter Manfredi (1930) for the Pompeian Bronze Co., is a three dimensional copy of Pyle’s painting. This example is one of two variants; the other has part of the background removed.

The Pompeian statuette bookend below, “Buccaneer” by Peter Manfredi (1930), was clearly inspired by Pyle’s painting. On the left is “Miss Pirate” by the same sculptor and year for Pompeian Bronze Co., Brooklyn.

In The Black Swan (20th Century-Fox, 1942), only loosely based on Rafael Sabatini’s novel of the same name, Tyrone Power’s costume is clearly based on, and probably an homage to, Pyle’s famous painting. The hat with tassels hanging from it, the cape, the sash, the rapier, are all clearly intended to evoke Pyle’s picturesque buccaneer.

The image was clearly the inspiration for this detail on the 1952 “one sheet” (full size 27″ by 41″) poster for Against All Flags starring Errol Flynn, Maureen O’Hara, and Anthony Quinn.

The image has been used often on the covers of trade paper editions of Captain Blood: His Odyssey by Rafael Sabatini. The one below is published by the Naval Institute Press. Pyle’s painting doesn’t evoke the urbane and sedulous Captain Peter Blood, but it does evoke the buccaneers he led. In fact, part of the novel takes place during the sack of Cartagena de Indias, although Sabatini moves the attack on the beautiful city up in time.
The painting inspired the cover of a mass market edition of Cup of Gold by John Steinbeck, a fictional, and quite literary, account of famed buccaneer Henry Morgan.
CrossGen published a series of six comic books 2003-2004 by Chuck Dixon, Steve Epting, and Frank D’Armata featuring a Spanish female pirate hunting captain, Donessa Cinzia Elena Marie Esperanza Diego-Luis Hidalgo (seriously!). Captured by buccaneers in 1687, she turns them into pirate hunters to seek out and destroy their pirate lord in return for the location of a great treasure. Commanding El Cazador, she is known by her English and French crew as Lady Sin and Captain Sin. She appears on the cover of Issue 5 (March 2004) in an homage to Pyle’s Picturesque Buccaneer. My many thanks to Antón Viejo Alonso for reminding me of this comic book cover!

The Naxos re-release of these film music classics by the Brandenburg Philharmonic Orchestra uses the picturesque buccaneer on the “album” cover, albeit reversed. Good music too!
Firelock Games created a special edition figure as an homage to Howard Pyle for its popular (and quite historically accurate) Blood & Plunder tabletop wargame. (Full disclosure: I’ve done quite a bit of consulting for Firelock Games.)

Even produce growers, or at least one of them, have appropriated the swashbuckling image…

Perhaps the most significant homage to Pyle’s painting came from another great illustrator: Norman Rockwell. But Rockwell’s buccaneer is no longer the youthful adventurer with a touch of arrogance, but a tired grizzled veteran with torn cloak and shirt, a sash of a different color, a hat that has long lost its tassels, and a leg lost to a broadside, yet who keeps sailing the Main with his buccaneer brethren even as he begins to long for home. There are a few anachronisms, as there always are in such paintings: his pistol is of a later era, as is the cutlass that has replaced his rapier, and his boots are entirely fanciful and unhistorical — pirates didn’t wear any such footwear. But I find no real fault with such details. As I said, these are evocative, not historical images.
But I do find fault with the home Rockwell has the buccaneer dream of, for it evokes Olde England as N. C. Wyeth might have painted it — perhaps even the Admiral Benbow Inn! — and not Spanish America. I imagine our Spanish renegade buccaneer, young and old, longing instead for a place along the Spanish Main: Campeche or Veracruz, Havana or Matanzas, Puerto Bello or Maracaibo. Or perhaps he’s even from Spain! But no matter: he has chosen to sail with the hated buccaneers, and might never see his home or family again. But let us remember that these are only paintings, only part of the story: we might fill and finish the buccaneer’s tale as we please.

Copyright Benerson Little 2022. First posted August 17, 2022. Last modified September 12, 2024.
Creating that Ship-at-Sea Sensation While Armchair Adventuring: Some Progressively Tongue-in-Cheek Suggestions

