True and False Arts: A Discussion of Tempo in the Use of the Feint

Greetings,

Feints are a subject which come up in discussions with regard to the tactics of fencing quite often, and quite frankly I am surprised I have not written an entry in this blog about them yet. So, in order to fill this particular hole in my explanations of fencing I present the following entry on the subject of the True and False Arts. I can tell you that this is only examining on element of the feint, but it is one that needs to be considered as it is vital to how feints work, or don't work.

Cheers,

Henry.

“I am constrayned to divide this Art into two Arts of Sciences, callinge the one the True, the other, the False art: But withall giving everie man to understand, that falsehood hath no advauntage against true Art, but rather is most hurtfull and deadlie to him that useth it.” (Di Grassi, 1594)

            The first question is what is this all about, True and False arts? Discussion of Tempo? Put simply, tempo is something, which is integral and one of the founding elements of fencing, essentially to understand this discussion the reader must understand that all actions in fencing take time. As for the True and False Arts, this is a discussion which has raged since the Renaissance, and will continue to rage amongst those who use the rapier, indeed any sword. In essence the True Art is the use of the blade using direct attacks against the opponent, and the False Art is the use of the blade using feints and misdirection. If the two concepts are combined then it will be understood as to what this discussion is about.

The feint can be used to quite good effect to deceive the opponent into opening themselves up for an attack. This is using the False Art. There were Renaissance masters who thought that the False ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

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Art of Combat

Greetings,

Art, and what it is has been a question which has plagued theorists for many years and no doubt will continue to plague them as art changes and changes again. This blog addresses the idea about the art being found in a different place namely in the combat manuals of the medieval and Renaissance periods.

In the search for the art of the medieval and Renaissance period most people go to the typical sources, examining known artists of the period. Names such as Da Vinci, Michelangelo Giotto and Durer others are very well known for their various pieces of art, some of which have become famous and stayed as such even into our own period. What needs to be realised is that art can also be found in other sources. The manuscripts of the period are one good example, another is the combat manuals of the period, a source which is often overlooked in the search for art.

Examples of the art of which I speak can be found as early as the fifteenth century and indeed earlier an example of this can be found here http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=143459&handle=li. This is a page out of a manual from 1410 written by Fiore dei Liberi. Now many Western Martial Artists will know of this manual and will know of the art which can be found within it. However for them it is the application of the techniques which are present rather than the artwork which is more significant for them. The artwork which is present and the skill it took to present such art cannot be denied.

What is even more interesting is that well-known artists of the period even dabbled in the martial arts as well. It is well known that Benvenuto Cellini an Italian artist of some note was involved in at one significant duel in his history in which he killed a man. What is less known is that the renowned artist ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

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Among other places...

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The Way Forward...

Greetings,

This will be a bit of an ad hoc post rather than anything planned. So going along with the title of the overall blog this will be a bit of my ramblings. The focus of this one as is indicated is looking at the view forward overall.

In my view I see two ways forward, following the manuals and recreating them as they are, and taking what we can from the manuals applying these techniques and developing our own ways. In some ways this is like the emergence of eastern martial arts in the 70's and 80's. What needs to be realised by all is that both approaches have their benefits and issues.

The first is an historical recreation of skills expressed by previous masters which keeps the examination of period masters alive and the history associated. In many ways this provides some of the fuel for the second approach. These investigations provide examinations of period masters and thus reproductions of techniques developed.

The second approach uses manuals but in a different manner taking core principles and techniques in order to enhance new approaches. This is more focussed towards the western martial arts approach and thus a much more practical one. The investigations are focussed toward how the techniques apply as applied to an opponent before them.

What is important in this is that both approaches need to be encouraged as each one fuels the other. The first approach finds period manuals and investigates them to see how the techniques work, the second uses the techniques and encourages further investigation. In both approaches the investigation needs to be a broad overlook, not narrowing into a singular school or approach. The only way for all to benefit is for all to share with one another and thus benefit all.

Cheers,

Henry. 

Of the Use of the Off-Hand: Part III

Greetings,

This is the third and final part of my discussion and lesson on the use of the off-hand.

Cheers,

Henry.

Advanced Actions

            There are many further actions which can be utilised in the use of the off-hand; two specific areas will be addressed along with some general ideas and discussions of these more advanced techniques. These are more the combination of simple techniques utilised together for a greater effect. These techniques will obviously be based upon the same principles as the simple techniques, merely expanded to include more techniques and possibilities.

