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Boabdil swords and Jineta
Hi Guys,
I was looking in our forum for infos about jineta and Boabdil swords and i found only one descent thread http://www.vikingsword.com/vb/showth...ghlight=jineta Some posts are very interesting. The problem is that the original post was about the drooping quillons and not specificaly on the Jineta. Do you have more informations about these swords? Their number in the world? (Ibrahim posted something about it), their copies / reproductions? I saw many of them of different qualities... Thank you for you help - and knowledge! Kubur |
That thread from 2008 was a remarkable exercise, and had a great deal of information about the Hispano-Moresque swords (Boabdil was only one user of them rather than a descriptive term). The term 'jineta' refers to light horseman and may derive from the Berber 'zanete' with similar meaning for the light cavalry used in Spain responding to Umayyad invaders in the 8th century.
It does not seem that the stylistic form regarded as 'jineta' (but also Nasrid) became known until 13th century during the 'Reconquista' ending the Muslim rule in Andalusia in 1491.....that was where Boabdil the Nasrid ruler was defeated. While this synopsis is perhaps not as accurate as more thorough research might reveal, it gives an idea of the time frame. Swords of the Nasrid/Hispano-Moresque styles are pretty rare, and I know only of examples in museums in Spain. They are best described in Calvert (1907), "Spanish Arms & Armour", although Nicolle's works have great coverage as noted in the discussions in the linked thread. Bibliographies there as well as even in the Osprey monographs are very thorough. In the original thread there was some great discussion which I enjoyed very much and Marc (who left shortly later) and Gonzalo added outstanding and detailed research. It was the brilliant input by Ibrahiim several years later that brought in a good deal of outstanding and pertinent data and insight showing comparisons and plausible connections and differences between these and more recent Arab swords. That input actually brought back Gonzalo from hiatus and rekindled more valuable discussion. Hopefully this gives a bit of overview that might be helpful. I think the discussions in the link attached here are more on the overall style of the Nasrid swords in which the 'drooping quillons' were a distictive feature. |
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Yes, the best surviving ones are in Spain, a complete one (down to the scabbard belt) in astoundingly good condition is in the Museo del Ejército de Madrid (you can see images in Ada Brunn Hoffmeyer's "From Medieval Sword to Renaissance Rapier" in Robt Held (ed) ART, ARMS, AND ARMOUR (1979), p 58. Years ago someone gave me a 35mm print image of a really nice one in the Musée de l'Armée in Paris. but I can't seem to locate it at the moment. |
Hi Philip,
Yup, you're right it was actually on Jan 2nd but Ferd and Izzie summoned Muhammed XII (Boabdil) to surrender in 1491 a short time before that so technically 1492. In any case, it was the end of Nasrid rule in Andalusian Spain of the time. The profound influences of the Nasrid dynasty not only deeply influenced Spain in continuum despite the end of Muslim rule, but filtered into Europe and many cultures in addition to the remaining influence in the Maghreb. It is remarkable that these swords, which I think of as Hispano-Moresque, do not remain in larger number and even those which remain have been challenged as far as authenticity and provenance. I did not know of the one in Musee d'le Armee in Paris, and excellent reference added in the Ada Bruhn Hoffmeyer article in Held (1979). I imagine there must be other articles in "Gladius", the arms journal in Spain, but have not checked their index. |
Fred and Izzie.....
