What's Next?

Greetings,

Much has been posted on this blog and others about weapon forms and what we should be doing about training and a myriad of other topics. These topics are all important and should have not paid to them, however there is another topic which needs addressing. A school curriculum is only so long and the completion of such a curriculum is important and an achievement of note, however the question remains when this curriculum is completed... what's next?

A good school will teach the basics in a formal or at least semi-formal manner in order that the student can build their skills gradually. Regardless of the weapon form chosen, this process will teach the student the basic operations of the weapon and set a foundation for the student in order that they can participate in the martial aspects of the school. Once this foundation is laid then the student will, or should, after a while, ask "What's next?"

So the student will progress on to more advanced techniques. These may involve more advanced techniques on the same weapon and/or may include the addition of other weapons. Once again, based on the foundation laid in the beginnings of training, the skills of the student will develop. This is the purpose of the training at this point in time to develop and hone the skills. This will, no doubt, take some time if the student really wants to understand the weapons properly. Once, after some time, the more advanced techniques are learnt the student will eventually come to the end of the curriculum. At this point in time the student will be fully involved in the martial aspects of the school. The swordsman is well-developed and on their way. However, just as at the end of the foundation elements the same question should remain, "What's next?"

Up to this point in time, for the most part, the student has been fed techniques and principles from senior students and trainers. Now the student can count themselves amongst the senior students. The trainers at this point in time should be asking this student to help with training and to learn how to become a trainer. This is not an easy process and the student to trainer development will take time. Indeed this process should start while the student is undertaking the advanced training syllabus. So the student becomes a trainer, over period of time. They are teaching new students, and even the more advanced students. This is not the end of the road, the question remains, "What's next?"

The swordsman should always attempt to keep sharp. This applies to mind and body. Basic drills should be a normal part of the regimen along with combats against other opponents. These keep the body sharp but in order to keep the mind sharp more is required. In order to stay motivated the swordsman should always be looking for new projects and new things to learn. This can be broad or focused dependent on the interest at the time. There is always something which can be learnt for fencing or something which can be refined. The swordsman should always be thinking, "What's next?"

Cheers,

Henry.

Giacomo di Grassi's Case of Rapiers

Greetings,

What appears below is a transcription of Giacomo di Grassi's Case of Rapiers from the 1595 edition of "His True Art of Defence". I have not included the image from the source, but the spelling and punctuation is as close to the original as could possibly be transcribed. The "long s" has been replaced by "f" as was done for the most part of the original document. Enjoy.

Cheers,

Henry.

P.S. A .docx or .pdf version of this document is available on request.

Of the Cafe of Rapyers

There are alfo vfed now adaies, afwell in fcholles, as in the lifts, two Swordes or Rapiers, admitted, and approued both of Princes and of the profeffors of this art, for honourable and knightlie weapons, albeit they be not vfed in the warres. Wherefore I fhall not varie from my purpofe, if I reafon alfo of thefe, as faire as is agreeable to to true art. To him that would handle thefe weapons, it is neceffary that he can afwell manage the left hand as the right, which thing fhalbe (if not neceffarie) yet moft profitable in euery other kind of weapon. But in thefe principally he is to refolue himfelfe, that he can do no good, without that kind of nimblenes and dexteritie. For feeing they are two weapons, & yet of one felffame kind, they ought equally and indifferently to be handled, the one performing that which the other doth, & euery of thẽ being apt afwel to strik as defend. And therefore a man ought to accuftome his bodie, armes and handes afwell to ftrike as defend. And he which is not much practifed and exercifede therein, ought not to make profefsion of this Arte: for he fhal finde himfelfe to be vtterly deceiued.

The manner how to handle two Rapiers.

It is moft manifeft that both thefe weapons may ftrike in one and the fame time: for there may be deliuered ioyntly togither two downright edge-blowes on high and two beneath: two reuerfes, and two thruftes, and are fo rich and plentifull in ftriking, that it feemeth they may be vfed onely to ftrike. But this ought not to be practifed, neither may it without great daunger. For all that, whatfoeuer may be done with either of hem, is deuided into ftriking and defendinge. That this is true, it may be perceiued in the fingle Sworde, which affaieth both to ftrike and defend. And thofe who haue taken no fuch heede, but haue beene bent onely to ftrike being moued either through coller, either beleeuing, that they had to deale with an ignorant perfon, haue remained therby mightily wounded. Of this, there might be laid downe infinite examples, which I leaue to the entent I may not fwarue from my purpofe. I faie therefore that of the two Rapiers which are handled, the one muft be applyed towardes the other to ftrike, regarding alwaies to vfe that firft which wardeth, then that which ftriketh: for firft a man muft endeuour to defend himfelfe, and then to ftrike others.

Of the high ward at two Rapiers.

Prefuppofing alwaies, that either hand is very well excercifed, afwell in ftriking as in defending, this high ward fhalbe framed after two waies, which yet in manner is all one. The one with the right foot, the other with the left foot, fo working continually, that the hinder arme be aloft, the former beneath in maner, as when the lowe warde is framed at the fingle fword. And as a man ftriketh, he muft alwaies maintaine & continue this high warde, which at the two rapiers, is moft perfect & fureft and he may eafily performe & do it: for whileft he entereth to giue a high thruft with his hinder foote, although that foot be behind yet it muft accompanie the arme vntil it hath finifhed his thruft, & fettled it felf in the low ward. The other fword & hand (which was borne togither with the former foote in the lowe ward) remaining behind by reafon of the encreafe of the high thruft, muft prefently be lifted vp, & be placed in the fame high ward.”