A practical, yet certainly tongue-in-cheek, post about creating a buccaneering sensory environment while reading Captain Blood in your armchair, playing Blood & Plunder or Oak & Iron or a buccaneer board game like The Pirate Republic with your friends, watching The Sea Hawk or any other classic sea roving swashbuckler, playing a piratical video game (Sid Meier’s Pirates!, the Monkey Island series, AC Black Flag, Sea of Thieves, and Skull & Bones come to mind), or finally finishing that 1:48 scale model of a 17th century Spanish pirate hunting frigate (perhaps even the Cinco Llagas!) you started a quarter century ago…
Pine Tar & Cordage!
If there’s any single smell that evokes seaman’s “heart thrice walled with oak and brass”* during the golden age of sail, it’s pine tar. It was one of the principal naval stores, critical in the age of wooden ships. Unlike turpentine which was drained from pine tree trunks by notching them serially and collecting the sap, both in liquid form and as hard rosin (pine resin), then boiling it, pine tar was derived by cutting sap-rich heartwood from old growth pine trees (you won’t find this heartwood in most pines these days, they’re cut down too soon), stacking it in great heaps, burning it, and collecting the tar as it drained from the bottom. Pitch is simply pine tar further distilled to make it thicker. (My grandfather used to make his own when my father was a boy.)
Pine tar was thinned with turpentine to preserve running rigging; in thicker consistency for marline; and even thicker for standing rigging. It was also used, often heavily thinned with turpentine and mixed with linseed oil or tallow, or both, for treating the planking on ships’ sides. Pitch was used to seal the seams between planking after caulking them with oakum, &c.
The smell of pine tar and true pitch is, to those like me who love it, entrancing. Nothing evokes the old wooden ships like they do! But to those who hate the smell, those for whom organic smells cause them to recoil in nasal horror, it is akin to the combined smell of rotting road kill and hot roofing tar.
There are several excellent methods for bringing these scents about:
1. The simplest by far is to buy a tin of real pine tar–you can order it online–and open it, or better yet, pour a little bit into a small container and leave it uncovered. It doesn’t take much to fill a room with the smell. Sniff deeply from the container every quarter hour. Or dip your fingers in it and sniff them every so often–then wipe well unless you want your book or miniatures to smell like pine tar too.
2. Learn sail-making by making a ditty bag. You’ll need tarred marline, its smell will linger for months. Keep the bag nearby. When the marline eventually dries out, refresh it with a mixture of pine tar and turpentine.
3. Buy a ball of tarred marline, keep it in a plastic container so it doesn’t dry out over time, open it up as required for the salty tar smell. You’ll need it anyway for suggestion #2 above.
4. Bathe with pine tar soap. There are several on the market, Grandpa’s is highly recommended by many a tall ship sailor. Or just sniff the soap bar occasionally.
5. Treat your shoes with Huberd’s Shoe Grease, it’s made of pine tar and beeswax. Or just open a tin and sniff it periodically. And it really does work well waterproofing shoes, boots, gloves, and also cartouche boxes (for those of you who need to keep your powder dry).
6. Brew and drink Lapsang souchong tea–it smells, and even tastes (pleasantly, actually) of pine tar. Really, it’s much better than you might think, even if it’s anachronistic. It’s easy to find.
7. Hang a coil of marine grade Manila nearby, or better yet, several, or even better, hemp cordage if you can find it. Wet it for best effect. Or, the next time you’re by the seaside, soak it for a couple of days in the ocean, let dry, then hang and sniff as desired.
8. If you want to add more authentic smokiness, light a wood fire to augment the pine tar smell with that of the fire-hearth in the cook-room (NOT galley, that’s a later term). Place a pot of cornmeal (ideally heritage grits which are just cornmeal ground from heritage corn, a much-different and more authentic flavor, or stone-ground yellow grits, but any coarse stone-ground cornmeal will do, and even polenta, common yellow grits, &c are close enough) and water on the fire to boil, add bacon fat or, better yet, unrefined manteca (pork lard), to season. Serve with boiled boucan (you’ll have to smoke your own boucan first, you can’t buy it at the market) or true tasajo if you can find it, or any form of smoked or dried pork. Or, boil cornmeal dumplings (recipes on the Internet, they’re still made in some of the former English colonies of the Caribbean), known as doughboys by buccaneers, serve with unrefined manteca. When either or both are ready, dine like a buccaneer. (See the foot of the page for information on finding authentic cornmeal.)
Be advised that, like most of these scents (or odors, depending on your sense of smell and olfactory triggers in your memory), your spouse or other significant other, unless a sailor or fisherperson, might not like them at all. You may hear about this, in fact. Nod with empathy, promise to keep the door closed.
Rum!

