Szczerbiec () is the ceremonial sword used in the of most Polish monarchs from 1320 to 1764. It now is displayed in the treasure vault of the royal Wawel Castle in Kraków, as the only preserved part of the medieval Polish crown jewels. The sword is noted for its hilt, decorated with magical formulae, Christian symbols, and floral patterns, as well as for the narrow slit in the blade which holds a small shield with the coat of arms of Poland. The name of the sword is derived from the Polish language word ("gap", "notch", or "chip"), and its meaning is incorrectly perceived as "the Notched Sword" or "the Jagged Sword" (which is included in the sword's legend), though the edges of its blade are straight and smooth. Proper meaning and rendering into English would be "the Notching/Jagging Sword" — as "a sword that is meant to notch/jag other weapons".
The legend links Szczerbiec with King Boleslaus I the Brave who was said to have chipped the sword by hitting it against the Golden Gate of Kiev during his intervention in the Kievan succession crisis in 1018. However, the Golden Gate was only constructed in 1037 and the sword is actually dated to the late 12th or 13th century. It was first used as a coronation sword by Ladislaus the Short in 1320. Looted by troops in 1795, it changed hands several times during the 19th century until it was purchased in 1884 for the Hermitage Museum in Saint Petersburg. The Soviet Union returned it to Poland in 1928 as part of war reparations for their loss against Poland in the Polish-Soviet war. During the Second World War, Szczerbiec was evacuated to Canada and did not return to Kraków until 1959. In the 20th century, an image of the sword was adopted as a symbol by Polish nationalism and far-right movements.
The pommel and the crossguard are made of silver. The core of the grip is a brass chest encasing the tang of the blade. It was probably made in the 19th century to replace an original organic core, which had decomposed. At the same time the tang was riveted to the top of the pommel. The head of the rivet, which is in diameter, rests atop a rectangular washer measuring .
All parts of the hilt are covered with golden plates, which are engraved with sharp or rounded stylus and decorated with niello, or black metallic inlay that contrasts against the golden background. Each plate is thick and made of about 18-carat gold. The niello designs include inscriptions written in late Romanesque art majuscule (with some Uncial script additions), Christian symbols, and floral patterns. The floral ornaments are in negative, that is, golden against a black, nielloed background.
On the obverse side of the hilt, the pommel bears a large stylized letter T on top of a letter C or G (the latter could be just a decorative element of the letter T) between the Greek alphabet letters Α and ω (alpha and omega) surmounted with little . Below the letter T, there is another cross placed within a cloud or flower with twelve petals. On the chamfered edge around this design runs a circular Latin inscription in two rings which reads: Rec figura talet ad amorem regum / et principum iras iudicum ("This sign rouses the love of kings and princes, the wrath of judges"). The grip bears the symbols of two of the Four Evangelists: the lion of Saint Mark and the ox of Saint Luke, as well as an Agnus Dei (Lamb of God). The crossguard bears the following Latin inscription: Quicumque hec / nomina Deii secum tu/lerit nullum periculum / ei omnino nocebit ("Whoever will carry these names of God with him, no danger will harm him").
The reverse side of the pommel is decorated with a vine bush surrounded by a wreath of vine leaves. On the reverse of the grip, there are the eagle of Saint John and the angel of Saint Matthew, and another Agnus Dei. The crossguard bears, above another pattern of vine leaves, an inscription in corrupted Hebrew language in Latin script: Con citomon Eeve Sedalai Ebrebel ("Fervent faith incite the names of God: Sedalai and Ebrehel"). On the opposite ends of the crossguard, there are again the symbols of Saints John and Matthew.
