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Institute of History of Ukraine NASUNational Museum of History of Ukraine

National Museum of Military History of Ukraine

HISTORY OF ANTIQUE ARMS

RESEARCHES 2016

Volume I

КYIV2017

УДК [93+930]:623.4ББК (Т)63.2:68.8 І-90

Затверджено до друку рішенням Вченої ради Інституту історії України Національної академії наук України. Протокол №6 від 15 червня 2017 р.

Історія давньої зброї. Дослідження 2016: зб. наук. пр. T. 1 / Упорядник Д. Тоїчкін; Інститут історії України НАН України. – К.: Видавець Олег Філюк, 2017. – 288 с.

Збірник наукових праць укладено на основі матеріалів Другої міжнародної зброєзнавчої конференції, що відбулася у м. Київ (Україна) 16–18 травня 2016 р.

Редакційна колегія:д.і.н., проф. М. Ф. Дмитрієнко (голова), д.і.н., проф., член-кор. НАН України Г. В. Боряк, к.і.н. Д. В. Тоїчкін, к.і.н. В. В. Томoзов, д.ф.н. М. М. Хорасані, к.х.н. В. М. Прокопенко, к.і.н. Я. О. Іщенко.

Упорядник:к.і.н. Д. В. Тоїчкін

Рецензенти:д.і.н., проф., член-кор. НАН України О. П. Реєнт;д.і.н. Т. В. Чухліб; д.і.н. проф. І. Н. Войцехівська.

Approved for publication by the Academic Board of the Institute of History of Ukraine of the National Academy of Sciences of Ukraine. Protocol №6, June, 15, 2017.

History of Antique Arms. Researches 2016: collection of scientific papers. Vol. I / Compiler Denys To ichkin; Institute of History of Ukraine NASU. – Kyiv: Vydavets’ Oleh Filyuk, 2017. – 288 p.

This collection of scientific papers based on materials of the Second International Conference on weaponology held in Kyiv, Ukraine, May 16–18, 2016.

Editorial Board:Ph.D., Prof. M. Dmytriienko (chair), Ph.D., Prof., Correspondent Member of NASU H. Boriak, Ph.D. D. Toichkin, Ph.D. V. Tomazov, Ph.D. M. M. Khorasani, Sc.D. V. Prokopenko, Ph.D. Ya. Ishchenko.

Compiler:Ph.D. Denys Toichkin

Reviewers:Ph.D., Prof., Correspondent Member of NASU O. Reient;Ph.D. T. Chukhlib; Ph.D., Prof. I. Voitsekhivska.

ISBN 978-617-648-057-2 © Інститут Історії України НАН України, 2017. © Видавець Олег Філюк, 2017.

ЗМІСТ CONTENT

Denys Toichkin. Second International Research Conference on the History of Arms and Armor in Kyiv, Ukraine Денис Тоїчкін. Друга міжнародна конференція з історії зброї у Києві ............... 8

Denis Cherevichnik. To the Question of the Origin of Yatagan Деніс Черевічнік. До питання походження ятагану .............................................. 17

Denis Cherevichnik. To the Issue of the Purpose of the Folding Khazar Sickle Деніс Черевічнік. До проблеми призначення хазарських серпів........................ 35

Bede Dwyer. Archers and Horses Беде Двейр. Лучники й коні ........................................................................................ 51

Anna Feuerbach, Thomas Hanley. «Ulfberht» Blades: New Answers to Old Questions Анна Феєрбах, Томас Хенлі. Клинки «Ulfberht»: нові відповіді на старі питання .................................................................................. 73

Manouchehr Moshtagh Khorasani. An Interpretation of Archery techniques in Persian Archery Manuals: A Practical Application Манучегр Моштаг Хорасані. Інтерпретація технік стрільби з луку у перських літописах: практичний аспект................................. 82

Manouchehr Moshtagh Khorasani. Analysis of Persian Shamshir Манучегр Моштаг Хорасані. Аналіз перського шамшира ...............................100

Iaroslav Lebedynsky. From Sarmatia to Gaul: Three Presumably Alan «Notched Blades» Found in France Ярослав Лебединський. Від Сарматії до Галії: три ймовірно аланські «клинки з вирізами», знайдені у Франції ..............................................117