            Therefore it is to be noted, that whofoeuer meaneth to fhift from this ward & ftrike, whether it be with his right or left foot, before or behinde, it is requifite that he ftand without, & when he would ftrike, he fhal firft proue with his low fworde, whether he can finde the enimies weapons, & hauing fuddenly found them, he fhal nimbly beate them back, and (in a maner) in the fame inftant force on a high thruft, with the increafe of a pace of the right foot: from the which, if the enimie (for fauing of himfelfe) fhal haftily and directly giue backwards, he fhal follow him, deliuering prefently the other high thruft behind, alreadie lifted vp. And this thruft wil fafely hit home & fpeede, becaufe it is not pofsible that one may go faft backwards, as an other may forwards.

            Farther, afwel in this ward, as in others, the warde may be framed with the right foote before, & the right arme lifted, & fo cõtrariwife. But becaufe there is fmal force in this ward both in the feete & handes, which ftand not comodioufly either to ftrike or defend, and feeing there is required in the handling of thofe weapons, great ftrength and ftedfaftnes I haue thought good, not to laie it downe, as to fmall purpofe.

The defence of the high warde, &c.

The direct oppofition & defence of the high warde is the lowe ward, the manner whereof fhal be feen in his proper place. That which principally is to be confidered (for the lowe warde alfo, in like fort as the other may be framed after two fortes) is this, that of neceffitie a man ftand with the fame foote before as the enimie doth, to wit: if he beare the right foot before, to put foorth the right foote alfo, and to endeuour as the enimie doth, to ftand without, for of both wayes this is of the more aduantage and fafetie. Finding himfelfe therefore without, in the lowe ward, he muft not refufe, but rather fuffer his fword to be found and beaten by the enimie: for this doth redowne much more to his own aduantage then to his enimies becaufe the enimie carrieth fmall force in his low hande wherewith he endeuoureth to finde and beart off the fword, confidering it is born to farre off frõ the other: for that which is flẽderly vnited, is leffe forcible: whereas ftanding at the low ward, he bereth both his hands low neere togither and fufficiently ftrong. Therfore as foone as the enimie hauing beaten back the fword, shal refolue himfelf to giue a thruft, he muft encreafe a flope pace, & with his hinder low fword, driue the enimies high thruft outwardes towarde the right fide, if it chaunce that he were in the low warde with his right foot before, And fuddenly with the other low fword behind (which was fuffered to be beatẽ off by the enimie, becaufe it might turne the more to his difaduantage: for feeing the enimies fword being flenderly vnited, as I haue saide before, carried but fmall force, it was the rather beaten off and difappointed: So that as foone as the flope pace is encreafed, and the faide high thruft warded, before the enimie place his other fworde alfo in the high warde, hee may with the ftraight pace of the right foot deliuer a low thruft continuing ftill to beate downe the enimies fworde with his owne lowe fworde, that is borne before: And this manner of warding is moft fafe and fure: for befides that it ftriketh the enimy with the flope pace, it doth likewife in fuch fort deliuer the bodie from hurte, that of force the enimie is difapointed. Neither is there any other fure waie to warde this high thruft, being fo ftrong, and befides, hauing fo great encreafe of pace.

This manner of defence is moft ftrong and fure, & is done with that fworde which is fartheft off. Yet there is another waie, & that is, with the low fworde before, the which is no leffe ftronger and fure than the other, but yet much fhorter. For looke in what time the other defendeth, this ftriketh.

Therefore in the low ward is to be noted, (when the enimie moueth, pretending to beate off the fword and there withall to enter,) that then the poynt of the fword before be lifted vpp, keeping the hand fo ftedfaft, that it oppofe it felfe and keepe outwards the enimies high thruft, and hauing made this barre, to keepe out his weapons, then & in the felffame time, he fhall encreafe a ftraight pace, & with the low fword behind fhal ftrike the enimie in the breft, to whome it is impofsible to do any effectual thing, or to auoid the faid ftroke, for that (by meanes of the point of the fworde lifted vp in maner aforefaid) both his fwordes are fo hindred, that they may not fafely ftrike, either with the edge or point.

Of the hurt of the broad warde at the two Rapyers.

            This broad ward, may in the felfe fame maner be framed in two waies, and it may deliuer the felf fame blows, in the one as in the other: This ward is framed with one foote before, and one foote behind, the arme (which is borne on the fide of the hinder foote) being ftretched wide & broad outwards. Therfore when one ftandeth at this ward, and would as ftrayght and as fafe a thruft as is poffible, he fhal firft proue with his low Rapyer, whether he can find the enimies Rapier, which being found, he fhal turne his fift outwards, and force the enimies Rapier fomuch, that it may do no hurt, and then withall increafing prefentlie a flope pace, fhall go forewards to ftrike the enimie in the thigh, with the wide thruft. He might afwell alfo thruft him in the flanke, or in the head, but yet the other thruft is vfed, becaufe the Rapier, which is directed to the thigh, is in place to hinder the enimies other Rapier to light on the legges.

            And as in the high ward, fo likewife in this, he muft alwaies ftand without, and hauing deliuered the wide thruft, he ought prefentlie to widen the other arme, and fettle himfelfe in the broad ward.

Of the defence of the broad ward at the two Rapyers.

For the defence of the thruft of the broad ward, it is neceffarie that a man ftand at the lowe ward, and there withall diligently obferue, the mocions of the enimies bodie, how it compaffeth and paffeth to and froe, by knowledge and due confiderations whereof, he may eafilie defende himfelfe. Yt therefore the right arme be ftretched out wide, the right foote alfo (being behind) fhall be in like maner widened, the which, when it increafeth forwards, fhall alfo carrie with it the right fhoulder, voyding alwayes with the left fide.

