Very nice sword Fernando.

I believe these swords were the Spanish (Portugal) current infantry soldier swords between 1660-1710. Kept longer in the Americas. In a similar function to infantry Waloon types in northern countries. The introduction of the Borbon dinasty probably eliminated them. The first picture is of a soldier of the Guardia Chamberga (1669-1676).

It is possible to identify an evolution for the hilts differentiated from the blades. Similar hilts have different blades, sometimes in flamigerous shape. And similar blades appear with different hilts.

They often have brass pieces of horn or exotic wood grips, something not common in the European counterparts of that period. I think it is not possible to distinguish between naval and colonial weapons (the so-called Caribbean rapiers), because the troops could be moved around, and the navy was often the source of weapons for the colonies.

Some of them have survived with a coat of thick black paint, possibly made with coal and hooves, for rust resistance. Some are even tinned with that aim. This was convenient both for the navy and Caribbean coasts.

Lamina 79 from the Naval Album of Marquis de la Victoria, represents the armament carried by the crew of a Spanish man of war of around c1725s-1735s. There are no cup hilts there, but possibly it is a late period for that.

https://docplayer.es/42280723-Analis...nal-naval.html

PS. I have just found out that the guard print is a 1828 copy of the uniforms in a previous one of 1670. I am searching for the original.

PS2. The original is page 30 of
https://archive.org/stream/teatrodel...e/n29/mode/1up

But I do not see cuphilts there.

Thank you for this well placed and nicely supported overview as we examine the character and forms of potentially 'colonial' sword forms. As has been pointed out, while those 'mounted' in colonial context MAY have somewhat more austere components, if indeed fashioned by blacksmiths or metal workers in these 'New World' regions.

It must be remembered that there were not any great number of armorers or skilled sword slippers (as termed in 17th-18thc) in colonial settings. While occasionally they did exist in the larger cities and metropolitan areas, most locations were relatively remote and such work was typically in effect, the work of field armorers and blacksmiths.

Also, in the 'colonies', many presume that the military presence in many locations suggested predominance of current types of arms and armor.
Actually, from the earliest exploration times, most individuals were not necesarily 'military', in fact private and with commercial or personal interests such as syndicated investors, and adventurers. These individuals were of course privately outfitted and armed themselves often with heirloom,surplus and otherwise collected items.

This is why many weapons and forms long obsolete in Continental and Peninsular context remained in use for not only generations, but centuries, in the New World. As these arms became damaged or otherwise unserviceable, their components were of course recycled and put to use as possible in newly fabricated weaponry.

There were no facilities for the fancy wire wrap, Turks heads, and other other finer touches of the beautifully produced weaponry of the European world.
Materials that were available were of course, soft yellow metals (which also did not rust) and various animal hides ( the galuchat described earlier simulated rayskin using horse hide etc and seeds).

The blades, unless broken, were the most durable and available components for these colonial makers, in fact the well known 'Spanish motto' dragoon blades were exported from Solingen to them in large volume.
I have personal knowledge of this from one well known collector who had acquired a large bundle of them (featured in "Spanish Military Arms in Colonial America 1700-1821"). Also I knew individuals who had found a bundle of Solingen produced rapier blades on a Spanish shipwreck off a Central American coast.

Also as noted previously, japanning (black paint) and russeting (using a browning method) were commonly practiced on these arms to withstand the damp tropical climates in the new world. This made these weapons MOST serviceable aboard vessels as well.
This fact was a notable factor in the support of the Scottish basket hilt finding its place as a maritime sword in degree, as thier hilts were typically treated in this fashion due to the damp Scottish climate.


Naturally, the long use of many sword types entirely, or thier components brought together many otherwise notably incongruent pairings. For example broadsword blades on saber hilts, broad arming sword blades on cup hilts etc.
In these often unusually contrived weapons, it is surprising to see such things as crossguard quillons mounted UNDER a cup guard ( entirely vestigial and redundant).
I have (somewhere) a colonial cut down Spanish motto blade, mounted with a brass briquet hilt, and a three bar saber guard. This is no logical reason for this 'frankenstein' :), however in very rural regions in Mexico, the use of components in this manner to create a sword for unknown purpose well illustrates the conventions of many more extreme 'colonial' circumstrances (though an obvious exaggeration).

"In these often unusually contrived weapons, it is surprising to see such things as crossguard quillons mounted UNDER a cup guard ( entirely vestigial and redundant)."