Andrea Lupo Sinclair. Historical Overview of the Progression of Fencing and Fighting Systems in Italy Compared to the Development of the Weapons and Social Context Андре Лупо Сінклер. Еволюція фехтувальної та бійцівської системи в Італії у зв’язку з розвитком зброї та соціальним контекстом: історичний огляд ..................................................................................132

Oleh Malchenko. Two Captured Cannons from the Starodub Regiment Illustrated in P. J. Thelott’s Album, the Beginning of the 18th Century

Олег Мальченко. Дві трофейні гармати Стародубського полку з альбому Ф. Я. Телотта початку XVIII ст. ..............................................................155

Denys Toichkin. Sabers of Hetman Ivan Mazepa: Relic from the State Hermitage Museum (Russia) Денис Тоїчкін. Шаблі гетьмана Івана Мазепи: зразок з музею Державного Ермітажу (Росія) ......................................................172

Иракли Бакрадзе, Вахтанг Кизириа. О некоторых особенностях серебряного оформления западногрузинских палашей Irakli Bakradze, Vakhtang Kiziria. About Some Peculiarities of Silver Decorations of the West Georgian Broadswords ........................................185

Юрий Бохан. Еще раз к вопросу об особенностях вооружения белорусских земель Великого Княжества Литовского в конце XIV–XV вв. Yury Bokhan. To Question the Features of Armaments of Belarusian Lands of Grand Duchy of Lithuania in the End of 14-15th Centuries ....................203

Мікалай Плавінскі. Заснавальнік беларускага зброязнаўства Mikalay Plavinsky. The Founder of Belarussian Weaponology (In the Memory of Yury Bokhan) ................................................................................224

Владимир Гусынин, Владимир Прокопенко. «Обоймы с плечиками» – один из типов обойм сабельных ножен XIII–XIV вв. Vladimir Gusynin, Vladimir Prokopenko. «Scabbard Mounts with Hangers» – One Type of Scabbard Mounts of Saber from the 13-14th Centuries .....................228

Владимир Прокопенко. «Обоймы с крылышками» – один из типов обойм сабельных ножен XV–XVIII в. Vladimir Prokopenko. «Scabbard Mounts with Wings» – One Type of Scabbard Mounts of Saber from the 15-18th Centuries .......................................243

172 HISTORY OF ANTIQUE ARMS RESEARCHES2016

IntroductIon

Hetman Ivan Mazepa (1639–1709) ruled Ukraine in 1687–1709. His vigorous policy led to the overall renaissance of economic, social, political and cultural life in Ukraine.

In the 18th century during the Great Northern War (1700–1721), Ivan Mazepa al-lied with Swedish King Charles (Karl) ХІІ and Polish King Stanisław I Leszczyńs-ki, trying to embody his military and political projects on withdrawing from Mus-covite protectorate and reestablishing of an independent Ukraine. This is the cause

SABERS OF HETMAN IVAN MAZEPA: RELIC FROM THE STATE HERMITAGE MUSEUM (RUSSIA)

by Denys Toichkin

Аbstract UDC 94(477)«17»; 623.444.22

This is the first article in series, devoted to the research of historical side-arms, known as a personal weap-ons of Ivan Mazepa – great Hetman of Ukraine. In this part, the author studied a significant historical sam-ple – the saber, kept in the State Hermitage Museum (St. Petersburg, Russia). After a thorough study of provenance, morphology, decorations and blade epigraphy, the author concluded that the sample consisted of parts from different eras and can not be treated as an authentic personal saber of Hetman Ivan Mazepa.

Кeywords: Ivan Mazepa, saber, Hermitage Museum, historical value, Hussar Karabela.