Counters to Counters

            The first area of discussion is the concept of the counter to beat a counter. Actions have been discussed. Counters to these actions have been discussed. By applying the same principles and examining the situation counters can be made to these counters. This cycle can continue until one combatant has run out of ideas and breaks off, until a stalemate has been reached and both combatants break off, or until one of the combatants succeeds in his action.

The most important thing in this is as with all combats is to ensure your safety first. The first thought should be to counter the action of the opponent’s sword and then consider attacking. If both can be achieved simultaneously then you will have a great advantage. In the situation of breaking off remember to ensure your safety in the process of breaking off and also once completed.

Beat and Opposition Follow-Up

            The basic techniques have been described for both the beat and opposition parries in both their defensive and offensive forms. One example has been given of where to direct the force in the pushing to the off-hand side of the opponent. This is only one option of many that may be used. The direction of the parry and the control should be dependent on what the fencer has planned to follow the action.

            The parry may be followed by a simple control, contact with the weapon, or even a second parry with the hand depending on the chosen situation. This is where it is important to know how to control the direction in which the opponent’s weapon will travel and to have some idea of what to follow this action with. Some ideas about this particular concept will be discussed below in the combination and application of the sword and the hand.

Blade grasping 

“Moreover, having the use of your lefte hand, and wearing a gantlet or glove of maile, your enemy shall no sooner make a thrust, but you shal be readye to catch his swoorde fast, and to command him at your pleasure:” (Saviolo, 1595) 

            Saviolo explains the operation of the parrying gauntlet succinctly. The purpose of the gauntlet is to gain the opponent’s sword by grasping it and controlling it. However, there is a little more detail that should go into the consideration in the use of the gauntlet. Some of this has to do with the simple use of it, but a little also has to do with the safe use of it.

            First of all the gauntlet and blade grasping is designed to give the user solid control over the opponent’s weapon whether or not they are wearing the gauntlet. The same actions can be performed with a standard glove but the user needs to be aware of the threat to the hand. There is one great advantage and one major disadvantage to this controlling action. The greatest advantage is the solid control over the opponent’s weapon and thus being able to move it about, however this solid control also tells the opponent exactly what is going on and gives them a chance to react to the action of the grasp. Of course there is also the obvious potential for the hand being cut if the gauntlet is not being worn.

            In practicing blade grasping it is best to consider the advantages that you possess before you begin. The first question is whether a gauntlet is being worn and how this will change the operation of it. To begin, with it is best to practice without grasping the opponent’s blade. This prevents the embedding of the idea of the necessity of grasping and thus inability in other actions. Use the previous drills to get used to the idea of using the hand first. Once this has been achieved you can consider grasping and controlling.

Drill 13: Control of the Weapon

1.    Partners stand across from one another in their ward at combat distance.

2.    One makes an attack at the other which is parried with the off-hand.

3.    Once parried the opponent’s blade should be grasped, and then moved about to get an idea of how the opponent’s weapon is controlled in the grasp.

4.    Follow the same action with grasping about different parts of the blade. This is designed to enable the different levels of control and different positions that the opponent’s weapon can be moved to.

            The choice of grasping or not grasping is always present with the open hand regardless of whether a gauntlet is worn or not, but you need to make considerations with regard to this. First of all for recreationalists the question of permitted use within the rules structure must be answered. The other real question is as to what advantage there is in the grasping of the current opponent’s weapon. In some situations it is actually better to retain lighter control rather than grasping. Grasping is a solid control action and sometimes it is an advantage to have a more mobile ability to the control action. Choosing when is important.

Drill 14: Grasping and Release

1.    Partners stand across from one another in their ward at combat distance.

2.    One makes a thrusting attack at the other which is parried with the off-hand.

3.    Once parried the opponent’s blade should be grasped, and then moved about to get an idea of how the opponent’s weapon is controlled in the grasp.

4.    The same attack and defence should be made, except this time the blade is not grasped on the initial contact merely controlled with the hand. Slide the hand down the weapon and grasp lower on the blade.

5.    The same action can be performed up and down the blade. The important thing is to get the idea of the grasp and release of the opponent’s weapon and the advantages that both give. 

