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.