Pour a glass. Sniff. Drink. Repeat carefully. Don’t drive, neither ashore nor at sea, and don’t play with ANY firearms (a potentially fatal combination!) even unloaded, or sharp swords (you’ll stab your eye out for real, especially with a cutlass, or stick your foot to the floor/deck with a smallsword or rapier, the latter incident I’ve some experience with) while imbibing, nor afterward until the effects have passed!
I recommend dark molasses-ey rums: Pusser’s Gunpowder or just plain Pusser’s, Gosling’s, most any Navy rum, &c, or any amber or dark Jamaican or Bajan rum. I’m also partial to the Colombian Ron Viejo de Caldas with a pipe and tobacco (especially in a snow storm with thunder and electric blue lightning, of which there aren’t any in the Caribbean), and Smith & Cross, an authentic 18th to 19th century shipped-from-Jamaica-to-London style is also excellent. If you like a strong molasses taste, try Cruzan Blackstrap.
Lately I’ve become enamored of Privateer Navy Yard, a colonial New England style rum, and, for making punch, Plantation O.F.T.D and Ministry of Rum’s Hamilton 114, but note that this list changes quarterly. Also check out some of the strong pot-stilled, unfiltered, uncolored, “funky” white (often yellow, really) rums. We’re spoiled these days with the number of “funky” aka “hogo” rums these days, including white or yellow rums similar to 17th and 18th century rums, most of which were white or pale yellow and drunk very young. I highly recommend Hampden Estate Rum Fire Overproof. For a slightly darker funky rum, try Doctor Bird Jamaica Rum, a late favorite of mine thanks to one of my sons-in-law. (“Hogo” derives from “Haut goût” or “high taste” and denotes a strong molasses and other raw taste; in meat it indicates gaminess.)
If you’re a modern Cuban-American pirate, it’s going to be the original Cuban Havana Club (not the Puerto Rican stuff although I’ve nothing against it per se) and real Cuban cigars, or so I’ve been told by a modern Cuban-American corsario who introduced me to the combination. That said, it was the wife of a Hungarian who first introduced me to Cuban cigars. She’d smuggled (i.e. forgotten to declare, or so she said, to US Customs) them out of Hungary back in the days of the Iron Curtain. The authorities confiscated some of the cigars, but my friend had hidden others in another bag.



You might also try a 17th-18th century rum punch. The classic modern recipe is one of sour, two of sweet, three of strong, and four of weak, with a bit of grated nutmeg (or even allspice). Translated to the 17th century, this means one part key lime juice (preferred, although you may substitute orange or even pineapple juice), two parts muscovado sugar, three parts rum, and four parts water. Nutmeg was also commonly used in the 17th century. (See the foot of this page for notes on acquiring muscovado and key limes.)
If you plan on serving punch in a bowl, Charles H. Baker Jr. in his a famous drink book The Gentleman’s Companion: Being an Exotic Drinking Book… (1946) suggests chilling all ingredients first, and placing a large block of ice at the center of the bowl. Long gone are the days of ice trucks delivering blocks of ice to be chipped away in the ice box with an ice pick, but instead you can make a large block of ice by using a food storage container as a mold.
Tobacco!


Foremost, don’t smoke. And if you do, let it be only an occasional pipe or tobacco. And smoke outside — if you own your residence it will have better resale value, and your spouse or significant other might not murder you.
If you choose to smoke a pipe, try a high quality clay replica (a churchwarden is an excellent choice for you gentleman and lady buccaneers, but shorter pipes were more common shipboard), fill it with bosun’s rum twist (often called sweet rum twist), Sweet Virginia (Sutliff makes one), or Navy flake, and puff away. That said, I’ve been reliably informed that the early Oronoko (Verina, Sacerdotes, &c) and related Virginia tobaccos of the era were probably more like modern mild burleys.
Add an authentic replica of a seventeenth century pipe tamper if you like — a dolphin (aka dolphin fish, classical dolphin, mahi-mahi) or something bawdy, both of which were common along with other designs. (See Bucklecastings online for some.)
Or, smoke a cigar. Yes, cigars were popular in the 17th century Caribbean. Pretty much everyone smoked them to some degree, although pipes were more popular among the English, French, and Dutch. Cigars far outnumbered pipes among the Spanish, Portuguese, Africans, and, at least in the Caribbean and environs, Native Americans, and were smoked by women as well (as were pipes, by the way, among other nationalities), especially by Spanish women in the Americas. Check this out: Of Buccaneer Christmas, Dog as Dinner, & Cigar Smoking Women.
WARNING! Keep your pipe or cigar away from various flammable mixtures of pine tar, turpentine, beeswax, and linseed oil! Especially if you’ve been drinking rum!
WARNING! Keep your pipe or cigar away from your blackpowder, if any (see below), too! Blackpowder isn’t quite as sensitive to candle or common match flame as Hollywood depicts it, but a tobacco ember might still set it off. Put another way, it might take a dozen common wooden matches to ignite a blackpowder train — or it might take only one! And the flame from even a small amount of blackpowder can burn you to the bone! (Blackpowder, by the way, doesn’t explode, it deflagrates, if you want to get technical. It doesn’t burn as fast as true explosives.)
You can add a pipe bowl cover to your pipe for authenticity and, as was the case even three centuries ago aboard ship, for safety. It’s useful also when stalking wild cattle or feral swine on tinderbox arid coasts and desert islands. I recall my seafaring adventurer father using one when my brother and I would go hunting with him when we were in our early teens.
While smoking your pipe, take a break, tend your geraniums, and randomly shout, ideally from a window at passersby, “Quo, quo, scelesti, ruitis?” If you don’t get the allusion, shame on you! Go back to your armchair and do some more reading. 🙂
Blackpowder!