Blade grasping clearly gives some great advantages over the opponent and solid control over the opponent’s weapon, however just as with any other skill it should be combined with others and used when it is best suited to the situation. Just as with any other skill it is also one that needs practice to become effective. The use of blade grasping will often result in the actions of closes and gripes and you should consider the consequences of the use of blade grasping and apply this to the current situation.

Sword and Hand

            The following part of the lesson will discuss the use of the sword and the hand together. Most of the actions previously have used the sword and the hand together but in a passive sense. The following considerations are for actively using the sword and hand together.

            The first point of call for this discussion is what will be called a “1-2”. In this action the sword or the hand is placed on the opponent’s weapon in defence and then the contact is swapped to the other. This can be performed with initial hand contact or initial sword contact. This response is designed to enhance your response to the opponent’s attack. These actions can be extended to include three or more points of contact either using the hand or the sword twice depending on the desired result and time available.

For these actions to work you must consider the placement of your sword and also your hand to ensure that they do not get entangled in the process of the action. If your hand or your ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

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Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

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... or direct from the author.

Of the Use of the Off-Hand: Part II

Greetings,

This entry is part 2 of using the off-hand in rapier combat.

Cheers,

Henry.

Technique

            With the elements of theory enumerated it is possible to start to examine the practical elements in the use of the off-hand. Essentially, the off-hand is used in two techniques which are related to one another. The first is the parry and the second is the action of control. The parry, and choice of parry, will often determine whether an action of control is possible. To begin with the parry will be dealt with.

Parry

            In parrying using the off-hand is much like using the sword. It has the same options available to it, and same principles apply. It is possible to perform a beat or a parry with opposition, and it is also possible to perform a purely defensive parry or one of a more active nature. Before the specifics of these different parries are examined the overall elements need to be examined.
            There have been some principles described above and these apply to the use of the off-hand in all instances, however more detail is required. Firstly the hand should be held with an open palm, the fingers may curl a little, but the open palm is the primary method that will be used. The open palm reduces the instinct to always grasp the opponent’s weapon. In the use of the off-hand it is the palm that should be placed against the opponent’s weapon; this should be done in a smooth, sweeping motion to allow the best contact.

Drill 1: Hand on the Blade

1.    Two fencers stand across from one another one with the weapon extended but not fully, the other in his normal ward. They should be close enough that they can reach each other with the point of their weapons.

2.    The fencer from his normal ward should extend his hand and place the palm against the opponent’s weapon, first the inside then the outside of the blade.

3.    The action should be performed gently, only contact is needed. This focussed on the action of placing the palm on the opponent’s blade.

 

This first drill is designed to familiarise the combatants with placing their hand against the opponent’s weapon with the palm and on different sides of the weapon. This only covers a single position but highlights the basic concept of the use of the hand against an opponent’s weapon. The next part of the process is the parry itself.

Beat or Control?

There are two options which have been described the beat and the control, or parry with opposition. Each has its advantages and disadvantages. The beat removes the opponent’s weapon with impact and force and diverts the opponent’s blade off-line; this is the faster parry however control is lost over the opponent’s weapon. The parry with opposition or control parry retains the opponent’s weapon and thus control however there is the potential that the hand can be cut and it is slower. In actual fact it is better to know both types of parry and when they are advantageous than to purely focus on one.

Parry Execution

The parry with the off-hand is designed as an action to remove an incoming threat against the fencer. This needs to cover all four lines to some degree however the fencer should be careful about over-reaching. This is especially important for the low line parries. As described defensively the fencer should wait for the incoming attack and then defend against it. The active beat and control will be discussed further along.

In the previous drill the hand was placed against the flat of the blade so that the combatant can see how the hand is placed against the opponent’s weapon. The execution of the parry is much like this. The execution of the parry, regardless of whether it is a beat or opposition parry is the same, the change being made toward the end of the parry.

From a normal terza ward, to protect the high inside line the hand should be turned so that the palm comes into contact with the opponent’s weapon and then is pushed over the shoulder of the off-hand. This is the easiest of the parries as it takes minimal movement of the hand and arm.

To protect the high outside line the hand should be pushed across the body to come in contact with the opponent’s weapon and then pushed past the sword side of the body. Care should be made that the combatant does not inadvertently parry their own weapon. To avoid this, the sword should be dropped a little or lifted a little depending on where the attack is aimed at.