Sounds like a couple in SF bathhouse:-) |
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This is an intriguing sword, the blade defies conventional perceptions and I don't know what to make of a hilt that is said to be 19th cent. on it (a revival of a long-obsolete form). I regret not posting a scan of the image(s) simply because the large-format pages, on which the sword appears on two facing pages and again on a three-sheet foldout, are too large for my scanner. At any rate, the catalog commentary has something interesting to say about the Hispano-Moresque so-called jinetasthat are the real subject of this thread. According to Mr Mohamed, there are only six known examples, and their blades are nondescript, uninscribed, and do not resemble any comparable double-edged blades from other Islamic culture-spheres. This group was reportedly exhibited at the Alhambra in 1992 to mark the cinquecentennial of the conquest. You might want to look for the exhibition catalog, Al-Andalus: the Art of Islamic Spain (Metro. Mus. of Art, 1997) which has images of these swords. I don't have a copy but it's on the "get" list as of now! That being said, it might be appropriate to examine some of Mr Mohamed's assertions regarding this small genre. As to their dissimilarity to other Islamic double-edged blades, if we could compare images of all six surviving examples with the counterparts to this type in the Topkapi Sarayi Museum collection, featured in Ünsal Yücel's Islamic Swords and Swordsmiths, we might have a better idea of the degree of dissimilarity and whether it is significant. Based on the images available to me at present, the Topkapi's published blades are of flattened lenticular cross section except for one with full length wide shallow fullers. The jinete sword published in Held (referenced in prior post) has a half-length deep and narrow fuller, looking for all the world like Oakeshott's Subtype XIIIb. It would be great to see what the other survivors look like. All of the above referenced blades have similar ogival tip profiles, regardless of fullering or or other details. As to inscriptions or the lack thereof, the example published in Held does show a circular cartouche, bridging the fuller, that contains some squiggles including something looking like an S, which in the book illustration is of insufficient resolution to decipher. Whether that qualifies as an "inscription" awaits better imagery. Let's hope that the Al-Andalus catalog provides us more to go on. |
Thank you Jim, it's a very clear and net abstract.
I will copy and paste the most relevant informations and pictures on Jineta / Boabdil swords of the previous thread here for all the forum members and visitors. |
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Now some relevant pictures
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More including the one with a "falchion type blade" (in a Museum in Paris)
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Dear Forum Members,
Is it possible to post here only information's and pictures relevant to the topic Jineta & so-called Boabdil swords?? I noticed in many threads a difficulty for the forum members to focus on a specific topic, that demonstrates of course their immense knowledge but also a difficulty to develop theirs ideas along a main stream... Thanks Kubur |
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We know you don't mean to be so authoritative as you may sound. Probably members find that weaving considerations on topic peripherals is part of the game. You should see what going off topic really is :shrug: . |
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Written material pretends that he was actually around by the time the Nasrid King was expelled from Granada. Interesting also how Francisco Pradilla depicted in 1882 the handing over the city keys to the Catholic Kings. Look at Boabdil's and one of his knights swords. An artist's gesture of imagination this painting must be as, judging by what is registered, the Nasrid King delidered the keys to Fernando's officials at the Comares Tower of the Alhambra, on the 2nd. January 1492 by dawn. . |
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Its the whole idea of the forum, I agree. But it's also possible to open a new thread just for discussion on peripheral topics... |
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I was thinking the National library https://gallica.bnf.fr/ark:/12148/bt...f/f1.item.zoom Another one in Paris with a different kind of blade http://www.musee-armee.fr/collection...-boadbdil.html |
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Question the first Jineta has a German blade from late 16th early 17th c.
Is it common to have Jineta with late blades? Do you know if the Spanish examples are the same? It's probably logic when you look at the quality of the hilts and scabbards. It might explain why these swords survived until our days... |
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Kubur thank you for saying so, and thank you for posting the great images and recapping some of the outstanding discourse from 2008 and 2017 on this complex topic. It is good to have this comprehensive material compiled together here for readers and future researchers. Philip, thanks for the mention of the Furisayya volume which is brilliantly compiled material and photos as well. The complexities of this sword form often move into a notable spectrum given the periods and geo-cultural considerations but seem distinct and influential in their character. The decorative motif and elaborate designs in addition to their 'exotic' structures and elements are breathtaking to say the least. |
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The sword belongs to the National library. http://medaillesetantiques.bnf.fr/ws...2148/c33gbdnf6 This sword is called epee /espada de Luynes (name of the previous owner) |
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I believe the jineta subject is quite more complex than initially thought so the best is to pile up all the relating info.
