The half moon symbol in early Spanish swords

Jim McDougall · 2nd March 2017, 05:12 PM

Well Fernando, I get the feeling it is you and I on this admittedly esoteric topic, but I know others are out there (I can hear them breathing

).
I think this is pretty fascinating among the plethora of markings, and it seems that the half moon, with rich allegorical symbolism historically, may have varied significance in these contexts.

As you have shown, the 'espadero del rey' classification in Spanish smiths is not necessarily, nor perhaps directly linked to these half moon markings as implied by the suggestions of Sir James Mann (1962) and in a number of other perpetuated references.

So it seems we need to wonder, just what was the significance of the half moon in placement on sword blades in Spain? While shown in Palomares as a punzon in one instance in his study, we know that his 1772 work is wrought with 'misperceptions' and of course there is nothing accompanying the details which tell us more on the conditions or meanings of these punzones or other devices.

You have noted another author, Jahan Lhermite, contemporary to the working masters who recorded more on their markings etc. By the time Palomares wrote, the Toledo blade industry had been literally gone for a century.

I found a reference, "Proceedings of the Society of Antiquaries" Vol. XVIII, June 21, 1900, Baron C.A. DeCosson (pp.206-215), which includes an interesting inclusion regarding an unedited manuscript by Rodriguez del Canto, a Madrid fencing master (1734) . It is titled "El Discipulo Instruido" and a list of all the most celebrated smiths of Toledo with marks.
Here there are notable contrasts to the work of Palomares, in particular one referring to Pedro de Garatea, who appears to be the Pedro de Lageratea in Palomares.
This manuscript was in the possession of Count Valencia at the time of DeCosson writing (1900).

These contrasting records are most likely in degree to be the root of some of the misperceptions of later scholars, including Sir James Mann, toward these matters of these markings .

Returning to the dilemma of the half moons, we look to find what meaning or significance these distinct markings may have had to the Spanish smiths.
We well understand that there are many ecclestiastical symbols, inscriptions and devices incorporated into blade motif and imbuement.

In study of the half moon historically, the face has typically been represented as the 'man in the moon' despite the fact that astrologically it seems that the sun (solar=male) while the moon (luna=female). With that it seems that technically the representation of the Virgin Mary, with the notable and traditional rostrillo, makes good sense (and of course as noted by the Spanish scholars) and has been as far as I know, entirely not known to most scholars on arms outside of Portugal and Spain.

In a most interesting circumstance pertaining to the half moons, some time ago I found reference to its use in Holland as a symbol for the notorious privateers known as the 'sea beggars' or 'waterguezen'. These were primarily associated with Calvinist Dutch nobles who from 1566 onward vehemently opposed Spanish rule in the Netherlands.
They contrived the use of the half moon with face to allegorically suggest it was better to be in league with the clearly contrary Turks than to be under Spanish suzerainty.
At this time the crescent moon was considered representative of the Turk, and in 1570 a medal was designed with the half moon emblazoned with the motto, which is worded essentially 'rather Turkish than Papist, in spite of the Mass'.

It seems odd that the Dutch used this symbol, it would seem almost inadvertently as far as the Turk analogy, while here it seems to have been of key religious significance to the Spanish, who they were opposing.

Ibrahiim al Balooshi · 3rd March 2017, 12:26 PM

see http://www.vikingsword.com/vb/showth...ti+papal+moons where at post# 53 I noted the anti papal half moon structures present on Basket Swords. This is a fascinating episode in Forum activity ...The Watergeusen episode is a very interesting period in European history.

Jim McDougall · 3rd March 2017, 04:39 PM

Ibrahiim,
Thank you so much for this entry, and for always finding such pertinent threads and posts to augment the discussions at hand! Your skills at navigating the material archived in these pages is exemplary.

It is great to see these paired crescent moons on these German blades which seem to date from early 18th century and perhaps earlier and seem to occur notably on blades mounted in Scottish and English swords.
This was remarkable information as I recall, as in the course of study on these crescent moons in pairs on takouba blades in North Africa, as well as many kaskara in Sudan, these were native applied.
What was interesting is that it always seemed that the native pairing of these crescent moons (known locally there as 'dukari') may have been configured as such in a native interpretation imitating the moons on many German blades with cosmological themes in motif.

It appears with this information from 2015, and the blades shown by Cathey and discussed with Eljay (very grateful to them both for these valuable contributions) that the dual crescent moons with face indeed did have European origin and posed in that exact manner.

Here we see the appearance of the crescent moon, or half moon with face, being applied on blades in Germany by the beginning of the 18th century and likely earlier. As we have discussed, the use of the crescent moon seems to have evolved in Spain and used in yet undetermined significance on sword blades at the time of the great Toledo masters.

I recall years ago thinking almost fancifully about the similarities between many of these 'faced' half moons used on blades and in other 'magical' motif including some seen in the unique tarot 'moon' cards. I found that the tarot cards, indeed used in various countries in Europe, did have use as early as the 14th c in Spain. These were soon prohibited however in the well known religious events of the times, though covert use certainly prevailed. While unclear on the 'artistic' nature of the illustrations used, the crescent moon was of course in some manner portrayed on the 'moon' card of the sets.

What seems key here is that the 'man in the moon' portrayal of the crescent moon (paradoxically with the female moon association normally observed) seems to have filtered into the theme at some point. It is known that Jewish mysticism, of course with its mysterious cabala, was profoundly present in Spain, and it may well be that this symbolism had some degree of influence in the character of these half moons .

Although the nature of these suggestions may seem fanciful in their nature it must be remembered that in these times, magic and superstition along with many notions and beliefs were very much in place.

Ibrahiim al Balooshi · 4th March 2017, 09:16 AM

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