The circumference of the pommel is decorated with a rhombic pattern, while the upper side of the crossguard – with a similar triangular pattern. The narrow sides of the grip used to be embellished with inscribed silver plates, which, however, were lost in the 19th century. These lost inscriptions are partly known from graphical documentation made by King Stanislaus Augustus's court painter, Johann Christoph Werner, in 1764 and by Jacek Przybylski in 1792. One of the plates had already been broken by that time with only part of the inscription preserved: Liste est glaud... h Bolezlai Duc... ("This is a sword of... Duke Boleslaus..."); the inscription on the other plate continued: Cum quo ei Dominus SOS Salvator auxiletur adversus partes amen ("With whom is the Omnipotent Lord and Savior, to help him against his enemies. Amen"). The missing part of the first inscription is only known from an old replica of Szczerbiec which once belonged to the Radziwiłł family (see Historical replicas below) . The full inscription read: Iste est gladius Principis et haeredis Boleslai Ducis Poloniae et Masoviae, Lanciciae'' ("This is a sword of Hereditary Prince Boleslaus, Duke of Poland, Masovia, and Łęczyca"). The identity of this Duke Boleslaus is uncertain.
+ Ornamentation and inscriptions on the hilt | |||
Chamfered outer ring: Inscription: + REC. FIGVRA. TALET. AD AMOREM. REGVM. ET. PRINCIPVM. IRAS IUDICV. M | Chamfered outer ring: Vine leaves | ||
Middle: Winged ox of Saint Luke, inscription: LVCAS | Middle: Angel of Saint Matthew, inscription: MMThCVS | ||
Bottom: Lamb of God | Bottom: Lamb of God | ||
Middle: Inscription: QVICVMQVE hEC + NOMINA DEII SECVM TVLERIT NVLLVM PERICVLVM CN EI OMNINO NOCEBIT | Middle: Inscription: CON. CITOMON.. EEVE SEDALAI. EBREbEL above an ornament of vine leaves | ||
Right end: Winged ox of Saint Luke | Right end: Eagle of Saint John |
Use-wear analysis indicates that the plates on the pommel and the crossguard were made by the same artist, while the plates on the grip were added later. The latter – obverse and reverse – were probably decorated in the same workshop and using the same tools, but by two different craftsmen. Moreover, a side plate with a rhombic pattern was added in the 19th century to replace one of the lost inscribed side plates.
Preserved images of Szczerbiec from various points in time indicate that the decorative plates were several times dismounted and placed again on the hilt in variable configurations. The current composition, with the symbols of the Evangelists duplicated on each side of the hilt, matches that known from the earliest preserved depiction drafted by Johann Christoph Werner in 1794. It is possible, though, that the original placement of the golden plates was different, with the symbols of Saints John and Matthew on the obverse of the grip, so that each side of the hilt displayed the symbols of all four of the Evangelists.
Just below the hilt, there are three perforations in the fuller of the blade. The largest is a rectangular slot that is long and wide. This opening, known in Polish as szczyrba or szczerba, was originally caused by rust and, in the 19th century, polished into a regular shape. A small heraldic shield colored with oil paint is fastened to the slot. It is roughly triangular in shape, with the sides measuring from . The shield, bearing the White Eagle of Poland, was originally attached to the scabbard, or sheath. The Gothic scabbard, with a golden or silver locket and chape, was probably created in 1320 and lost between 1819 and 1874. The shield is the only preserved element of the sheath. It was tilted to the left – from the onlooker's point of view – while it was fastened to the scabbard's locket, but today it is aligned with the blade. The eagle on the red field of the shield is white, with a golden crown, bands across the wings, ring on the tail, and talons. The two other perforations are round holes, apart. The upper one, just below the slot, is in diameter, while the other measures only . They were probably punched in the 19th century to fasten the heraldic shield to the blade.
According to the Chronicle of Greater Poland, the sword was kept in the treasury of the Wawel Cathedral. The ultimate fate of the original Szczerbiec is unknown. It may have been taken to Prague, together with other royal insignia, by King Wenceslaus II of Bohemia after his coronation as king of Poland in Gniezno in 1300. What happened with these insignia thereafter remains a mystery. Although Boleslaus the Brave's notched sword has not been preserved and even its very existence is doubtful, its legend had a great impact on Polish historical memory and the treatment of its successor, the modern Szczerbiec.