And the felfe fame muft be confidered, & practifed, when he ftandeth at this ward, the contrarie way. That therefore which he muft doe, for the defence of him felfe, fhalbe to voide that part of his bodie, which may be hurt by the enimies wide and broad thruft, and to oppofe himfelfe againft that part of his enimie, which commeth forwards pretending to ftrike: And this he fhall doe, at what time the enimie (finding the fword) would come forwards in his thruft. And in the felfe fame time, (affuring himfelf with his own low fword) fhall increafe a flope pace, thereby inuefting and incountring that part of the enimie, which came ftriking, and with the which he framed the broad ward. Neither can it be fafe ftriking at any other place, for either, he fhall find nothing to incounter, by meanes of the mocion of the bodie, or els if he do not oppofe himfelfe againft that fhoulder of the enimie which carrieth the hurt, he is in hazard to be ftroken by the enimies broad thruft.

Of the hurt of the low ward at the two Rapyers.

            The low ward fhall be framed after two waies, the one with the right foote before, the other with the left, and each of them may ftrike, either within, either without. The way which ftriketh within, hath one blow, the way which ftriketh without hath two, and in all, they are fixe. I will lay downe but three, becaufe they differ not from the other three, but onelie in the hand and foote, which muft be placed before, fo that they are the felfe fame, for I haue alreadie prefuppofed, that he who taketh vpon him to handle thefe weapons, can afwell vfe the one hand, as he can the other. He may therefore finde himfelfe to ftand with his right foote before and within, (I vnderftand by within, when he beareth one of his fwordes betwene both his enimies fwordes, and likewife when the enimie carieth one of his, betwene the other two. Yt is likewife true, that this alfo may be faid within, to witt, when both weapons are borne in the middle betweene the other two. But I fuppofe no man fo foolifh, who handling thefe weapons, will fuffer both his fwordes to be without, being a verie vnfure ward whereof I leaue to fpeake.

            That therefore, which he is to do, (finding himfelfe with both his rapiers below, & within, with his right foote before, after the faid firft way of being within) fhalbe, that marking when he may clofe in the enimies Rapier, betwene the which the enimies rapier fhall be fo fhut in and barred, that it may do no hurt, and one of the two Rapiers, that is to fay, the right Rapier fhall paffe under the enimies rapier, and thruft fafelie. And his other Rapier albeit, it may thruft directly, yet (for the better fauing of himfelfe, from the enimies other Rapier that is at libertie) he fhall beare it fomewhat abafing his hand, with the point vpwardes, the which point fhall fauegarde him, from the enimies faid Rapier, although this laft note, be fuperfluous. For feeing the enimie muft ward himfelfe from the thruft that hurteth him, he hath no leafure, nor happilie mindeth to ftrike, but onely to defend himfelfe, either by voyding his bodie, or els by fome other fhift, which he fhall then find out.

            The waie of warding without, may ftrike directlie after two waies: The firft, by beating off the enimies Rapier, with his owne that is before, and by deliuering a thruft, either at the breft or head, with the Rapier that is behinde, increafing therwithall a flope pace, and fetling himfelfe in the low ward, with his left foote before.

            The fecond is, by taking opportunitie, which he may do, if he be nimble. And he ought with the increafe of a flope pace, to driue the point of his former Rapyer directlie towards the enimie, and aboue the enimies Rapier. And his other owne rapier, which before the increafe was behind, he muft force on, under the enimies rapier. And thus, not giuing over, thefe two thruftes muft be ftronglie and nimblie driuen towards the enimie, by meanes whereof being ouertaken, the enimie hath no other remedie to fafe himfelfe, then to retire backe: for he may not come forwardes, but he muft runne himfelfe vpon the weapons, and that he will not doe. So then, the enimie retiring himfelfe may be followed, as farre as the increafe of the right foote will beare, then, fetling in the low ward.

Of the defence of the low ward at the two Rapyers.

            Al three thrufts of the low ward, by ftanding at the fame ward, may eafilie be warded, and that after one maner. If a man remember firft to void his bodie from hurt, by the increafe of a pace, that is verie flope, or crooked, either before the enimie commeth thrufting, either as foone as he moueth himfelfe for the fame purpofe, or if he be actiue and nimble to trauerfe, and in defending himfelfe to ftrike the enimie.

            Therfore when any of the fame three thrufts come, and before he perceiueth his Rapier to be clofed, and barred in, he fhall moue a flope pace, to th’entent to auoid himselfe from hurt, and with his Rapier, which is at libertie, he fhall go forwards and deliuer a thruft at the enimies face, which thruft, doth furelie fpeede, if he be refolute to enter.

George Silver: Somewhat of an Explanation

Greetings,

The manuals written by George Silver are often pushed aside due to their apparent lack of content with regard to the use of the sword. However were a reader to examine the situation of Silver himself and the time in which he wrote his inflammatory manuals more understanding is possible. This article is an attempt to bring George Silver out into the limelight and bring some understanding as to the reasons for his treatises, and also to understand some of the uses of these manuals.

Back in the dim, dark days of my fencing history I took up Silver's "Paradoxes of Defence" and began to read. I was pointed toward this as a manual of the period. I read and found no use to me as a user of a rapier besides being told how useless it was and that I should use more native English weapons. Needless to say it put me off the treatise so I put it aside and went on to read something else.

A little later on I re-read "Paradoxes of Defence" from a clean slate and found it an interesting political statement. Further I read his "Brief Instructions Upon My Paradoxes of Defence" and found it to be a much more useful read with regard to the practical application of the sword against an opponnent, sure I found some political statements but the practical nature of the book was apparent. It is for this reason that I am writing this explanation, to bring Silver back into the light of practicality.