This is an interesting start even when in Spanish: http://www.alhambra-patronato.es/fil...sa_nazar__.pdf There are several archeological remnants usually not mentioned as ginetas, for example this islamic sword found at Guadalajara (the gilt one). For me, the closest relatives to the Nasrid jinetas come from the Mamluk State. And the Mamluk weapons come from Syria. And the Syrian weapons are derived from Bizantium. Interesting pictures in an article by Yotov: https://www.academia.edu/2328824/A_N...1th_CENTURIES_ A not anymore extant Jineta was painted by El Greco. You can compare it to the San Telmo Gineta and a Mamluk banner... You have mamluk swords with low quillions and others where the hilt surrounds the sheath mouth. Spheric pommels seem to be a characteristic of some mamluk and bizantine swords... We can go East to Xian an Tibet as well... |
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On the other hand you have the so called war-Jinetas, like the bottom one at Sevilla. There is a similar one at Vitoria.
There is one has a flat disc pommel, that can be found also in Mamluk swords. Nicolle described another two war jinetas (XII century) found in Gibraltar in a Gladius article. They have sphaerical pommels. http://gladius.revistas.csic.es/inde...rticle/view/59 And another, sort of intermediate to the later Nasrid swords was found in Sanguesa (Navarra). Compare it to the San Telmo and Greco example. Extra record: Is this a Jineta? https://www.youtube.com/watch?v=M5h1k8-SzaI And finally another arqueological find in Spain of unknown thereabouts. |
Philip, I was remiss in not responding to your post #7 and thank you for mentioning the Furisiyya volume which I do have, and also for noting the work , "Al Andalus: The Art of Islamic Spain" Met, Mus. of Art, 1997, which is now on my 'get' list too.
Well observed on the blades.....it would be good to compare the blades on the swords of Topkapi and the examples in Spain. Yucel notes that while it is certain these swords in Istanbul with distinguished provenance along with the rest have been remounted c. 1517 , many of the blades may be of the antiquity noted and to the attribution claimed. Keeping to the key topic here, the form and likely development of the Hispano-Moresque sword forms with regard to the hilts, it seems it was questioned at some point (I believe Gonzalo) how the notion of possible European infuence was arrived at. Also, how early was the downward turned quillon present in the Iberian/ Al Andalusian swords? In Dr, David Nicolle, "Arms and Armour of the Crusading Era 1050-1350" (1988, p.158) , it is noted; "... a new type of sword and its associated tactics are believed to have been introduced to the Iberian Peninsula by Berber mercenaries and conquerors in the 11th and 12th centuries perhaps as a precursor to , or an early version of the JINETE light cavalry tactics clearly introduced from North Africa in the 13th-14th c. Light cavalry combat a la' jinete was again associated with what west Europeans came to know as the Italian grip, and according to some scholars, with curved quillons". in the article previously cited by Midelburgo, Dr. Nicolle again addresses the curved quillon conundrum in "Two Swords from the Foundation of Gibraltar" (Gladius XXII, 2002, pp 147-200); Where two swords of 12th c. were found in a cave on Gibraltar in which one had somewhat downturned quillons, the other with straight. While Yucel (2001, p.54) has asserted that virtually nothing is known about the form and nature of Umayyad and Abbasid hilts or the period from 8th c. to the Mamluk period. However it seems in various other works there have been presumptions that these hilts may have been guardless except for a kind of cuff extending over the blade forte. Nicolle (2002, op. cit. #33) illustrates a hilt of this general form as Mamluk or Maghribi (North African broadly) 12th-14th c. It would seem that both downturn quillons and straight existed contemporarily in Al Andalusian Spain in c. 12th century, and the 'cuffed' type hilt feature existed possibly from as early as Umayyad North Africa. Later the style probably influenced hilts in degree in the Maghrib and Mamluk spheres travelling into Al Andalusian Spain sometime after 12th c. Perhaps the cuffed style incorporated downturned quillons and evolved into the elaborately decorated Nasrid (Boabdil/Jineta) style which were intended for prominant if not regal figures as reflective of stature. I do not believe these elaborately decorated and structured hilts were prevalent overall in Spain, but were selectively unique and that most swords in use were of the more commonly seen quillon types which evolved into the crab claw types later. |
Blades from Nasrid kingdom seem to be mostly imported from the Christian side. Specially Toledo, but also Germany. The little dog mark is by Julian del Rey, not Passau, a converted Muslim swordsmith working for Fernando of Aragon.