I’ve had my doubts about including this suggestion, given the large number of fools with firearms in the US these days. However, given that in my experience there are far fewer fools with blackpowder arms, I’ll go ahead.
WARNING! NOT NOT NOT FOR NOVICES OR AMATEURS! THIS IS NO JOKE! UNLESS YOU REALLY KNOW WHAT YOU’RE DOING, DON’T!!!
TRIPLE-CHECK that the barrel of your flintlock musket or pistol is UNLOADED. Prime (but do NOT load), point in a SAFE direction, bring to full cock, and squeeze the trigger — and thereby, assuming your flint is sharp and tight in the cock, fill the room you’re in with just enough smoke to bring your spouse or significant other down upon your ears after any nearby smoke alarms go off. Or maybe do this outside instead and hope your neighbors don’t call the police on you, which they probably will (and probably should, just in case) for discharging a firearm within city limits. Remember what I said about fools and firearms…
Breathe deeply of this broadsides and boarding actions smell. As an archaeologist at the Middelaldercentret in Nykøbing Falster, Denmark put it to me (we were testing firepots and an iron breech-loading swivel gun for a TV show), “There’s no one who doesn’t like the smell of blackpowder!”
If you like, afterward clash a couple of swords together afterward to suggest a boarding action. Prefer fencing swords rather than real cutlasses or functional replicas in order to avoid nicking sharp blades unnecessarily. If you’re going to nick edges, let it be in a real boarding action of which there really aren’t any of the age of sail sort anymore. Cue Jimmy Buffett…
WARNING! Don’t mix with rum drinking! Or any drinking! Or any other substance that impairs your judgment!


Or, if you prefer a potentially safer means of wafting, light a length of slow match used in the past to fire cannon (or guns, given that we’re emphasizing sea roving) and matchlock mosquetes and arcabuses. Make sure you use half inch (the “size of the little finger”) three strand hemp cordage aka line or rope so that you’re historical — don’t use the small braided slow match available from some reenactment sutlers, it’s historically inaccurate. As for making your slow match, historically-correct recipes are easily found in the Internet. Light your match, let it burn for safety in a metal bowl or preferably in a wooden tub with sand in the bottom as at sea in the 17th century, and sniff and smell away. If you’ve a gun to fire, make a linstock (a turned oak baluster can be easily modified for a very accurate representation, see above), fill the vent with blackpowder, lay a short train of blackpowder to the vent, and crush it with your powder horn — and only then put the match to powder to the train, not the vent. If put to the vent, the ensuing flame from the vent will put out the match and part the strands, forcing it to be cut and re-lighted — thus the historically correct method of putting the match to the train instead of the vent.
Sound Effects!

Put on music or videos of surf, preferably with seagulls in the background.
Or listen to a video (YouTube surely has some) of tall ship sounds–the sea, creaking rigging, seagulls.
Ignore this if you live by the sea or on a boat or ship (lubbers take note: a boat and a ship are not the same thing). If you live near a dump you might hear seagulls. Ignore the smell or pretend it’s the ship’s bilge.
You can always put on a CD of sea shanties, the bawdier the better in most cases, but accept the fact none are 17th or 18th century, but 19th & 20th century and therefore anachronistic. Or, put on a CD of John Playford’s popular 17th century tunes, there are at least two good compilations available. (Or stream them, I know, we’re well into the 21st century…)
If it’s Spanish pirating you want to evoke, try La Bamba: Sones Jarochos from Veracruz sung by José Gutiérrez & Los Hermanos Ochoa (a Smithsonian release). La Bamba was reportedly composed in the aftermath of the sack of Veracruz in 1683, lampooning the bombast of defenders who did nothing to stop the pirates — but claimed they would. Or, if it’s gentlemanly Spanish pirating you want to evoke, try Fantasía para un Gentilhombre by Joaquín Rodrigo, it has elements of Gaspar Sanz’s 17th century guitar compositions; or just sample some of Sanz’s music instead. Navigating Foreign Waters: Spanish Baroque Music & Mexican Folk Music is also an excellent choice.
But if it’s Hollywood pirating you want to evoke, put on Erich Wolfgang Korngold’s score for Captain Blood or The Sea Hawk, Alfred Newman’s for The Black Swan, Franz Waxman’s for Anne of the Indies, Max Steiner’s for The Adventures of Don Juan (I know, Don Juan isn’t a pirate film or even a seafaring one but the score was used in The Goonies aboard the pirate galleon, inexplicably and inexcusably without credit even today to the original composer), John Debney’s for Cutthroat Island, or, one of my favorites, the Chieftains’ score for the best version of Treasure Island ever filmed.
If advancing in age and feeling nostalgic, put Jimmy Buffett’s “A Pirate Looks at Forty” on repeat.
Hang a ship’s bell nearby, ring it loudly occasionally, ideally with the correct number on the half hour, remembering to ring in pairs: ding-ding, ding-ding, ding, &c. Unless you’re a complete fool, avoid doing so if your spouse or significant other has a migraine.
Note that sound effects are unnecessary if you’re just watching a movie…
That Salty Sea Smell!

