by Miguel Seguí Sabater

In this article, I would like to analyse a cup-hilt rapier that has been part of my collection for several years. The piece measures 111 cm in total. The blade is 91 cm long, with a single fuller on one side engraved with the name “LUIS DE” and “SAHAGUM” on the other. The cup-hilt is finely chiselled, with floral motifs still visible in some areas, although much of the engraving has worn away due to aging, improper cleaning, or restoration efforts. The design of this rapier is characteristic of swords used in the latter half of the 17th century.

The rapier was a refined and versatile edged weapon that reached its peak during the Baroque era (1580-1680). It embodied a blend of practicality and elegance, becoming indispensable for self defense and duelling in an age marked by intrigue and personal confrontations. Although other weapons, such as pistols and daggers, were available, they had their limitations—pistols were unreliable after a single shot, while daggers were only effective in close combat. The rapier, with its long, slender blade, allowed the user to maintain distance from opponents, requiring skill and precision in its use. Beyond its functional role, the rapier became a symbol of status and style, reflecting the cultural and political shifts of 17th-century in Western Europe. (Seitz, 1968)

Although the extremely long rapiers with narrow blades were not particularly suited for military use by foot soldiers or cavalry, they were ideal for duelling. Heavy cavalry still wore full armour well into the mid-17th century, which could not be easily penetrated by a rapier’s thrusts or cuts. During battle, as demonstrated by the Landsknechts, shorter weapons were more practical for foot soldiers, especially when wielded in close combat. Additionally, the long rapiers hindered foot soldiers’ ability to move effectively within military formations. As a result, by the mid-17th century, shorter rapiers with slightly broader blades began to appear in military armaments (Kölling, 1986).

The cup-hilt rapier, known in German as the Schalenrapier, is one of the most distinctive European sword types of the 17th century. It was heavily influenced by southern European designs, particularly from Spain. The sword’s structure is defined by a long, narrow blade paired with a cup-shaped guard, which was often semi-spherical or fully circular. This design provided excellent protection for the wielder’s hand and forearm. The guard featured long, straight quillons for lateral protection and a curved knuckle bow to ensure a secure grip. The heavy cup, known as “la taza” in Spanish, contributed to the sword’s sturdiness and defensive capabilities, making it the most effective weapon in duelling. The blade was primarily designed for precise thrusts, balancing offence and defence (Kölling, 1986).

Although originating in Spain, the cup-hilt rapier’s influence quickly spread to Italy, particularly the southern regions, due to strong political and cultural ties between the two countries during the period. In Italy, the sword was known as “spada a tazza”, and its design became widespread across the peninsula, where it was produced in large numbers by renowned swordsmiths (Kölling, 1986).

As an evolution of earlier designs, the cup-hilt rapier required specialized training to master, making it particularly suited for fencing duels. This weapon represents one of the finest achievements in 17th-century European sword-making, combining functionality, aesthetics, and exceptional craftsmanship (Kölling, 1986). This sword is probably the weapon with the most fencing treatises, at least in terms of the number and variety of authors who studied it between the 16^th and 17^th centuries, which shows the complexity of use.

The peak of the cup-hilt rapier’s popularity occurred between 1650 and 1680, though it remained in favour with fencers well into the later part of the century (Kölling, 1986). The best blades were forged in Toledo, Seville, Milan, Serravalle, Brescia, and Solingen (Boeheim, 1890).

This specimen closely resembles those displayed in the Wallace Collection in London. The hilt features a finely chiselled cup with floral decorations (e.g., leaves and flowers), similar to pieces A647, A648, A649, A650, A651, A652, and A656. The narrow blade bears the name “Luis de Sahagum.”

Francisco de Santiago Palomares provided the key documentary reference for this subject in the 18th century with his Nómina de Palomares. The name “Sahagun” refers to a family of swordsmiths from Toledo, with at least two generations: Alonso the Elder, and his sons Alonso, Luis, and Juan. “Luis de Sahagun” appears twice in the Nómina—in positions 73 (Alonso the Elder´s son) and 74, where he is also referred to as “Sahaguncillo,” Alonso the Elder´s son. While there is no exact date for when these swordsmiths were active, Palomares suggests that the elder Sahagun was working around 1570, which places the activity of his sons between 1580 and 1620 (Seitz, 1968)

As previously noted, this cup-hilt rapier features the narrow blade style introduced in 1650, and the name “Sahagun” is written with an “m” at the end, which is unusual. It is unlikely that a swordsmith would misspell his own name. By the 17th century, the name “Sahagun” was so famous that many swordsmiths imitated it to sell their own production (Seitz, 1968). Blades signed in this way are often of German origin (Mann, 1962). The best example for it are the Amsterdam Town Guard swords from the mid-17th century, with are all engraved with the “Sahagum” name and different experts support they were produced in Solingen.

Most of the rapiers with cup-hilts that bear this signature on their narrow blades are of Spanish origin, a style that was especially popular in Toledo and remained in favour in Spain until the late 18th century. Solingen swordsmiths, known for their versatility, copied the Spanish style and even the Spanish signature, sometimes fitting German or Italian blades to Spanish-style cup-hilts (Mann, 1962).

Based on the information provided, I confidently conclude that this piece is a beautiful example of a 17th-century rapier, specifically from the period between 1650 and 1680, in the Spanish style. Given the high quality of the cup, the floral motives and the similarity to the pieces in the Wallace Collection, it most likely originates from Spain, similar to the pieces found in the Wallace Collection. Because of the “Sahagum” engraving, as explained before, the blade was almost certainly forged in Solingen, by a blacksmith attempting to capitalize on the famous name of Luis de Sahagun, making the piece easier to sell.

When I study this piece, two thinks are fascinating for me. To observe the interconnectedness of European markets, where pieces crafted in different parts of the continent came together to form a single, remarkable weapon and that even in those past times, renowned names of famous blacksmiths were copied and imitated like nowadays the famous brands.

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Beyond collecting, I take great pleasure in traveling to major museums and historical institutions to study original pieces firsthand, allowing me to compare, analyze, and deepen my knowledge. Additionally, I enjoy restoring and carefully preserving these artifacts, ensuring they maintain their historical integrity while highlighting their original craftsmanship. Cataloging each piece is also an important part of my work, as it allows me to document their history, provenance, and technical details. Over the years, I have built a wide network of contacts within the world of antique arms, sharing insights and learning from fellow collectors, historians, and experts.

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Sources

Boeheim, W. (1890). Handbuch der Waffenkunde. Leipzig: Von E. A. Seemann.

Kölling, H. M. (1986). Europäische Hieb- und Stichwaffen. Berlin: Militärverlag der Deutschen Demokratischen Republik (VEB).

Mann, S. J. (1962). Wallace Collection Catalogues European arms and armour. London: William Clowes and Sons LTD.

Seitz, H. (1968). Blankwaffen II. Braunschweig: Klinkhardt & Biermann.