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 D[omi]n[us] SOS [Salvator Omnipotens Salvator] auxiletur ad[ver]sus 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. 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