It’s almost impossible to imitate, so go live by the sea if you can. Upside: the smell and sound of the sea. Downside: everything rusts, including your car. Failing this, keep a bottle of seawater handy, open it occasionally, and sniff. If that doesn’t work, attempt to reproduce that special salty sea smell with water, salt, and a few dead guppies.
Pitching, Sending, Rolling, & Yawing…

There’s really not much you can do to emulate the feel of a ship underfoot except to go to sea or get drunk or carsick. Best substitute: a hammock. Try not to fall asleep in it after drinking two rum punches. If you plan on inviting your significant other aboard the hammock, whether to recreate life aboard a man-o’-war in harbor or on a desert isle à la Robinson Crusoe, make sure it will hold both of you up! In other words, if you hang your hammock on an isle or cay, make sure your weight won’t pull one or both small trees over onto you. Experientia docet…
The Ship’s Head, Chamber Pots, Pissdales, & the Bilge!

Pretend you’re a buccaneer quartermaster or captain and use a bucket or chamber pot to relieve yourself because you’ve got too much status to use the ship’s head or one of the pissdales (if even there are any along the gun’l), or you’re too lazy to piss in the bilge where you shouldn’t anyway (the ammonia stench from this could actually choke seamen out at times). Pretend your spouse is your personal servant (yes, some buccaneers had indentured servants as their personal servants, and even naval officers often went to sea with servants, mustering many as seamen and taking part of their pay, a common practice of dubious legality) and ask her or him to empty said relief. Stand by for a break-up. Or simply for the contents to be emptied on your head. Personally I recommend passing on this simulation, but to each his, her, or their own…
More Effects of Sight and Sound: Parrots!

Get a parrot, name it Pol (it’s where the name Polly comes from, you can thank Daniel Defoe’s Robinson Crusoe), teach it to shout “Pieces-of-Eight! Pieces-of-Eight!” over and over (but this’s from Stevenson’s Treasure Island). Don’t listen to anyone who tells you parrots are just a fictional pirate trope — some pirate tropes actually have a great deal of legitimacy, particularly this one. Don’t believe me? Check this out: Of Pirates & Parrots (& Monkeys, Too).
However, be prepared for to spend big bucks to acquire and maintain a parrot, and also for guilt trips when the parrot won’t shut the hell up and you stuff it in the closet for a couple hours for some relief. Also, the damn bird will probably outlive you, so make sure to include it in your last will and testament. Leave it to someone who’ll take good care of it. Extra points if giving it to this person will also satisfy your need for petty personal revenge. Warning: acquiring a parrot is a serious undertaking! Best substitute? House-sit for a few days, parrot included.
And Still More: Monkeys!