Before we can understand George Silver himself, it is important to put him into his context, as his surroundings affected his feelings and his writings. This means a brief look at some Elizabethan history. In the early Elizabethan period there was religious instability with arguments between Protestants and Catholics. This was affected by the outside influences of the Spanish and to some point the French. In the early part of her reign Elizabeth was not a secure bet for survival as Queen of England. The influences of the Spanish and Italians were felt everywhere from politics to fashion.

The Italian and Spanish fashions were very popular in England during the Elizabethan period. Indeed what we consider to be the classic Elizabethan fashion is actually partially Italian and partially Spanish. To be seen with some Italian influence was to be seen to be cosmopolitan. These Italian influences seemed to invade all parts of life. Traditionally it was seen that the English weapons were the sword and buckler, but as the influence of the Italians was felt more and more this combination was forsaken for the rapier and dagger. It was into this that George Silver grew up.

The best way to describe George Silver was as a xenophobic military man. To this particular point he had two strikes against the rapier before it was even used. Firstly it was foreign, and secondly it was of no use in a battlefield situation. Thus the native combination of the sword and buckler was more useful in war and thus more appreciated. Further the rapier was immediately lethal whereas the sword and buckler seemed to be less so. This was the foundation of his arguments, it could be seen that he felt himself as the defender of English weapons against the invasion of the foreign.

"Paradoxes of Defence" (1599) was written as a response to the rise of the rapier and the teachers and practitioners of it and the decline of the London Masters of Defence. In this he rails against the teachers of the rapier and their practices which he sees can only lead the practitioners to death. This treatise was more of a political paper rather than a practical manual on the use of weapons. In the treatise he compares "good English weapons" against those of the foreigners and states that the English weapons are of better use. What will be noticed in these comparisons is the presence of weapons which were not civilian but military, thus revealing his military mind and thus the rejection of the rapier as a militarily-useless weapon. This treatise is often seen as a simple rant, but read from his point of view it reveals interesting aspects of the English psyche.

"Brief Instructions Upon My Paradoxes of Defence" was undated when it was discovered and thus it can only be estimated to have been published a little after "Paradoxes" this placing it c.1600. This treatise is an effort to explain more of what Silver was indicating in his previous manual. What should also be noted is that it is also a response to Vincentio Saviolo's "His Practice in Two Bookes" as Saviolo is mentioned specifically. Needless to say these two contemporaries did not get on particularly well. "Brief Instructions" is more of a fencing manual and gives description and instruction upon the correct use of weapons. However, it should be noted that this does not mean that there is an absence of his political feelings, quite the opposite actually.

While there is a lot of political elements present in both of Silver's manuals, they should not simply be rejected due to this. Indeed the political elements are very useful to the historian especially, but for the fencing student, it explains much of the author's approach to the weapons he describes. If you have read Silver's treatises before and found them of no use, I encourage you to go back and have another look at what he has written as there is a lot of useful information present for both the historian and the historical fencer. If you take into account George Silver's history and his historical surroundings, his treatises make much more sense.

Cheers,

Henry.

"Hot" Drills

Greetings,

The article which follows is about drills, more accurately it is about "Hot" drills and getting the most out of your drills. Most people do not like drills as they feel monotonous and unfulfilling, however they do fulfil and important part of the training process in order that skills are learnt properly in a practical manner. The problem is that most drills which are performed, while they are effective, they are not as effective as they could be.

Most drills are performed at slow speeds, and for beginning drills this is important. The slow drill allows the body to understand the movement in a slow and controlled fashion. The slow drill also allows the teacher to correct any issues in the performance of the action before it causes any issues for the fencer. Once a drill is learnt then the drill is sped up, not much but it is. These drills are done at a comfortable speed often without armour and with out intensity. These will teach the individuals participating in the drills the mechanics of the action but it lacks something in the execution.

"Hot" drills are about taking the essential drills and adding an element of intensity to them in order that the drill can be performed under conditions which are closer to the performance of the action in a combative situation. This is designed to discover what the students performing the drill have actually learnt and what actually rests in their muscle memory.

First point, armour is essential for these drills as there is too high a chance that the face or another part of the body may be struck with weapon moving at a high speed. Second point, these drills should only really be performed with those students who are in a condition where they are ready to face an opponent in full-speed bouting. Third point, the focus of these drills is what the student has actually learnt rather than the perfection of form demonstrated. Fourth point, the drills must be kept simple in order that the participants still have suitable control remaining in order to perform the actions associated. Fifth point, the drills must be performed at combat speed to be true "Hot" drills and to be effective.

The best drill to start with involves simple footwork movements and the retention of distance. One fencer advances while the other retreats. The idea here is that the fencer who is retreating must not allow the fencer who is advancing to catch them, but should be doing their best to maintain good distance. Once the fencers have proven that they can do this you can move on to the second one. This is one is also useful for good pairing for students.

The second drill adds a parry into it. One fencer advances and thrusts to a single line. The other fencer must parry or be hit while retreating. Of course the parry with the hand should be made first with the retreat as a back-up. The retreat is also designed to maintain distance. This should be done against a single line only, but can be repeated with all four lines. The goal of this is for the attacking fencer to strike the defender, and of course for the defender it is to defend the line successfully. A successful defence is the goal.

The third drill and the most complex that should be used is to add a riposte to the drill. One fencer advances and thrusts, the other must parry and riposte while using a retreat. As with the previous this should be against a single line. In this the distance is vital and is a test to see about the maintenance of distance between the two fencers. Once again the goal of the attacker is to strike against the line, and the goal of the defender is to parry and make a riposte. The defence is the highest importance here, the riposte should be still made for a counter-attack in order to train the instinct into the fencer.

"Hot" drills should get no more complex than two actions of the blade performed by one fencer and a single action performed by the other. The simple advance and retreat mechanic is useful for those steps as they are simple. Adding other steps could over-complicate the drill. "Hot" drills are designed to be drills with real intensity added to them in order to reveal the true condition of the training.