Анотація ДенисТоїчкін УДК 94(477)«17»; 623.444.22

ШАБЛІ ГЕТЬМАНА ІВАНА МАЗЕПИ: ЗРАЗОК З КОЛЕКЦІЇ ДЕРЖАВНОГО ЕРМІТАЖУ

Стаття є першою у циклі англомовних досліджень зразків шабель з українських та російських музеїв, що традиційно розглядаються як особиста зброя гетьмана України Івана Мазепи (1639-1709). Автор досліджує зразок з колекції Державного Ермітажу (Санкт-Петербург, Росія). Розглянута довга історія зброї, вперше згаданої у публікації 1860 р. Автор розглянув подальші публікації та історію досліджен-ня раритету, де його вивчають не тільки як історичне джерело, але й національну культурну цінність. У другому розділі автор атрибутує шаблю, як гусарську карабелю, виявляє її морфологічні особливос-ті, аналізує матеріали та застосовані ремісничі техніки. Оригінальним внеском у дослідження шаблі є не тільки надзвичайно детальні виміри але й дослідження розподілу ваги клинка та мікротвердості клинкової сталі на різних ділянках. З метою точного датування шаблі автор дослідив орнаментику клинка та металевої фурнітури, підсумувавши, що стильові особливості декору відповідають різним періодам – від Бароко до Рококо-2. Проблема особистої приналежності «шаблі Мазепи» пов’язана, насамперед, з її клинковою епіграфікою. Автор долучив до дослідження результати фахової консуль-тації, які переконливо свідчать про пізніше походження напису. У результаті дослідження автор ро-бить висновок, що шабля не є автентичним виробом періоду правління Івана Мазепи.

Кeywords: Іван Мазепа, шабля Мазепи, Державний Ермітаж, гусарська карабеля.

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why Hetman Ivan Mazepa is recognized in academic historiography as the most controversial ruler during the whole historical period of Ukrainian Hetmanate.

Ivan Mazepa known not only as a strong political leader but a very charismatic person as well. The powerful charm of «Cossack Prince» outgrew the borders of Central and Eastern Europe, reaching a truly global scale — for the last three cen-turies many well-known artists and researchers from various countries and con-tinents have been dedicating dozens of art works and books to Ivan Mazepa. This literary heritage eventually established a kind of «Mazepa microcosm» and leg-endary icon of Hetman: grand and foolish, heroic and deceitful, romantic and petty together – provocative, almost a scandalous image. Although the historical biogra-phy of Ivan Mazepa is studied well by Ukrainian scholars, debates about his myth-ological portrait has been simmering lately – an image tainted with public opin-ions, offering new historical facts. No wonder that majority of historical artifacts, attributed to Ivan Mazepa are shrouded in legendary or even mysterious events.

First we will analyze the famous «saber of Ivan Mazepa» from the Hermitage collection (St. Petersburg, Russia), the odious and most recognized piece due to the many publications in Ukrainian media, regarding the problems of return-ing of National Ukrainian relics from Russian museums.

This sample has a long research history and, undoubtedly, has a high histor-ical value.

1. Provenance

The first known study of «Mazepa saber» was published in 1860 by the keeper of Imperial collection Florian Gille (1860), in the catalog of arms and armor in Tsar-skoe Selo (pp. 159-160). The author described the relic and noted that the saber was decorated according to the «Polish taste» and owned by Hetman Ivan Mazepa.

The next analysis of «Mazepa saber» was published in another book on Im-perial collection of arms and armor by Georges de Kaemmerer (1869). The au-thor studied the saber thoroughly and complemented the previous publication (p. 21). Kaemmerer suggested that the saber was prepared for future Hetman in the year of his coming to power.

Fig. 1. The drawing of Mazepa Saber in the book of Georges de Kammerer, 1863 (Kaem-merer, 1869, p. 22).

DENYS TOICHKIN Sabers of Hetman Ivan Mazepa...


Alexander Lazarevsky (A.L., 1883) was the first Ukrainian historian, who studied the «saber of Mazepa» perfectly, specified materials, morphology and artistic style (p. 213). He analyzed the inscriptions on the blade as well. The au-thor stated that in 1836 Russian Earl Buturlin donated the saber to the museum, which was expected to open in Voronezh city in honor of the Russian tsar Pe-ter the Great. The saber was kept in the Voronezh City Duma until 1849, when it was presented to Russian tsar Nikolai the First by the Interior Minister Lev Perovsky. Thus the saber had been kept in the arsenal of Tsarskoe Selo (St. Pe-tersburg, Russia) for more than three decades.

After transforming of Tsarskoe Selo collection into Imperial Hermitage, «Maz-epa saber» was researched by a new keeper – Edward Lenz (1908). He was the first who suggested that the inscriptions on the blade are not authentic (p. 280).

Later the saber was mentioned, as the rarity of Ivan Mazepa period, in docu-ments related to A campaign of returning National relics from Russia to Ukraine in 1918 and 1930 (see Kot, 2005, p. 1131; Kot, 2007, pp. 88, 92).