Get a capuchin (monkey, not monk), put it in a diaper, name it “Captain,” and let it roam free and destroy your home. Or maybe not: primates shouldn’t be kept as pets, although some members of Homo sapiens — a primate species — inexplicably, even unconscionably, thrive on it (both keeping monkeys or other primates, including humans figuratively, as pets, and being kept as pets, that is).
Drawback: monkeys, not to mention many politicians and Internet windbags these days, often fling their turds at humans and can be quite obstreperous when it comes time to correct or prevent their bad behavior. (I’ll forgive monkeys but not politicians, pundits, or “influencers” aka product shills.) For what it’s worth, monkeys are another pirate trope with a great deal of maritime legitimacy. See the link above.
And If You’re Really Bold…
Just stuff the book you’re reading or the game you’re playing into your sea bag or sea chest, find a tall ship in the offing, and join her (its) crew!
Notes on Authentic Cornmeal, Muscovado, and Key Limes
I recommend grits instead of baking cornmeal. The only difference is in size–grits are just cornmeal for boiling and eating rather than for baking. Modern white grits are hominy grits in which lye has been used to remove the husk, and are inappropriate historically. Ideally, use heritage grits made from flint heritage varieties, also know as “Indian” corn and flint corn. This is the closest historically. I’m most familiar with Bayou Cora produced in Mobile, Alabama, although there are other brands. Or, use yellow grits, stone-ground if possible, although this is less historical given that it is made from field corn, also known as dent corn. Falls Mill in Tennessee grinds and sells their own, they’re excellent.
Key limes are available in many groceries these days, including Walmart’s produce sections. Often the limes are listed as Mexican, given their usual origin, and they’re also known as West Indian limes. You’ll know them by their size, a third that of conventional limes.
For muscovado sugar, I recommend buying it in bulk from Amazon, it’s by far the best value, ten one-pound boxes, Billington’s Natural Dark Brown Molasses Sugar, or for a lighter taste, Billington’s Light Muscovado. (Colonial sugar plantations produced both dark muscovado and a lighter “clayed” sugar — in fact, sugar production was responsible for the majority of African slavery in the New World.) Much smaller quantities cost almost as much as do ten pounds in bulk. Billington’s also makes a Dark Muscovado but it’s hard to find in bulk in the US and is quite pricey in smaller quantities and in any case I can’t tell much difference between it and their dark brown molasses sugar — the latter tastes, looks, and cooks like muscovado, except that it has more molasses than the average muscovado, and has less of a floral flavor; most “experts” regard the dark molasses sugar as a form of muscovado. India Tree also makes a muscovado sugar, but prices vary widely; some groceries sell it for around six or seven dollars a pound.
Use dark or light muscovado sugar also for baking cookies, frying plantains with butter, making bananas Foster, making hot buttered rum (use dark rum!), on oatmeal, &c, and for any other brown sugar need. This is the real stuff! You can also use panela, piloncillo, and similar “brick” or “cone” cane sugars to substitute for muscovado, they’re quite similar to 17th century sugars — in fact, they’re produced in much the same way and are generally considered as forms of muscovado. Dark muscovado is marketed in some areas of the world as Barbados sugar, although most today comes from Mauritius and the Philippines.
* Robert Herrick in “A Country-Life: To His Brother Mr. Tho. Herrick” (Hesperides, 1648) quoting Horace, Odes I.3 in translation.
Copyright Benerson Little 2022-2026. First posted July 6, 2022. Last updated April 30, 2026.
Captain Blood, Not Jack Sparrow: The Real Origin of Disney’s Wicked Wench Pirate Ship

It’s an epic image, one that anyone who’s ever cruised through the Pirates of the Caribbean attraction at one of the Disney theme parks is familiar with: a pirate ship cannonading — “firing its guns at” or “engaging” in sea parlance — a Spanish fort.
But the image-in-motion long predates the Disney attraction. In fact, as I’ll demonstrate shortly, the entire scene was lifted directly from Rafael Sabatini’s famous novel, Captain Blood: His Odyssey and especially from the 1935 film version starring Errol Flynn, Olivia de Havilland, and Basil Rathbone. And the Wicked Wench pirate ship of the attraction was more than simply inspired by the Cinco Llagas / Arabella, as the ship in the novel and film was named: it was copied from it!
Originally the attraction depicted buccaneers in the second half of the 17th century attacking and sacking a Spanish town on the Main. “IN THE CROSS FIRE of cannonades between pirate ship and Caribbean port,” begins the caption of the 1968 Disney publicity still of the Wicked Wench shown above. It continues with “this crew of Disneyland adventurers sail through Pirates of the Caribbean as grape shot and cannonballs land around them. The pirate captain on his bridge gives the signal for an eight gun salute. The scene of one of ten action-packed segments in the thoroughly realistic re-creation of buccaneer days.” For now I’ll pass on correcting Disney’s descriptive language, as some readers might misconstrue such revisions as nautical pedantry.