Not to take away from 'Nando's thread, but the tie-in with colonial weapons and the information being presented here is great! Jim, you mention this contrived assemblage on swords and I have personally seen several 'Frankenstein-type' Spanish swords with this exact pattern listed in a catalog as "pirate"! interesting that others have come across these. Also, thank you for that term I have been long searching for. "Russeting" is the process whereby swords are primered with a brown paint or substance to retard rusting. You might recall that old 1660's hanger I had with VOC connections that had a 'browned' blade for sea service.

Anyway, back to this amazing cup hilt!

Thank you Mark!
Actually we are not digressing from the outstanding cuphilt Fernando has posted in the OP, but discussing various avenues toward classification and identifying it. Often a great deal of related material and comparisons, regardless of even tenuous observations, clues can be found in most unusual places!

Interesting about the contrived examples I mentioned with the odd crossguard UNDER the cup being cataloged as 'pirate' :)
I have one of these which was found with this seemingly cliche' classification as well (need to find pics of it).

For the identity of the German blade maker, possibly numbers 49 and 88 of this catalogue are relevant.

https://www.yumpu.com/es/document/re...a-de-andalucia

He could be Enrique Coel - Köhl.

As for quillions under the cup, they are a distinctive characteristic of Mexican revolutionary swords with archaistic and rustic aspect.

How is your Portuguese ?
 

I wouldn't take as so solid the determination of a blade smith by judging on this type of symbols.
The crucified Christ, with or without the cross, the MIN SENAL motto, the mention EN ALEMANIA, whether by Coel - Köhl - Col not, are allusive motives that were used by several smiths, famous and not, originators of the said symbols us just replicators.
Take a look at theses few swords shown in a exhibition of Portuguese/Spanish ornamental art held in 1882 in the Academy of Beaux Arts.
In some cases is the symbol/motto that figures, in others figures the smith names ... or his marks.


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Whatever it is worth ...
 

I realize threaded tangs are one thing and actual screws are another. But based on their affinity i recalled these images of (very) early screws, once posted here by deceased Michael (Matchlock). The tapered examples are naturally what triggered my thoughts.


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I would take Enrique Coel as a sort of Runkel, 80-100 years in advance, and along 80 years. However it is possible to group the graphics and caligraphies. For example, the blades in the 1728 model come in two flavours, although that only shows that they shared the model the engraver used.

re "galuchat"
 

Jim, regarding your note above in post 35:

The technique of making imitation shagreen (from Persian shagri or wild donkey hide) as you detail it, originated in Iran long before the 18th century. The skill was probably learned by Europeans who were posted there at about that time, as were other artistic techniques (and vice versa.)

Regarding the cuphilt shown, the skin is absolutely from a ray, it is not galuchat. Incidentally, shagri reputedly only came from the back of a wild donkey, thus it was quite rare. In addition to its attractive texture, it was originally prized for its toughness.

Hi Oliver,
Thank you so much for the clarification, I could not tell the difference of course but suggested the galuchat possibility more in consideration of the possible colonial context. When I first learned of the faux ray skin some time ago, it was it seems described in Caribbean settings, in turn of course from European.
It is not only interesting but expected that this technique would have come from the east , and popularized in Europe.
Good to hear from you!!! and thank you again for the response :)

Both Hungary and Lithuania are Catholic countries and I do not know enough to express my opinion.
But Russia is Orthodox, and Russian cross has 3 crossbeams: the upper two are just like the one on Fernando’s sword, but the third one is positioned much lower and is slanted.

It is clear that there are a few versions of 'multi' beam crosses. I realize that this or that version may be attributed to the wrong creed. I am no cross wizard either, but am glad i found that the cross on my sword is a determined one and the reason for its presence has a solid historic basis. I confess that, after browsing the Net on this cross issue, i craked my riddle as per post #30 (thanks to a Victrix lead) and since then have been done with whatever crosses.
Here are details of the threaed tang and rather faded cross on the other sword i know of same context.


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I thought i would post a couple pictures (finally) received from the Military Museum, courtesy of its Director Colonel Albuquerque, in which we can see in their example, besides a nicely decorated hilt (cup bowl rim, quillons and knuckle guard), the recurrent threaded tang particularity. But above all, the common features in all three swords shown are the same patriotic inscription, the patriarchal cross and the King's coat of arms. We may gather that, whether these three ( and most possibly more) swords had different provenances, have all been joined and gone under an emblematic intervention, to serve national interests, possibly some King's guard or the like.


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Excellent images and another interesting example Fernando. I think you are on the right track presuming these swords with the 'Patriarchal' cross and the regal motto 'Viva Portugal' seeming to represent a collective grouping of swords with similar motif being from some group or unit of guard forces perhaps.