The new stage of the analysis of «Mazepa saber» started in the 1980s. In his book, the Polish researcher Wojciech Zabłocki (1989) for the first time analyzed basic parameters of the weapon, its combat capabilities, illustrated it with the author’s sketches and drawings. Zabłocki quoted the Hermitage catalog card, stating that «the saber was presented to Mazepa in 1687» (Zabłocki, 1989, p. 248).

Fig. 2. The drawing of «Mazepa Saber» in the book of Wojciech Zabłocki (1989, p. 249).

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In 1991, the «Mazepa saber» was ex-hibited as a «Polish or Ukrainian» manu-facture of the early 18th century at the ex-hibition of Polish weapons of art in the State Hermitage Museum (St. Petersburg, Russia). In exhibition catalog, Soldatenko (1991) did not mention the dispute about the personal ownership of the saber, but he stressed the late origin of inscriptions on the blade, instead (p. 32).

By that time the saber was being re-stored in the museum’s Restoration and Conservation Department, officially – for the first time. During the restoration, the scientists discovered the traces of two stamps on the tang. However, it was im-possible to identify them clearly, but the remains provided enough grounds for Hermitage researchers to assume the Ger-man origin of the blade.

2. attrIbutIon: defInItIon and characterIstIcs

Hussar Karabela. Polish-Lithuania Commonwealth (Rzeczpospolita) – Rus-sian Empire. Blade and hilt – early 18th century, decoration and inscriptions – early 19th century.

Kept in: State Hermitage Museum (St. Petersburg, Russian Federation), inv. no. 30-6986.

Materials: Steel, gold, silver, copper, wood, fishskin, shagreen.

High-grade silver hilt and scabbard frame covered with a high-quality gild-ing (999°) as well as the decorations on the blade. Only chape made of the low-grade silver (possibly later origin).

Fig. 3. Overall view of «Mazepa Saber» in State Hermitage Museum (St. Peters-burg, Russian Federation).



Craft techniques: forging, casting, gilding, etching, repoussé, engraving, chasing and stamping.

Weight and Balance CharacteristicsAs for an open-hilt saber, the weapon is heavy (940 g) due to the absence of

fullers and a high thickness of blade (the ricasso near the hilt is 7 mm). The cen-ter of balance is located at a distance of two thirds of the full saber length from the tip (680 mm). The center of percussion is located from 320 to 370 mm from the tip of the blade.

Regarding the practical expedience of saber, Wojciech Zabłocki noticed that the saber balanced well for slashing, however, the thumb-ring can not work well (stop strike and change its direction). In addition, the researcher noticed that the handle «did not match» the blade.

Proportions and weight characteristics suggest that the analyzed sample is a cavalry saber, and its main purpose was cutting.

The micro hardness of the blade ranges from 30 to 53 HRC. One should note that in general, these figures correspond to the investigated blades of 17th -18th

centuries. But the author of article assumes the blades produced before the era of mass industrial steels, typically have much lower uniformity of microhard-ness (see Toichkin, 2013). The tip and the cutting edge of the wider lower part enhanced to 50-53 HRC, while the back-edge lowered to 37-45 HRC. Center of percussion has pragmatic value of 44-49 HRC. Then microhardness gradually declines to prevent breakdown of the blade during combat activities, reaching 30 HRC near the tang.

Preservation, Conservation and RestorationThe blade is in perfect condition. The fishskin on the grip is torn on the ob-

verse side. In the late 1980th, the saber was fully restored. Then, the blade was conserved with a wax-based composition.

Fig. 4.Theschemeofparametersof«Mazepa’Saber»: lengthinmm; distributionofweight,centersofbalanceandpercussion; microhardnessinHRC.

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MorphologyThe blade has a high curve without a ricasso and fullers, with a double-edged

widened point. The blades of the similar shape were mounted in Polish karabe-la sabers (including Hussar Karabelas) since the 17th century, although they be-came popular in European armies since the middle of the 18th century. However, the absence of fullers and a ricasso that were main characteristics of regulation patterns of the second half of the 18th century indicate that this blade is of much older type. Incidentally, the absence of fullers is the main cause of the heavy weight of the saber. However, the sample is quite suitable for the combat use, although designed as a costume piece. The hilt is of the open type design, made of jewelry silver with a thin-layer of gilding. The crossguard has short quillons ending in extended rounded tips in a form of a shell (sea cockleshell). The wide thumb-ring shows a cast grotesque figure fastened to the crossguard with cop-per rivets. Cylindrical pommel cap has a flat elongated visor, attached to the forward quillon with a wide silver chainlet. The wooden handle is tubular at-tached with a copper rivet to the tang and is covered with fishskin.

