[Ian]

2. Muthamaan

This form appears to be a degenerate form of the Sammaniya. It is technically easier to forge than the more sophisticated form. Smiths with lesser skills can produce the newer form. The lozenges remain on the ends, but they are only slightly flared and the top and bottom surfaces sort of meld into the two side facets (Fig. 9; collection of the author). After the first quarter of the 20th C, as an earlier generation of master forgers apparently became less active, this type becomes more common.

The term muthamaan is said to derive from a form of the number eight in Arabic, thamaaniya. The mu-prefix has an Arabic grammatical function implying “to make,” hence muthamaan means “to make eight.” A native speaker will certainly correct me, but the reader will get the idea. I count two facets on each side, front and back for eight surfaces total when both the right and left sides are counted. In contrast, the Sammaniya style has twelve total surfaces.

3. Sennariya

This type is perhaps the most simple yet most elegant of the kaskara quillon types. It departs from the lozenge ends of the Sammaniya and Muthamaan types and may pre-date them. The ends are spatulate or more like a thick straight screw driver (Fig. 10, Stephen Wood) with the flat top and vertical sides, and Chris’ oblique bottom view with forge welded langets (Fig.11). In both examples the top and bottom surfaces are finished smooth and flat and are of good quality. Note in Stephen's grip the securing pin and open tendon of the upper part of the langet. This illustrates a structural component addressed below.

The origin of this form is unknown. Sennar was the capital of the Funj Empire (1500–1821) and is 250 km south of Khartoum on the Blue Nile River. The form may have originated in Sennar during the Funj times and may be the original kaskara cross-guard. Why else would the type be called Sennariya? The picture of a Funj King dated 1821 indicates vertically flared ends on the guard, although they could be flared and spatulate. Note that the quillon appears to be adorned perhaps with precious stones (Fig. 12,13).

I offer a thought experiment to explain how the Sammaniya style perhaps evolved from the Sennariya style. It involves a bit of blacksmith empathy. We see that the Sennariya style essentially begins with a rectangular iron bar with parallel horizontal surfaces at 90 degrees to the vertical. Suppose a smith turns the bar 45º to present a rhombic/diamond cross-section, with facets on all four planes. Now hammer the top and bottom facets flat to form horizontal surfaces at the blade end of the half guard and taper to the ends while preserving the diamond cross-section. Now dress to create the lozenge ends. The piece now has six surfaces. Split the blade end of the quillon to accept the blade and wooden handle and the piece looks like half of a Sammaniya quillon. Have I explained this the way I envision it? Will the process actually work as a forging exercise?

----------Figures 9,10,11,12,13-----------
.