However, in spite of the obvious historical basis for the ride’s inspiration, according to Disney’s modern Pirates of the Caribbean film franchise “canon” the Wicked Wench was instead the ship that would become the Black Pearl commanded by Jack Sparrow et al, more or less, post-buccaneer era. Not a buccaneer ship, in other words, but a later ship turned to pirate ship as would fly the Jolly Roger. This, of course, is nothing more than mere revisionism for the sake of marketing the ride on the coattails of the film series, and any “canon” (as in nearly all franchises) is nothing more than the result of a series of screenwriters trying to write popular scripts, and fans subsequently trying to make rabid sense of their details and many loose ends.
Myself, I much prefer the original orientation of the attraction, liberties taken with real buccaneer history notwithstanding. That said, comic ride though it may be (and one that I thoroughly enjoy), it does get some things right, including torture, pillage, and burning, not to mention the original implication of some scenes now altered from their original. We have, in fact, two versions of piracy in our culture: factual history and popular myth, the latter often overwhelming the former.
And now for the evidence that the Wicked Wench is really the Cinco Llagas / Arabella!
(For information on other fictional “pirate galleons” and on real ones too, see Howard Pyle’s Famous “An Attack on a Spanish Galleon” — and Some Real Galleons Too!)
The Scene of Ship Attacking Fort Was Inspired by & Lifted Largely From the 1935 Film
One need only to watch the 1935 Captain Blood to confirm this. The only difference between the two is that the roles are reversed: rather than a Spanish pirate attacking the principal town of an English colony in the late 17th century as in the Rafael Sabatini novel and the film based on it, buccaneers in the attraction attack a Spanish town, as they often successfully did — and far, far more often than Spanish pirates did against English, French, and Dutch colonies.
In fact, in Pirates of the Caribbean: The Black Pearl there is an homage to the pirate attack in the 1935 film version of Captain Blood: some of the shots of locals running for cover are quite similar to those in Captain Blood.
For more details on the ship-versus-Spanish fort trope, see “The Iconic “Spanish” Fort: Only a Spanish Galleon Says “Pirates” Better!“



The battle depicted in the Disney ride, and by derivation the one in Captain Blood, was given an homage in The Curse of Monkey Island (LucasArts, 1997).
The Wicked Wench is Red Like the Cinco Llagas / Arabella of the Novel
According to Rafael Sabatini, who clearly emphasized the sanguinary nature of buccaneering via the hero’s name and other thematic elements, the color of Peter Blood’s pirate ship was red. However, red was not an exceptionally common color of ships at the time. Red paint was typically used for the bulwarks (the inner “walls”), gun carriages, and often some fittings of men-of-war, and some other ships as well, at the time, and the upper works (the upper outside of the hull) and sterns of some ships were occasionally painted red — but never the entire hull. However, the application of pine tar, tallow, and linseed oil could lend a reddish hue to hull planking (particularly to those ships built of various “mahoganies” in the Americas), but this would not cause a ship to be referred to as red. (See Howard Pyle’s Famous “An Attack on a Spanish Galleon” — and Some Real Galleons Too! for a comparison of popular illustrations of Spanish galleons versus the reality. Far more details on the possible appearance of the Cinco Llagas / Arabella are forthcoming in Treasure Light Press’s annotated Captain Blood.)
And the Wicked Wench? A red ship, of course!
(And likewise the Jolly Roger aka Chicken of the Sea, which, although designed in theory based on the ship in Disney’s Peter Pan film, it’s clearly a departure and may also be based somewhat on the Arabella. The red-black-red color scheme of the Wicked Wench may be based in part on that of the Jolly Roger, which in turn may be based on the Arabella also — see the first post script).
Both the Cinco Llagas / Arabella and the Wicked Wench are Spanish Ships
The Cinco Llagas is a Spanish frigate captured by Peter Blood and his rebels-convict during a reprisal attack on Barbados, and the Wicked Wench, per the cross painted on her mainsail, is also Spanish. Note that such sail decoration was gone from Spanish ships by the first quarter of the seventeenth century and is therefore anachronistic, although Hollywood et al continue to use it to indicate Spanish ships. Occasionally painted sails were seen into the 18th century on some smaller Spanish fishing vessels. Such decoration was also, just for the record, used on all of the sails the ship bearing Maria Theresa, Infanta of Spain, to France in 1660 to marry King Louis XIV of France — the exception to prove the rule.


The Profiles of the Wicked Wench and the Cinco Llagas / Arabella are Too Similar to be Coincidental
Indeed! The similarity is obvious when comparing the images below. Even the scrollwork on the stern upper works is almost identical (see the image above and also at the end of this section). Disney did make some alterations to suit the attraction, including reducing the ship from two decks to one, and, of course, making it small enough to fit in the attraction.