The scabbard is made of wood and covered with black shagreen. The silver fittings comprise a gilded scabbard mouth, two attachments with movable rings and a chape ending in a ball.

The analyzed set of morphological features of the hilt distinguished the saber as the type of Hussar Karabela (also known as «Cossack Sabers»)1 popular among nobles of Polish-Lithuania Commonwealth back in the 17th century.

3. study of ornamentatIon

The ornamentation and inscriptions on the blade were made with etching and finished with engraving and a subsequent gilding. Decorative motives are similar on both obverse and reverse sides of the blade.

1 About history and features of Hussar Karabela (Cossack) type – see Toichkin, 2013, pp. 92-94.

Fig. 5. Decoration on the forte.



Fig. 6. Details of the hilt: А) Obverse side of a crossguard; B) Baroque decoration of a thumb-ring with grotesque half-figure; C) Pommel cap.

А

B C

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A medallion with trophies is depicted near the tang. A mixed band2 geomet-rical motive is placed lower. Next, one can see symmetrical composition with a medallion in artificial foliage. It continues with a trefoil developing into a mixed band pattern. A flower-vase with a palmette is depicted lower. The background inside the composition is filled with straight lines. One must note that art fea-tures of this composition suggest a Second Rococo style, which was popular in Russian Empire in the early 19th century.

The pommel cap and crossguard with a grotesque half-figure and large Neo-Renaissance shell are designed in the style of German Baroque of the late 17th – early 18th centuries.

Unlike the blade and hilt, the metalwork of the scabbard mounting is in the so-called Regency style, which kept main Baroque features, getting rid of some elements and adding a kind of elegancy. Thus, the scabbard fittings can be dat-ed to the early 18th century.

4. blade symbolIsm and ePIgraPhIcs

There are three symmetrical geometric patterns engraved on the back of blade. They represent mystical (alchemical and astrological) symbols, which are often encountered on the European blades of the 18th – early 19th centuries (Toichkin, 2010, pp. 156-161).

2 For art studies terminology explanations see: Meyer, F. S. (n.d.).

Fig. 7. Decoration of the chape.

Fig. 8. Symbols on the back of blade.



There are inscriptions etched on the re-verse (left) and obverse (right) flats of the blade respectively:

Нa гибель сuпостата vъ Сиче дерzающемu смерть 1687

(On the fall of the Foe who Dares in Com-bat Death 1687)

Нaдежда vъ Боzе а крипость vъ рuце правомu дилu Конецъ. МАЗ ПА

(The Hope [is placed] on God but a Strength in a hand the Right Cause [will be] Finished. МАZEPА)

One should note that inscriptions don’t fit into general decoration concept of the saber. The gilding that are covered ev-ery other decorative elements is absent on these inscriptions. This fact coupled with negligent rendering of letters, ob-viously, prompted Edward Lenz to sug-gest «slovenly etched fake inscriptions» (Lenz, 1908, p. 280). The letters are actual-ly crafted with a simplified etching tech-nique, which strengthen the arguments on its later origin, although one cannot specify the date.

Another argument against the authen-ticity of the inscriptions is that they are written on both flats of the blade, along its entire length. This is an extremely ra-re feature in the European sword-making practice of the 17th – early 18th centuries.

The content of the inscriptions in the most general form combines the tradi-tions of the Polish memorial bladed epig-raphy – mottos and slogans after the rul-ing entity. But by taking a closer look, one could find they mainly differ in Rzeczpo-spolita, Moscow and Ukraine, especially

Fig. 9. Inscriptions on the both sides of the blade.

З

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in the 17th – the beginning of the 18th centuries. Blade inscriptions with common content, style and forms have gained popularity later – in the late 18th century.

The theory to suggest Ivan Mazepa as the owner of the saber is based on Moscow traditions of blade epigraphy which were not widespread in Ukraine.