http://gladius.revistas.csic.es/inde...ticle/view/203 |
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Question: so this blade is Spanish and from the 16th c but the sword / hilt is from the 15th c? Sorry for my simple question... ;) |
I understand that Julian del Rey was a Granada Muslim up to 1478, making swords there, then became a Christian, changed name, and made blades in Toledo and Zaragoza afterward. Two of the jinetas have its perrillo (little dog) mark, those at Paris and another that used to be at the Royal Armoury in Turin (at least until 1840). It is possible that these blades were made in Toledo and mounted in Granada before the war started in 1482. Maybe it is hard to believe Muslims would have allowed an animal representation on their swords, but there you have the lions fountain at Alhambra.
The "perrillo" swords are a common find in Spanish XVIth century literature, now there are difficulties in making clear, which ones were made by Julian del Rey, its successors and which are imports from Passau. Another of the jineta blades is marked with a roman alphabet S, what seems unlikely if made in an Islamic country. |
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Animal representations are just forbidden in mosques. Look at the quillons of the Jineta - if they had monsters on the quillons, a little dog on the blade was not really a problem! Very kastane-ish (the Persian swords have also this kind of monsters for the quillons) :) |
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There have been many great discussions here on the topic of Spanish marking over the years, and I know personally I have learned more than I can say from them. With that I would recommend readers use the search function here and simply use 'perillo' for example, to access these. To summarize, Julian Del Rey was indeed a Granada swordsmith working for the Nasrid ruler Boabdil, and indeed after the conquest in 1492 went to work for Ferdinand and converted to Catholicism. As with most markings, their use and attribution is often unclear, but the 'perrillo' is claimed to have been used by him. However, his father was a smith, as was his son, and there appear to be disagreements as to the use of their mark used in common.......the mark was NOT the so called perillo, bit a cross in latten (copper) . The perillo seems to have been applied as with most Spanish marks in tandem with other marks. It is actually not even clear that this represents a dog, and it is ofte believed to have taken that connotation from Cervantes tongue in cheek reference to the mark as on Spanish 'little dog swords'. It is remembered that "Don Quixote" was a brilliant satire on chivalry with much focus of course on Spain. The stylized creature in rampant posture represented as the 'perillo' seems to have been a mark used along with others and which may have had numerous inside meanings. This is much like the curious but well known man in the moon' mark which was often thought to be that of the 'espaderos del rey' but we now know it was also an supplemental mark. Therefore the notion of the Spanish mark being exclusively that of Julian Del Rey and the circumstances of his conversion to Catholicism suggesting a derisive statement noting sincerity in symbolic gesture using a 'dog' is 'interesting' but more 'lore' than reality. In the times I do not think anyone even thought of the mark as a dog, and may have been regarded as a heraldic lion in its rampant stance (contrary to running as in the 'Passau' wolf). Apparently most of the blades of later in particular which have only the 'dog' are thiught to be spurious and on German blades. It should be noted that most of the 'running wolf' marks applied were on Solingen blades, and were often placed on blades destined for mounting in Passau as a kind of 'brand'. The possible connection between the 'dog' of Spain and 'wolf' of Germany is intriguing but largely unresolved. |
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As i browse on these swords and their implicit Nasrid saga, i feel i have to revisit the Alhambra, that breathless complex of palaces ...