As a coronation sword, Szczerbiec was first specifically mentioned by Jan Długosz in his account of the crowning of King Casimir IV (), but it was probably first used in a coronation ceremony by King Ladislaus the Short () in 1320, by which time he had reunited most of the core territories of Poland. If Szczerbiec had previously belonged to his uncle, Boleslaus I of Masovia, or his father-in-law, Boleslaus the Pious, then he could have inherited it. If it had belonged to any of the two Boleslauses who had ruled from Kraków as high dukes of all Poland, then Ladislaus could have simply found it in the Wawel Cathedral. Thereafter, Szczerbiec became an integral part of the Polish Crown Jewels, shared their fate, and was the principal ceremonial sword used in coronations of all Polish kings until 1764, except Jogaila (1386), Stephen Báthory (1576), Stanislaus I Leszczyński (1705), and Augustus III Wettin (1734).
Szczerbiec, together with other crown jewels, was removed from the Wawel Hill on several occasions during that period. After his Polish coronation in 1370, King Louis I of Hungary took the crown jewels with him to Buda; his successor on the Hungarian throne, Emperor Sigismund, rendered them to Poland in 1412. On two occasions, in mid-17th and early 18th centuries, they were evacuated across Poland's southern border to protect them from invading Swedish armies. In 1733, during the War of the Polish Succession, supporters of King Stanislaus I concealed the jewels in a Warsaw church for three years to prevent Augustus III from using them in his coronation. In 1764, they were sent to Warsaw again, to be used in a coronation for the last time – that of Stanislaus Augustus Poniatowski. They were returned to Kraków afterwards.
During a typical Polish coronation ceremony in the times of the Polish–Lithuanian Commonwealth, the king-elect received Szczerbiec after his Anointing and before being crowned and enthronement. The primate of Poland, that is the archbishop of Gniezno, picked up the unsheathed sword from the altar and handed it to the kneeling king. At the same time, he recited a formula which asked the monarch to use the sword to rule justly, defend the Church, fight evil, protect widows and orphans, and to "rebuild what is damaged, maintain what is rebuilt, avenge what is unjust, reinforce what is well managed," etc. Then, the king handed the sword to the Crown sword-bearer ( miecznik koronny), who slid it into the scabbard and passed on to the primate. The primate, aided by the Crown and Lithuanian sword-bearers, fastened the scabbard to the king's belt. The king stood up and, facing onlookers, withdrew Szczerbiec, made three times the sign of the cross with it, and wiped it against his left arm before replacing it in the scabbard. The king's sword-wielding abilities were closely watched by his new subjects during this part of the ritual. When Augustus III betrayed his poor fencing skills at his coronation, nobles joked that they were going to have "a peaceful lord". After Szczerbiec, a bishop handed the sovereign the Grunwald Swords symbolizing the monarch's reign over the two constituent nations of the Commonwealth.
Throughout the period from Casimir the Great () to Stanislaus Augustus, Polish crown jewels were commonly believed to date back to the times of Boleslaus the Brave. This conviction helped maintain a sense of continuity of Polish statehood and provide legitimacy for the nation's kings, implicitly making each Polish monarch a successor of the ancient and glorious legacy of the first king of the House of Piast. Accordingly, the coronation sword took over the name and the legend of the original Szczerbiec. The corrosion-induced slit in the blade became associated with the fabled szczerba, or notch that Boleslaus had purportedly made on his sword in Kiev. The power of tradition was so strong that when Stanislaus Augustus's court painter, Marcello Bacciarelli, who had made detailed studies of Polish crown jewels, painted an imaginary portrait of Boleslaus the Brave, he chose to depict Szczerbiec so that its appearance agreed with legend rather than reality. The images of the coronation crown and sword are overall meticulously accurate, but Bacciarelli's Szczerbiec lacks the slit and has a chipped edge instead.