One should note that usually the names of kings (or another rulers) inscribed on the blades from Polish-Lithuanian Commonwealth (including Ukraine), do not reveal the names of their real owners (Kwasniewicz, 2006, pp. 70, 71, 73). Unlike them, blades from Moscow often bear inscriptions which directly men-tion the name of the owner. The stylistic forms vary from the names of owners («Sablya boyarina Mixaila Borisovicha Sheina» [Saber of boyar Mikhail Boriso-vich Shein]), presentation inscriptions («Gosudar’ car’ i velikij knyaz’ Mixail Fe-dorovich vseya Rusi pozhaloval seyu sableyu stol’nika Bogdana Matveevicha Xitrovo» [Tsar and Great Prince of All Rus bestowed this saber on stolnik Bog-dan Matveevich Khitrovo]) to appeals to divine powers («Gospodi vostani v po-moshh’ raba tvoego Dimitriya» [God, awake to help your servant Dmitry]). The oldest known blades with such inscriptions were owned by Muscovite nobili-ty of the 16th – 17th centuries and are kept in the largest Russian museums now (Kurmanovskij, 2010, p. 108).

There is no consensus about the origin of the inscriptions among paleogra-phers. Thus, Lazarevsky (1883) noted that the shapes of the letters of the inscrip-tions is of the Southern Rus type, which can be seen in decrees of Ivan Maze-pa himself (p. 213).

Dr. Olga Ivanova, Senior Researcher of Institute of Manuscripts of Vernadsky National Library of Ukraine concluded that the style of writing of letters com-pletely differ from the common inscriptions in the 17th – the beginning of the 18th century.3

3 Thanks to Dr. Ivanova for her help. More details see Toichkin, 2013, p. 398.

Fig. 10. Fragments of blade inscriptions. The type faces of highlighted letters are not inherent to the manuscript tradition of the 16th – early 18th centuries (for more details see Toichkin, 2013, p. 398).



The researcher also noted that the very general view of the sentences, val-ues configurations and parameters of letters are not typical of the studied peri-od. Due to these features, the inscriptions should be dated at least by the mid-dle of the 19th century.

As we see, the results of modern paleographic analysis are contrary to the findings of Alexander Lazarevsky, while reaffirming the opinion of Edward Lenz (1908) regarding «fake inscriptions» (p. 280).

We should pay tribute to scientific intuition of the first Russian historian of arms and armor, because in his time the fundamental principles of paleogra-phy science were just being developed.

conclusIon

After a thorough study we concluded that parts of the saber were manufac-tured in different periods over a century. It seems that the hilt is the oldest – its baroque ornamentation is quite typical of the period when Ivan Mazepa reigned. Metal fittings of scabbards, were made in the 20’s and 30’s of the 18th century.

The most intriguing part is the blade, which is decorated and inscribed, prob-ably in the first half of the 19th century. Dating of the blade itself requires a thor-ough study of the microstructure. But the statement of the late origin of the blade has already been partially proven by the microhardness values, highly uniform for long blades of the 17th – early 18th century. One should not forget about Wo-jciech Zabłocki’s claim of «mismatching» the hilt to the blade.

Thus, only the hilt matches the Mazepian period, and a saber, as a single weapon, can’t be assumed as a personal weapon of Great Hetman. The author of the present article assumes that saber was made already in the 19th century, and not «for Mazepa» of course, as Florian Gille and Georges de Kaemmerer suggested, but specially for Russian Emperor, in the memory of the suppres-sion of Ukraine. Russian armorers mounted the old hilt with newer parts, finally reconstructed a saber that looked like an authentic weapon of Cossack nobles.

However, the problem of the origins of «saber Mazepa» is not solved com-pletely. The features and decoration of the hilt, the unusual history of the saber (one should not forget that it was presented to Nikolai I – the greatest Russian collector and expert in historical weapons), the continued references in old-time descriptions about the existence of a sample belonging sample to Ivan Mazepa, still provides us with enough information to assume that the «saber of Maze-pa» is more than ordinary «a la Mazepa» replica. Finally, the very form of the hilt is not accidental: Hussar karabelas were a popular type in the community of the wealthiest Cossack ruling nobles in the late 17th century. One can find ma-ny evidences in visual and material sources in Ukrainian, Polish and Russian

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museums (Fig. 8). Thus, maybe the separate parts of a well-known at that time damaged saber of Ivan Mazepa or one of his noble followers, were captured by Russians and later got a «new life» as a luxurious «imperial» replica.

The story of Mazepa saber once again confirms the importance of personal attribution in «legendary» weapons, taking into account the results of compre-hensive research in various areas of auxiliary historical disciplines.