The cross has brought up some great discussion, and while the Caravaca Cross as previously noted has apocryphal legend attached to it from the 13th c.,
it does seem this commemoration was used in degree talismanically and associated to Knights Templars in the 15th c. With that it seems plausible such application may have steeped into Iberian military orders, and placement on these kinds of blades might have had such imbuement associated.

It would seem as well that your cuphilt (of OP) with a heavy arming blade could have been from perhaps a city guard unit ? and the heavy blade a matter of personal choice. With such a blade, the rapier character seems to be more traditional and almost vestigial. For example the 'rompepuntas' (rolled lip surround on cup) intended ostensibly to catch the fine tip of typical rapier would not serve in that way with heavy striking swords. Still, it may be a construction oriented feature, not sure.
The ricasso of course might still serve to cover finger grip around quillon as known in Italian and Spanish fencing and on other rapiers. With heavy blade it served to steady blade in impact.

The idea that this Patriarchal cross would relate to Orthodox type cross is not the case, as you have previously noted the Russian Orthodox type has the added diagonal bar (suppenaneum) near bottom.
It seems there was a Patriarchal cross WITH crucifix is seen on some examples (the examples of crucifix , Apostolic cross were Pedro Hernandez and H. Cleles associated according to my notes, but possibly others).

Thank you for your input, Jim.
Whether this and other crosses have their origin in earlier times, with their religious character and certainly loaded with legendary contents, eventually some contradictory, i have for myself that, once this episcopal cross appears in these swords, this will be an emblem associated to the contemporary period, the war of restoration of Portuguese Independence, as i tried to put in post #30. It was not (at all) the only time the church or its representatives played a role in political issues. Also to note that the crosses engraved in all three swords located, have no Christ crucified in them, thus excluding interpretations related with marks adopted to identify popular smiths ... as suggested ?
Concerning the significant width of the blade first posted, i could not call it a matter of personal choice, as the other example kept where mine came from, has precisely the same width. And of course this type of swords falls competely out of the rapier concept, being no doubt weapons for field combat. Also it seems to me that sword breakers (rompe puntas) do not appear in swords with these features.


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Well put Fernando. It seems there are always efforts to put finite distinctions on these kinds of symbols, motif etc. but actually they become more a product of popularization and association in a commemorative or iconic sense by writers etc. of the time.
It is often hard to place dates or time frames using these kinds of markings accurately without considerable other corroboration.

That is surely the case regarding these large blades, where you note there are a number of other cup hilt examples mounted with them as well. As you note, this does suggest a particular convention toward these 'arming' blades, indicating of course use in a more combative sense militarily rather than the more civilian rapiers, where the rompepuntas served a viable function.

While all we can do is collectively discuss and speculate on these matters, it is most interesting to see all the possibilities brought together so we can all evaluate and form our own perspectives on the possibilities.

Beautiful sword never seen over here, Congratulations

Thank you Terry :) .

Digressing on the rompe puntas
 

Jim, i confess this is one of these things i consider a riddle, until i read a convincing statement produced by a fencing expert or some old written material supporting this story of the rompe puntas (points breaker). While i admit that i as too quick to state that these implements do not match with certain sword features, i think of them as been more of an ornamental addition than a practical fencing device. An exponential version would be seen in the attached sword, as late (for the case) as of the XVIII century. But even considering swords as early as when these rompe puntas started to be seen (XVI century ?) within my ignorant no knowledge, i take it as a pure fantasy that, during a fight, one would be able to manage the blocking of the adversary's sword tip with such a shallow cannelure ... and ingeniously break it. Nothwidstanding that a tipless sword still functions with almost the same capacity.

(Picture cortesy Eduardo Nobre).


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I must confess Fernando, that my note on the rompe puntas was a bit tongue in cheek, viable in the sense of what writers 'considered' an explanation. This rolled lip seems to me more a construction matter and a means of a more 'finished' look. The absence of this on typically somewhat thicker metal in hilts from more workmanlike shops is more a matter of convenience.

The 'sword breaker' syndrome is something more or less contrived by innovative fencing and arms writers in earlier times, and according to Egerton Castle, in his "Schools and Masters of Fence", those toothed left hand daggers (main gauche) were never actually used, particularly for the purpose suggested. As you well note, all these contrivances and features alleged to 'catch' opponents blade are fanciful, and it would take the full cooperation of the opponent to achieve the necessary contact and position to carry out. In the same sense, this thin lip would only catch a sword tip almost miraculously, and surely would not break it as it deflected away.

I think one of the most intriguing topics in the study of edged weapons is the incredible amount of 'lore' with sword elements and features. It would be a worthy topic to have a thread on the lore and esoterica of sword features, so I would not carry it further here. I have appreciated the many aspects and Portuguese terms of many of these you have shared here over the years in studying these rapiers.


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