"Hot" drills are a very useful training tool when they are utilised and performed properly. The important thing here is that they reveal in fencers what they will actually do under the pressure. They should only be used with fencers who have the skill capacity to perform them and also those who have or are ready to be performing at full-speed. For experienced combatants, "Hot" drills can be a useful warm-up before a tournament, or even a warm-up before training. Students in the performance of  "Hot" drills should be only evaluated on the skills which are being used in order to refine training for them. They very rarely reveal perfect form. Use the drills for what they are designed for and they can be a very useful tool in the training arsenal.

Cheers,

Henry.

Special Note: Use of Information

Greetings,

First let me say that I have no problem with people using the information which I put out here on my blog, for non-profit purposes that is what it is intended for. I only request that people attribute it properly and do not change the information which they use from these articles. If you wish to use any of the information for commercial purposes I would request that you request permission first. Thank you.

Cheers,

...Henry

Sword and Rotella – A Bluffer’s Guide

Greetings,

I have been doing some investigation into the use of the sword and rotella of late. This is really for my own purposes as I have owned a rotella for about three years and I figured I should really get around to learning how to use it. This is a "bluffer's guide" to the use of the sword and rotella meaning that it is light on the detail in most places and gives you a general idea about how to use this particular combination. The work is, however, based on research from suitable materials as will be demonstrate.

Cheers,

Henry.

Introduction

“It very often happens that one’s own weapons make war to the selfsame ones who do not know their use well. Therefore, I have judged it not to be outside of the purpose to mention some particulars of the rotella, as it is a most perilous weapon to those selfsame ones who have not done any kind of practice.” – Capo Ferro, 1610 (Kirby, 2012:142)

            The sword and rotella is a system which has a relatively long heritage, however, to date, it has only been found in Renaissance manuals. What this means is that there is quite a bit of information to cover for the understanding of the system if each master was to be examined in detail. This is not what this investigation will be aimed at.

            The discussion here is designed to reveal the essentials of the system. These essentials are what make the system what it is and are found in various manuals but it is the common elements which reveal the system for what it is. This investigation has taken four manuals from the Renaissance period and through an examination of each manual distilled and found the essential elements. Thus the system which is presented here has been developed from the examination and common and foundation elements from each of the four manuals.

            This is more of a generalised discussion of the system overall rather than an in-depth discussion of individual techniques. The discussion presented is designed to give the reader an overall understanding of the system. This understanding can form a foundation from which other systems can be examined.

            The order of presentation is to examine the background issues in the investigation and then examine the sword and rotella as a system. Individual elements of the system will be examined in some detail for completeness in order to give understanding as to how the sword and rotella work as a system. This means that while there will be practical elements presented and these can be used it is the understanding of the system which is the goal of this discussion.

Source Material

            The source material which is presented in this discussion uses as close to primary materials as possible. Issues with regard to this particular element of the discussion will be noted below in the bibliographic discussion. Further to this these primary materials will be in a distilled form, extracting the most important parts from each and using this as the framework upon which the investigation is based.

            This examination focusses on four masters works with regard to their use of the sword and rotella. Chronologically they are Marozzo’s Art dell Armi of 1536, Agrippa’s Trattato di Scientia d’Arme of 1553, Di Grassi’s His True Art of Defence of 1594, and finally Capo Ferro’s Gran Simulacro dell’arte e dell’uso della Scherma of 1610. Most of the information found in these manuals is from the point of view of matched weapons i.e. sword and rotella versus sword and rotella, but the information found within can also be applied to other situations with a little modification. What should also be noted in these manuals is that the earlier manuals contain more with regard to the use of the rotella whereas the later manuals contain less. However the information which is contained within these manuals is most useful to this investigation and development.

Bibliographic Issues

            In the study of the sword and rotella there are some bibliographical issues that need to be taken into account before any real study can be achieved. One of the first things is with regard to the weapon, the second with the device in the other hand, and lastly there is a language issue that needs to be taken into account. These need to be addressed in some fashion before a real study can take place.

            First of all is the language. Of the four manuals which have been used for this investigation only one of these is written in English, that of Di Grassi’s 1594 manual. Even that is actually a translation of the 1570 Italian manual of the same name. All of the others have been translated from Italian to English in the modern period, by some very knowledgeable people admittedly, but there is still the interference of the translation of the language to take into account.

            Further to this language issue, and directly related is the names of the devices being used, the sword and the rotella. Often “spada” in Renaissance manuals is translated as “rapier” where in actual fact it simply means “sword”. This is the reason that this investigation is being referred to as a sword and rotella manual, thus covering both of the weapons concerned.

            As for the rotella itself, it is called this in Italian. It is called a “Shield” generically, a “target” in Old English and a “rodela” in Spanish. All of the terms refer, more or less, to the same item. Due to the more Italian focus the shield will be referred to as a rotella, as it has previously and will in future be.

What is Rotella?

            The rotella is a round shield. Its size varies from approximately 20” to 30” or roughly 50-cm to 76-cm. The grip is most often a loop of leather but may be a solid handle. There is a second loop leather which sits about the elbow; this is sometimes replaced with an adjustable strap. The outside of the rotella is constructed of steel or wood.

            The rotella and its use is the only, to date, documentation of the use of a shield in combat aside from the buckler. However, as will be demonstrated, the rotella differs from the buckler in use. While this style of combat is more readily associated with military-style encounters, there is evidence, as presented in these civilian manuals of its use for civilian combats as well. 

Versus Buckler

            One of the great mistakes made with regard to the rotella is that it is often assumed that it is used the same way as the buckler. This is actually incorrect. There are some significant differences that must be noted between the rotella and buckler in order to completely understand how the rotella is used.