And Then There’s the Names of the Ships…
After its capture by a handful of renegade rebels-convict led by Dr. Peter Blood, the Cinco Llagas was renamed the Arabella after the woman Blood loved but thought he could never have. Arabella Bishop, although independent, strong-willed, and anything but swooning (or languishingly voluptuous!), was still a lady in manners and mores, unlikely to (sadly!) run away to sea in men’s clothes with Peter Blood. One can easily see a tongue-in-cheek homage to Arabella and the Arabella in the renaming of the Spanish frigate as the Wicked Wench, and even in the “Woman in Red” in the old Bride Auction scene on the attraction. This would be in keeping with the piratical sense of humor of the attraction’s designers: gentleman buccaneer Peter Blood and his Arabella versus the ruffian buccaneer captain and his Wicked Wench.
Likewise the captain of the Wicked Wench as an inverted homage: no clean-shaven gentleman buccaneer he, unlike Captain Peter Blood, but bearded and beribboned like Blackbeard the Pirate and bellowing in G-rated curses like Robert Newton or Peter Ustinov in their piratical film roles. That is, before Hector Barbossa took his place to align with the film franchise. (N.B. Blackbeard was not a buccaneer but a later black flag pirate, and although most buccaneers appeared to have been clean-shaven, some French boucaniers, and therefore buccaneers, did wear beards.)
For more details on “The Woman in Red,” now “Redd the Pirate,” (and in any case, an anthropomorphism of the ship by both), see “The Women in Red: The Evolution of a Pirate Trope.” For more details on the black flag — the so-called Rackham flag with skull and crossed cutlasses — flown by the Wicked Wench, see “The Fanciful, Mythical “Calico Jack Rackham” Pirate Flag.” Note that on the Disney LP featuring a narrated soundtrack of the ride, the Wicked Wench is referred to as the Black Mariah, the name of the ship in “Donald Finds Pirate Gold!” Perhaps Wicked Wench was suitable on the stern but not in narration at the time on an LP likely to be listened to mostly by children?

The Lanterns
An oddity I’ve for long assumed was simply a designer’s idea to help add more light to the ship is the placement of port and starboard lanterns on the gunwales at the quarterdeck near the break of the poop deck. However, I wonder if the placement — which surely still serves the purpose of lighting — was not inspired by the poster below, in which a fanciful Arabella has two prominent lanterns low on the stern:


So, Was the Wicked Wench Really the Arabella?
Only Disney knows — and only Disney can answer how the Arabella, sunk among the cays just off Port Royal, Jamaica in 1689 while defending the town from French attack, came to be raised, refitted, and ended up again in buccaneer, then pirate, hands… 🙂
That said, it is a sweet homage, even if unintended, that the Arabella as the Black Pearl, formerly the Wicked Wench, attacks Port Royal, as the Arabella did as the Cinco Llagas flying Spanish colors in the 1935 film starring Errol Flynn and Olivia de Havilland. 🙂
And the Black Pearl?
If you’re looking for the real original inspiration for the Black Pearl, discard any notion of it having been the Wicked Wench — this is probably just “canon after the fact.” Convenient revisionism for the sake of marketing, in other words. Sparrow’s famous ship is more likely inspired ultimately by Tom Leach’s 40-gun Black Swan, from Sabatini’s novel of the same title. At the very least the Black Pearl corresponds closely to Sabatini’s description of the Black Pearl, including its black hull. Even the un-authorized plastic model of Sparrow’s Black Pearl is sold under the name of the Black Swan. Are there similarities between the Wicked Wench and the Black Pearl? Of course there are. Clearly the set designers took a look at the Wicked Wench, but it is much closer to the Arabella. (By the way, the duel in The Black Swan is described here.) It’s also possible that the Black Pearl was inspired by the black pearl Rathbone- and Hook-inspired Bilbo wore in his rapier in The Pyrates by George MacDonald Fraser, for there are quite a few details in the Disney franchise clearly inspired by the comic novel. Or maybe it was inspired by both!
And for you budding “nautical pedants” out there, here’s the correction to the Disney text quoted above: “this crew of Disneyland adventurers [an acceptable term: French buccaneers aka flibustiers were often referred to as adventurers] sail through Pirates of the Caribbean as grape shot [this form of small shot was in its early development in the late 17th century and generally not known by this name at this time except in French as grappes de raisin: canister, langrage, partridge, burrel, or hail shot are more appropriate but most visitors would not know these terms] and cannonballs [more correctly, round shot] land [splash or drown] around them. The pirate captain on his bridge [quarterdeck, not bridge] gives the signal for an eight gun salute [a correct humorous euphemism for a broadside]. The scene of one of ten action-packed segments in the thoroughly [and humorous] realistic re-creation of buccaneer days [a statement more correct than it might appear at first]…”
Post Script: Disney’s Queen Anne’s Revenge Looks a Lot Like Hook’s Jolly Roger…and a Bit Like the Arabella and Wicked Wench Too!
And so it does, although the red and black color scheme of the QAR has been reversed. Hook was Blackbeard’s quartermaster (second-in-command) for a while, after all.




Post Post Script: The Wicked Wench is Not the Only Disney Pirate Ship Inspired By an Errol Flynn Film…

Disney’s Jolly Roger, from the animated version of Peter Pan (1953), bears a striking resemblance to the Albatross from The Sea Hawk (1940, directed by Michael Curtiz and starring Errol Flynn). 🙂
Copyright Benerson Little 2022-2026. First posted June 22, 2022. Last updated August 17, 2026.























































































