BIBLIOGRAPHYА. Л. [A.L. – Alexander Lazarevsky]. (1883). Sablya Mazepy [Saber of Mazepa]. Kievskaya

starina [Kyiv Antiquity], 5 (№1), 213.Gille, F. (1860). Carskosel’skij muzej s sobraniem oruzhiya, prinadlezhashhago Gosudaryu

Imperatoru [Museum of Tsarskoe Selo with collection of arms and armor owned by Emperor]. Sankt-Peterburg: Pechatano v Politexnograficheskom Zavedenii A. Baumana.

Kwasniewicz, W. (2005) Pol’skie sabli [Polish Sabers]. (I. Naftul’ev, Trans.) Sankt-Peterburg: Atlant.Kaemmerer, G. (1869). Tsarskosel’skij Arsenal ili Sobranie oruzhiya, prinadlezhashhego Ego

Velichestvu Gosudaryu Imperatoru Aleksandru Nikolaevichu [Arsenal of Tsarskoye Selo or collection of arms and armor belonging to His Majesty the Emperor Alexander Nikolayevich]. Sankt-Peterburg: A. A. Il’in i N. K. Flige.

Fig. 11. An excellent example of Hussar karabela kept in the Pereyasliv-Hmelnytsky Historical Museum. The exquisite decoration, made in the close to «saber Maze-pa» stylistic manner. Despite the lost pommel cap, the decoration pattern makes an impression of a real craft masterpiece. However, unlike the «Mazepa saber», the ornamental composition here is made in a single art style («Style of Louis XIV»), reveals the typical Western-Euro-pean work of the second half of the 18th century.



About Author. Denys Toichkin, Ph.D., Institute of History of Ukraine, National Academy of Sciences of Ukraine, Kyiv, Ukraine.

Відомості про автора. Тоїчкін Денис Віталійович, старший науковий співробітник Інституту історії України НАНУ, кандидат історичних наук, дослідник історії холодної зброї, Київ, Україна.

Коt, S. (2005). Poshuky kozats’kykh sviatyn’ v Rosii [Finding Cossack relics in Russia]. In Ukraina — kozats’ka derzhava: iliustrovana istoriia ukrains’koho kozatstva u 5175 fotosvitlynakh [Ukraine – the Cossack State: Illustrated History of Ukrainian cossackdom in 5175 pictures] (p. 1131). Kyiv: Emma.

Коt, S. (2007). Shukaiuchy vtracheni klejnody. U spravi povernennia j restytutsii kul’turnykh tsinnostej ukrains’koho kozatstva [Looking for lost symbols of authority. About the return and restitution of cultural property of Ukrainian Cossacks]. Pam’iatky Ukrainy, 2, 86–119.

Kurmanovskij, V. (2010). Sabel’nye klinki v Rossii XVI–XVII vv.: morfologiya i konstruktivnye osobennosti [Sabers blades in Russia of XVI–XVII centuries: Morphology and design features] (Unpublished master’s thesis). Lomonosov Moscow State University, Moscow.

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Meyer, F. S. (n.d.). Handbook of ornament (8 ed.). Leipzig: Verlag von Seemann & Co.Soldatenko, А. (1991). Khudozhestvennoe oruzhie Pol’shi XVIII–XIX vekov: Katalog vystavki

[Artistic Polish weapons of XVIII–XIX centuries: the Catalogue of exhibition]. Leningrad: State Hermitage.

Toichkin, D. (2010). Klasyfikatsiia ta zmist symvoliky na klynkovij zbroi XV–XIKh st. v ukrains’kykh muzeiakh: heral’dyka, epihrafika, ornamentyka [Classification and meaning of symbols on bladed weapons XV-XIX centuries in Ukrainian museums: heraldry, epigraphy, ornaments]. Spetsial’ni istorychni dystsypliny: pytannia teorii ta metodyky. Henealohiia ta heral’dyka: zb. nauk. pr. [Special Historical Subjects: Theory and Methods. Genealogy and Heraldry: Collection of papers], 17, 148–176.

Toichkin, D. (2013). Klynkova zbroia kozats’koi starshyny XVI — pershoi polovyny KhIKh st.: problemy atrybutsii ta klasyfikatsii [Bladed weapon of Cossack Nobles of the 16 - the first half of 19th cc. Problems of attribution and classification]. Кyiv: Institute of History of Ukraine NASU.

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