            Simply based on physical size the buckler is small and the rotella is large. This alone will result in differences. The simple thing is that a small defensive object will be more mobile than a larger one. The result of this is that the buckler will be more active that the rotella which will be more stationary.

            The size will affect the nature of the use of the item, but the use will still be based on the same foundation theory of such a defensive device. Thus similarities can be drawn between the use of one and the use of another. Ken Mondschein has noted that the use of the rotella as used by Agrippa is similar to the Bolognese judging from Marozzo’s assaulti; however the rotella is more to the fencer’s side whereas the buckler is placed out in front of the fencer.

What will also be noted through this investigation is that the similarities will be present amongst the masters indeed if there were no similarities it would be difficult to draw a common use of the item, and thus a universal approach to its use. It is the similarities which will be the focus but differences will also be noted.

Wards

            There are several wards available for the use of the rotella. Each of the four masters described at least one if not several wards which can be used at sword and rotella. For the purposes of this examination the ward which will be used is one which is based upon the essential principles which each of these wards is based. This is in essence designed to simplify the system in order that one ward is used.

Marozzo focuses on three wards, coda lunga stretta, coda lunga alta and porta di ferro stretta, however this being said in his description of the actions he also passes through and uses six others. The three named here, though are the three which for the most part he starts from or ends up in. It is the form of the dominant wards which is important.

Agrippa uses four guardia in his manual as his primary. These are described previously in his manual and are given simple alphabetic indications. As the wards are presented as single sword or sword and dagger, it is up to the reader to interpret where the rotella is placed. However after the examination, it will be noted that the same foundations upon which Marozzo bases his wards will also be found in the wards of Agrippa.

Further along in the chronology is Di Grassi and later is Capo Ferro, by this time the amount of wards for the combination have been reduced. Di Grassi mentions the use of three wards, but is essentially focussed on a single ward being his Low Ward. Capo Ferro uses a couple of wards in his use of the rotella but his sesta is his favourite ward. As can be seen the system has been refined to present the essential parts of the system, and in a similar fashion one ward will be indicated here. Of the holding of the rotella Capo Ferro states;

“the rotella must be held embraced with the left arm somewhat curved, in a way that looks somewhat towards your left side, but not so curved that it impedes the eye so that you cannot discern whatever part of the enemy you want to proceed to strike.” – Capo Ferro, 1610 (Kirby, 2012:142)

The essential ward for the use of the sword and rotella is formed as such. The sword foot is placed forward of the off-hand foot with the toe pointed at the opponent. The feet should be comfortably spaced, neither too close or too broad. As with any good ward, the knees should be bent slightly.

The rotella is held extended from the body rather than close to it, with the arm slightly bent in order to bring the rotella slightly across the body to cover it, at least the off-hand side. The position of the rotella should not restrict the view of the opponent, if this is the case the rotella should be moved out slightly. Having the rotella against the body is dangerous, as is resting on the thigh.

For the most part the rotella remains stationary for other wards, should they be taken the sword moves around it. The most common position would be in guard of terza or equivalent. This means that the hilt of the sword should be about the hip or slightly extended with the point upwards. The Broad Ward or broad seconda is discouraged as it takes the weapon too far out of line. From this position you should have full utility of both sword and rotella.

Footwork

            The footwork used with the rotella is the same as the footwork used for any other form. In the case of the use of the rotella passing and circular footwork tend to dominate due to the nature of the combination, but more direct approaches are also possible. The footwork is used, as per usual, to suit the situation. For the most part the approaches will consist of passing steps using biomechanical advantage to enhance the position of the sword and rotella against the opponent.

            This being said the paces should not be ignored as they also have their purpose especially in those cases where the position needs to be maintained while approaching the opponent. Gathers and slips are used in both offence and defence with the rotella positioning the body through small movements in order to take advantage of the opponent. Footwork, as usual, will also affect the effectiveness of the defences made and can also be used as defence.

Defence

            As with the footwork the defences in the use of the rotella are much the same as they are with any other form. Footwork is used both alone and with voids in order to enhance both. This is the simplest form of defence and all four of the masters mentioned here advocate the use of the void in some form.

There is little use describing voids except to say that the position of the rotella in relation to yourself and the opponent needs to be taken into account. If the rotella is left exposed the arm holding the rotella can actually come under threat from the opponent’s attack. Likewise it is important, for obvious reasons, not to lose vision of both the opponent and the incoming attack.

The sword can be used to parry the opponent’s attack as per usual. These can be made as parries in the usual fashion or as part of a cut. These actions should consider the position of the rotella in order to be effective. Unintended contact between sword and rotella can be detrimental to the effectiveness of the parry. Likewise, and on the same note a parry can be deflected off the sword and toward the rotella should the choice be made in order to enhance the parry or plan for a further action.

The parry made with the rotella is something which needs to be seriously considered. The rotella is large and slow and thus an action with the rotella requires thought. So much so that in some instances it is actually advised against.

In most cases the rotella will occupy a more or less stationary position only changing for the changing of a ward or position of the body. This stationary position passively denies the line to the opponent. Most of the movement should be made around the rotella rather than moving it.

Should the rotella be used to parry the action should be small in nature and accompanied by footwork in order to enhance the action. The rotella can also be used in a beat parry through the full extension of the arm. Once again the action should be used to deny the line to the opponent.

Counter actions against the opponent especially in mezzo tempo are useful. These should be primarily directed against the opponent’s sword arm in order to stop the incoming attack. True an attack against the body or head of the opponent will debilitate him, but the incoming attack may still be completed.

