[Jim McDougall]

This is an interesting topic and swords, and while I cant add much to these shown (I try to avoid comment on Fagan), the sword replica shown (not the suggested Fagan example) is interesting in its own merits as often these Victorian examples are remarkably well done. Indeed those, especially by Schmitt of Munich were so much so that many resided in museum such as the Higgins for many years thought to be original. For purposes of arms history, these of course defeat the inherent purpose of study. However for those who have deep interest in style and form, more artistically oriented, they serve that purpose. .

I wanted to note the term 'flamberge' has an interesting history/etymology of its own. Actually the reference to these undulating blades is correctly 'flammard' in the European sense, from what I have understood.

The term flamberge seems to come into arms vernacular from Egerton Castle ("Schools and Masters of Fence" 1885) most likely from Moliniere, and the use of the phrase 'mettre flamberge au vent' in the disdainful reference in France toward flamboyant (another term for undulating blades) swords.
This had to do with someone drawing a small sword with great flourish as if it were a 'great sword' of the paladins in the Chanson de Geste, medieval narratives.

I always had the impression the undulating blades were allegorically the Biblical flaming swords much as in many traditional legends in many cultures. I think mostly comes to mind with these kinds of blades were the zweihanders of the landsknechts of Germany and Switzerland. There is no particular advantage pragmatically for this type of blade, but certainly they carried this kind of allegorical character.

The term flamberge according to Oakeshott is more familiarly applied to dish hilt rapiers and light transitional types of rapier to distinguish from the more orthodox forms ("European Weapons and Armpr", 1980, p.165).