Lobanov-Rostovsky ultimately sold Szczerbiec to Prince Anatoly Demidov, who kept it together with the rest of the Demidov collection in his Villa San Donato near Florence. In 1870, the sword was bought for 20,000 by Alexander Basilevsky, Russian ambassador to France and great art collector. In 1878, he displayed Szczerbiec at the World's Fair in Paris. By that time, the scabbard had been lost and the sword itself was presented as of Teutonic Knights origin. It was seen by several Polish visitors who speculated whether it could be the Polish coronation sword. In 1884, the entire Basilevsky collection was purchased by Emperor Alexander III of Russia for the Hermitage Museum in Saint Petersburg. Both Polish and other experts at the time expressed doubts as to the authenticity of Szczerbiec held in Russia's largest museum (see Historical replicas below). An international museum congress held in Saint Petersburg in 1913 pronounced the sword a 17th-century replica.
In 1917, as a result of the October Revolution, Russia became a communist state. In the aftermath of World War I, Poland reemerged as an independent country in the following year. From 1919 to 1921, the two states fought the Polish–Soviet War which was concluded with the Peace of Riga. Article 11 of the peace treaty required that the Soviet Union side return all culturally significant collections and items that had been removed from Poland since the First Partition in 1772. A special bilateral committee was set up to carry out the restitution of cultural goods. In 1928, the committee's efforts resulted in the return to Poland of, among other national treasures, Szczerbiec, which, after 133 years, was deposited back in the Wawel Castle.
There are doubts, however, whether the swords known to have been at Żółkiew in 1738 and at Nieśwież two years later, were in fact the same sword. The Radziwiłłs' castle was plundered by the Russian army in 1812 and the subsequent fate of their replica of Szczerbiec is unknown. This fact cast doubts over the authenticity of Szczerbiec held in the Hermitage. Some experts suspected that the sword possessed by the Russian imperial museum was in fact the Nieśwież replica, not part of the original royal insignia.
Another historically notable replica of Szczerbiec was produced probably in Dresden, Saxony, at the time when the original was in Prussian hands. It is modest and inexact; the handle is carved in bovine bone and the niello is imitated with black paint. Designs on the handle are patterned on those of the genuine Szczerbiec, except that the crosses and letters on the pommel were replaced with the coat of arms of the Polish–Lithuanian Commonwealth. The blade was initially shorter than that of the original, actually typical for a stiletto. It was purchased in Dresden by art historian Edward Rastawiecki, who in 1869 donated it to the archeological collection of the Jagiellonian University of Kraków. The university lost it during the German occupation in World War II. After the war, the replica found itself in the hands of Tadeusz Janowski who smuggled it to the United States in 1947. At around that time, the short stiletto blade was replaced with a long blade of a 16th-century German sword. To imitate Szczerbiec, a slit was cut in the blade and small heraldic shields were attached to it on both sides. During the communist rule in Poland, the Polish American community of Chicago treated the replica as a symbol of Poland's independence. In 1968, it was demonstrated to U.S. Senator Robert F. Kennedy while he was meeting with Polish Americans during his presidential campaign. Janowski returned the sword to the Jagiellonian University in 2003.
In 2005, the Polish Football Association, in an attempt to fight racism among Polish football fans, prepared a blacklist of most common racism and fascism symbols to be banned from Polish football stadiums. The catalog, co-authored by independent Anti-fascism organization Never Again ( Nigdy Więcej), listed the Mieczyk Chrobrego as one of the extreme right symbols that are often displayed at the Polish stadiums. The catalog listed other racist and fascist symbols like the Nazi swastika, the Celtic cross, and the Confederate Flag. After a protest by MEP Sylwester Chruszcz of the League of Polish Families, additional consultations were held with historians, academic researchers and other experts and as a result the symbol is still listed in the catalog of extreme-right symbols banned at Polish football stadiums. It was also banned by UEFA during Euro 2008 and 2012.
The symbolic use of Szczerbiec became a bone of contention again in 2009. After a monument to the Ukrainian Insurgent Army ( Ukrayins'ka Povstans'ka Armiya) on the Mountain in southeastern Poland was vandalized, authorities of the Ukrainian city of Lviv demanded the removal of an image of Szczerbiec from the local Polish military cemetery. The Ukrainians, recalling the legendary use of the original sword in a Polish invasion of Kiev, argued it was a Polish nationalist, militaristic and anti-Ukrainian symbol.
|
|