Marozzo in his defensive actions mentions a discouragement cut. This cut a riverso spinto, a riverso delivered with a forward slicing action, is used in order to discourage the opponent from closing or attacking. This action is most often used, and most useful when coming back into guard in order to gain the time to do such. Delivered with the correct timing such a cut can also result in a counter-cut against the opponent.

Offence

            The offensive actions of the sword and rotella are much as expected, the same as any other combination. The most interesting thing is that most of the attacks are either made high against the head and face, and low against the legs. This is really to be expected as these are the two areas left relatively open in the rotella. There are some actions directed against the body but these require manipulation of the opponent’s rotella.

            The earlier manuals, as can be expected have more of a cutting element while the later manuals focus more on the thrust. This is not to say that the reverse does not happen just that it is much rarer. With regard to the attacks themselves the most interesting point comes from Agrippa where he positions his fencer for a throw against the opponent.

            For the most part the dominant thrust is the stoccata, a rising thrust usually from below under the rotella and against the opponent’s face. In some ways this is more of a generic thrusting attack and could be directed against the body should the opportunity present itself. While there are no cuts mentioned in Di Grassi, they are mentioned in Capo Ferro targeting the legs. Cuts are made with both true and false edges, and made usually against the head or legs. However a note should be made as indicated above as to cuts made against the attacking arm and hand of the opponent. Feints are used to enhance the attack, usually a thrust to the head followed by a cut low.

Time and Engagement

            With regard to these two subjects, and indeed the subject heading, there is a lot which can be discussed both specific and general. For the purposes of this part time will consider fencing time and parts associated with it while engagement will consider actions of the blade and rotella against the opponent’s devices. This allows for a little breadth in both discussions so the important elements can be highlighted.

Time

            In the combat with sword and rotella there are examples of the use of all forms of time. It would seem, however that counter-time, half-time and single time are the dominant forms of time. Each one of these uses the motion of the opponent in some fashion to generate an action so that a response may be made against it. These forms of time are very active moving from an action in one form of time to another in quick succession, sometimes as part of a plan and sometimes in response to the actions of the opponent.

            What should also be noted is that there are active and passive modes of time present in the action. There are times when the fencer will wait for the opponent to attack and then react to the motion given, but there also actions which are active where the fencer makes the first action against the opponent. These initial actions are usually designed to elicit a response from the opponent so further actions may proceed. If the response is not forthcoming then an action can be completed as an attack. This is especially the case in the use of feints. If there is no response to the feint it is completed as an attack against the opponent, thus these actions can be feints or complete attacks depending on what is required.

Engagement

            Engagement for this discussion, as indicated, rather than being focussed on a single set of actions, it will related to all actions related in the engagement of the devices either sword, rotella or both. This enables a better overview of these actions rather than attempting to detail each individually. Allowing for a broader perspective of the subject also allows an overview of the actions.

            Engagements with the opponent’s devices are typically of a solid nature or in absence. The use of absence is often enhanced through the use of falsing. This is not to claim that the action is either one or the other and thus the action is limited. There are elements of glancing and leading actions also. However where there is contact between the devices it is most often solid and uses an element of force to achieve the desired end.

            As for detailing specific actions with the sword and rotella there are a few which dominate the actions. This is actually the result of the presence of the rotella as it limits the action of the blade due to its presence. This being said, there is evidence of the use of stringere and also the disengage in some form for control of the engagement. The beat is also used by the sword. What should be noted here is that most the actions used by the sword are actually also performed with the rotella as well. Clearly a disengage in the classic sense is not possible with the rotella, but the other actions mentioned here are, and are present in the primary material.

Conclusion

            The previous information is a very brief discussion of the sword and rotella. In some ways it could be called a “bluffer’s guide” to the system. Its purpose is for the reader to be able to examine the system from a general point of view and to understand how the system works. The aim here has been to present a system based on the works of several masters in order to distil down to a singular system and thus give basic instruction as to the use of the sword and rotella.

            The earlier parts of the discussion examined the various issues with regard to studying the system and the reasons for how the investigation proceeded. This also allowed for some foundations to be laid as to exactly what was being examined and from what point of view. Without this introductory material the following would be less useful.

            Each one of the masters which has been mentioned is useful in their own right. For the simplest approach it is Di Grassi who supplies it. His approach goes for the immediate fundamentals of how to deal with attacks and defences from specific guards, while demonstrating a clear preference for a single one. In a similar way Capo Ferro really gives an overview of the system, but his investigation seems to be rather rudimentary. The same simplified nature could be accused of Agrippa in his approach however it is clear that his examination can only really be understood alongside the rest of his work. Marozzo presents the most complex and in-depth system using multiple guards and presenting problems and solutions using each one. Just as with Agrippa this is a system that needs to be understood from the point of view of his entire system rather than just the sword and rotella.

            The examination here only forms the basis of the system. While the system which is presented here is useful and covers the essential elements, it is presented more as a discussion. A more practical approach is required for a real understanding of the system and how it operates. To this point a more practical and lesson-orientated approach can be taken. Further study should also be made into the primary materials in order to really understand the system; this discussion is only the beginning in order to be able to successfully apply the system against an opponent.

Bibliography

Agrippa, C. (2009) Fencing: A Renaissance Treatise, Translated by Ken Mondschein, Italica Press, New York, USA

Di Grassi, G. (1594) His True Art of Defence, Temple Barre at the Signe of the Hand and Starre, translated from the 1570 manual by I. G., London, UK

Kirby, J. (2012) Italian Rapier Combat: Ridolfo Capo Ferro, Frontline Books, Yorkshire, UK

Marozzo, A. (1536) Arte dell’ Armi: Books One & Two, translated by W. E. Wilson

The First Defence: Control

Greetings,

Safety is the concern of all combatants regardless of the nature of their art. This applies to those pursuing both Eastern and Western arts, and regardless of the weapons chosen by the combatants. A lack of consideration for safety aspects will result in injury and the possibility of serious injury or even death. This entry discusses concepts of safety and investigates them to find a foundation from which they are based and one which they should be based.

