Spotting a likely rosebud, he drew his left hand up the outside of his thigh, black wool purring under his fingertips, and over the line of tiny silver buckles that fastened his rapier’s black leather scabbard to the end of a broad black leather strap—a baldric, it was called—slung diagonally over his body. Continuing up and back, his hand passed under the skirt of his black wool coat, peeling the hem up to expose its black satin lining. He bent his elbow and supinated his wrist. The back of his hand glided up his buttock and over the black leather belt that kept his breeches from falling down, and stopped above his left kidney. He closed his hand on something hard: the handle of his dagger, which lived in an angled scabbard fastened to his belt at the base of his spine. An outward movement of his elbow drew it from its sheath. He got it out in front of him smartly before his coat-skirts could settle back upon the blade and be damaged by it. This precaution would not have been necessary with many daggers of recent make, which were designed for poking, parrying, and nail-paring, and had little to nothing in the way of a cutting edge. Johann owned several such. But all of them were gloriously decorative, and so did not go well with the funeral-weeds he wore today. The same was true of his collection of swords, which was neither especially large nor small compared to those of other gentlemen. But in the back of his wardrobe he did have this old set, which he’d inherited from a great-uncle. It had been made in Italy at least a hundred years ago when styles of sword-fighting, and hence of weapon-making, had been rather different. The rapier was huge. Its blade was a good eight inches longer than his arm, and somewhat broader than was common today, bringing its weight near the practical limit of a one-handed weapon. The edge had been notched in practice or combat, and re-ground, so many times that the blade no longer looked straight, but instead, as one sighted down it, rambled from side to side.