The main and more complete iconographic sources depicting arms and complements of the Nasrid period are the codicess of las Cantigas of Alphonso X el Sabio (end XIII century), the murals in the Partal house in th Alhambrs (1340), the three domes painted by a Castillian artist/s in Gothic style in the Sala de los Reyes of Palace del Riyāḍ al-Sa‘īd (know as Palacio de los Leones) circa 1380 and the paintings of the battle of Higuerela, made by Juan II of Castille in 1431-1432, later copied in colour in the XVI century in the Monastery of San Lorenzo de Escorial. The most emphasized weapon type of weapon genuinely Nasrid, conventionally known as Jinetas, a term of uncertain significance, is for the first time documented in the painting of the little Partal house. Of decorarive kuxury, with the presence of Nasrid motto or dinastic shield, indicate the probable production in Palatial workshops, such as confirmed by references to gifts that the Sultans of Granada used to offer Christian Monarchs. According to the chronicle of Alfonso XI (XIV century), this Monarch received from Muhamd IV when sealing peace with Castille, in 1333, a sword with a scabbard all covered with gold plates and several emeralds, rubis, saphires and pearls. In the testament of King Dom Pedro I, in 1362, is written: i send to the said Don Juan … four Gineta swords of gold, one that i made with gems and pearls.Their graphic representation appears in the joints of the Santa Catalina cluster of Burgos Cathedral; in the painting in the central alcoba de la Sala de los Reyes in la Alhambra; in the stonework choir of Toledo Cathedral; in the painting of Adoracion de los Reyes in the Royal chapel of Granada, where King Baltazar, dressing as a Muslim, carries a Gineta. However between the second half XIII and beginning XIV centuries of the Nasrid Granadine Sultanate, two generic styles of weaponry coexisted; that adopted by copying Christian models, and that provenant of Hispano Muslim Oriental and Magrebi tradition. The adoption of weapons of Christian fashion is documented in las Cantigas de Santa Maria, where part of Muslim Cavalry shows a heavy charater, like close helms, cabacets, manoples, shields and the like. Back to Jinetas, among the examples of interest preserved, are the one in the Paris National Library, provenant from Granada; the one of Saint Marcelo de Leon (now in the Arhaelogic Museim of Madrid); the one of Infant-Cardinal Dom Fernando de Austria (Real Armeria); the one supposed to be of Aliatar (Madrid Army Museum); the one of the Marquis of Campótejar, etc. The richest one of the this series appears to be ithe cerimony court sword captured from Boabdil in the battle of Lucena in 1483 (Army Museum) which, judging by its decoration, could be dated frpm the period of Muhamad V. . |
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Going to these notes after more revisiting other entries I think it is important to consider just when the 'perillo' began appearing on blades. If Julian Del Rey was in fact working for Boabdil (Abu Adullah, Boabdil was a Castilian corruption of the name) in Granada, it would be interesting to see how he would have signed or marked his blades. We know (as noted in my previous post) that his father and brother used the cross (in latten) in some fashion as Julian apparently used as well. Were they in Toledo? When Fernando II took over at the surrender of Boabdil in 1492 and later enforced expulsion or conversion of Muslims, Julian elected to stay on as swordmaker to him. Here is where the lore begins about the 'little dog' which is believed to derive from the description of this zoomorphic mark in Cervantes in "Don Quixote" in late 16th into 17thc. As far as I know, this mark, nor the term. perillo….did not exist prior to 1492. But apparently the cross mark did as Julians father seems to have used it as well as Julian and his brother.....this was the contested mark between them Not the perillo. So were blades made in Toledo and exported to Granada? Then what was Julian doing in Granada if not making blades? We know that blades were also made in Barcelona and Valencia, and Muslim smiths were well connected with their associated smiths in Syria in producing high quality blades. It seems that some blades indeed did come into these regions from Germany, and the Passau wolf must have been known as they were in use in the 15th century. But did this 'perillo' come into being in imitation of that wolf, or is it perhaps a rendition of the rampant lion which was known in Castilian heraldry (though representing Leon). It is suggested that the perillo, like the moon crescent with face, was added to marks on blades possibly in some other meaning. While we presume to have record of the markings placed on blades in the time after the Reconquista into 18th century (when these were collected by Palomares) we have no certain knowledge if or how blades were marked in the Muslim regions of Al Andalus. Though this may seem a digression from the topic on Jineta swords it is addressing markings which may establish period and region of blades which appear on many of them and swords of these times. Regarding the letter 'S' on the blade mentioned, in some cases a letter, presumed an initial (uncrowned) would occur on a blade. It should be noted that in many cases a letter (crowned) would be noted to a maker, but the initial may not concur with the makers name (numerous in Palomares). It may be a symbol meaning something other than a letter, and either way if used symbolically, why not on a blade from Andalusian Spain? |
Excellent thread! In trying to catch up on proceedings I read this http://gladius.revistas.csic.es/inde...ewFile/204/206 which is interesting placing the Perillo mark in the same category as other famous sword smiths more in line with a quality stamp than that of an actual maker..
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