Safety

Standards of safety in fencing, regardless of what form, are based upon what is an acceptable level of injury for the activity which is taken part in. For some this will be to the limit of bones being broken in extreme instances and for others the idea of severe bruising is abhorrent. It is upon this basis that their ideas of safety are built. Obviously there must be some safety standards set for the activity to be encouraged and continued.

This level of injury acceptance goes directly toward the three primary aspects of the safety standard, armour, weapons and performance. With regard to these aspects one will always be emphasised over the others. For some it is performance, this will restrict what actions are acceptable and legal within the system. For others the focus will be on weapons and as such weapons are stipulated with particular characteristics, and thus restricted, to be used within that system. Others it is the armour which determines the primary aspect of safety and for these the armour will be stipulated depending on the recognised limit of injury.

However in truly intelligent systems it is always an even balance of all of the aspects. Weapons are stipulated but only in comparison to the armour. The performance is then regulated to an acceptable level for the system which will allow the weapons and armour to do their respective jobs. What is important here is that it is the performance, and thus control of the combatants which must be most important. Regardless of the armour or weapon standards, a person who is uncontrolled and who does not understand the performance requirements will still be a danger. Thus it must be control which needs to be emphasised in training and also codes of performance which need to be enforced.

Armour and Weapons

With regard to armour and weapons there is always the question of how much of each. Should the focus be upon the weapons or the armour? This has a lot to do with the perceptions of danger on the parts of the combatants.

Should the weapons be light and reasonably forgiving then the armour can be much lighter. Should the weapons be heavier and less forgiving then the armour as a result needs to be upgraded. This is a sliding scale and the direction to which the pointer slides will determine what sort of armour and weapons are chosen as suitable for the activity. The result will also demonstrate which is the focus of safety, the person doing the striking or the person being struck.

Even with armour which is the safest and weapons which are the safest, relying upon the armour and weapons as primary is an issue. This is a fallible system. First, the material in the construction of the armour or the weapon may fail, this is something which we only have a certain amount of control over. Freak accidents will happen. Secondly, the appropriate weapons have to be used in the appropriate manner and the same with the armour should either not suit the purpose for which it is being used, this will cause issues. Finally there is the simple element that a person may forget to don a particular piece of armour, or inspect their own weapon. This can also lead to issues. Once again to comes down to the individual being in control of the situation.

Finally there is the question of armour versus calibration. If the system is designed that the person being hit needs to feel the impact and they cannot or do not the calibration of the blows will increase. At the point where this becomes an issue, due to injuries, the armour will be increased. This will increase the calibration, and so the process will go around. This can be stopped at the beginning with control on the part of both combatants, hitting and hit.

Weapons and armour are two different sides of the same coin. These are physical items which are used in the performance of the art. Much can be done to determine which armour and weapons are used and thus increase safety, but regardless of the stipulations of the armour and weapons they still only cover so much. It is the combatant who wears the armour and uses the weapons which should be the focus. Thus the control of the combatants.

Control

Control which is an element which must come from within the student rather than being enforced externally. The way to do this is to have it trained into the students. This means that it must become an element in each lesson. Control must be emphasised in the curriculum that the students are learning. This is the only way that it will become an essential part of them as fencers.

While there does not need to be a specific lesson or lessons on control, it needs to be highlighted in the lessons which are taught. Even such simple elements such as footwork have an element of control to them. Feet need to be placed in the correct positions and the body needs to be moved in a particular manner and with control. This element is obviously required in any element of offensive actions to ensure that they are controlled and delivered properly.

The focus on control lays a better foundation for safety for the student and indeed the organisation of which the student is a part. What is even better is that the more that this is emphasised in early lessons, the more that it will grow. Control is something which increases with experience and practice should the trainers put enough emphasis on it.

The question of armour vs weapons and calibration is solved by control being an important part of the student's training. Should the students have control they will not have the issues of calibration as their attacks will be controlled in their delivery and thus for the most part should arrive with the correct amount of impact for the system being taught. Should the element of control become a normal and integral part of training a student with control can pick up armour and weapon failures and thus avoid instances of danger. Thus control should be the primary safety element.

Responsibility to the Art 

Whether it is recognised or not, each practitioner/swordsman/fencer has a responsibility to the art that they need to take very seriously. Each time a weapon is picked up this responsibility comes into effect. The actions of a single person wielding a weapon can have effects far beyond any single blow delivered, or gesture made.

Each individual who involves him or herself in fencing in any form be it sport, historical, Eastern or Western takes upon themselves the responsibility to see that the art survives. In this they take upon themselves the responsibility to represent the art that they are demonstrating in a good way. Should this not be adhered to they put under threat the entire community. A single act of an individual wielding a sword can have repercussions affecting not only themselves but the wider community.

Every time you pick up a weapon you must ensure that you do your best not to injure your opponent, yourself or anyone who may be standing by. To fail in this places the art under threat of extinction. Already forces have been put in place which restrict access to the weapons of our art and where we can use them This is the result of an individual using the weapons with no consider for the repercussions that will result from their actions. Do not be one of these individuals.

Keep it safe, keep it controlled. Control is the key to safety in the art that we practice. There is no safety measure, save not using the weapons at all, that has a higher degree of success and safety for yourself and your opponent. Ensure that your practice/bouts/meeting has no way of being interpreted as an offensive gesture to members of the public. Ensure that you are as safe as possible and you will fulfill your responsibility to the sword community at large.

Cheers,

Henry.