With regard to the low line parries, no hand parry should be made lower than where the wrist sits on the fencer when his arm is placed down at his side. To attempt to parry lower will lower the head toward the opponent’s weapon. For the low inside line the arm is dropped toward the opponent’s weapon the palm is turned toward the weapon and pushes it to the off-hand side. This is often performed as a sweeping action. For the parry to the low outside line, the arm and hand with the palm is dropped and pushed across the body so that the palm pushes the opponent’s weapon past the sword side of the body.

Drill 2: Simple Parry Action

1.    Stand with a partner at a range where each can strike the other with a fully extended blow.

2.    One of the partners should make slow thrusts toward the partner and the partner should parry each one using his off-hand. The attacks should be slow but deliberate toward each line.

3.    The focus of the drill should be parrying the opponent’s weapon away from the fencer using the palm of the hand in each line. Placing the palm against the opponent’s weapon and pushing it, or guiding it, away is sufficient at this stage. Speed can be increased once the partners are comfortable with the parries.

Opposition Parry

            The opposition parry is the parry which has been described in both the description of the parry and also the drill above. The only real difference is that the off-hand will stay in contact with the opponent’s blade for an extended period of time rather than simply leaving it once the threat has passed.

            The purpose of the parry with opposition is to gain and maintain control over the opponent’s weapon. This relies on the off-hand maintaining contact with the opponent’s weapon in the process. It is this parry which is used to push and control the opponent’s weapon. The important thing, at this stage, is that this is performed with an open hand, using the palm of the hand to control the opponent’s weapon. Grasping is a skill which will be discussed further along as it is a little more complex.

            For the most part the parry with opposition is used passively and thus defensively against the opponent’s weapon. The control elements and moving the opponent’s weapon come as a result of the passive nature of this parry. It can be used more offensively, but you need to place yourself in the correct position to do this. For the most part this consists of taking control of an extended weapon and pushing and controlling it to where you want. This will be discussed more under actions of control.

Beat Parry

            The beat parry is one of the options available. This parry is designed to remove the opponent’s threat with velocity and impact of the parry against the weapon. This technique is often the first that will be used by fencers as it is relatively simple but still requires technique.

            The effect of the beat should be made at the very end of the parry rather than performing a full-blooded swipe at the opponent’s weapon. Just as with the beat with the sword the impact should come from the wrist, in this case sending the palm against the opponent’s weapon with velocity. Saviolo states, “then must the scholler with his left hand beat aside his masters rapier, not at the point, but in the strength and middest of the weapon,” (Saviolo, 1595). The beat is better performed against the opponent’s weapon on the debole or mezzo for greatest effect.

            In the performance of this parry you need to come into contact with the opponent’s blade on the flat. To come into contact with the edge will sting the palm and even worse if the fingers come into contact. You should always aim to parry with the palm rather than the fingers.

Drill 3: Beat Parry: Defensive

1.    Stand with a partner at a range where each can strike the other with a fully extended blow.

2.    One of the partners should make slow thrusts toward the partner and the partner should beat parry each one using his off-hand. The attacks should be slow but deliberate toward each line.

3.    The focus of the drill should be parrying the opponent’s weapon away from the fencer using the palm of the hand in each line. Speed can be increased once the partners are comfortable with the parries.

4.    Once comfortable with the basic defensive parries, the partners should experiment with the directions that the opponent’s weapon can be beaten.

Placing the hand into correct position for the defensive parry has already been described. However, just as with the sword there is also a pre-emptive or active beat. The ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

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Of the Use of the Off-Hand: Part I

Greetings,

This entry is the first part of the lesson on the use of the off-hand in particular in the use of the rapier. It should be noted that much of the information will relate more closely to those of the recreational bend and in particular more toward those within the SCA. However, I hope that the information presented here and in the following entries will be of interest.

Cheers,

Henry.

Introduction

“V. I will tell you, this weapon must bee used with a glove, and if a man should be without a glove, it were better to hazard a little hurt of the hand, thereby to become maister of his enemies Swoorde, than to breake with the swoord, and so give his enemy the advantage of him.” (Saviolo, 1595)

            The following lesson could be seen as an introductory to Saviolo however the parry with the off-hand is not restricted to Saviolo. Other masters described and used the off-hand to parry with. Fabris argues against the use of the off-hand to parry, but includes techniques on how it should be used in four different instances. Capo Ferro demonstrates and describes techniques using the off-hand to parry or grasp with on four different plates. Thus the use of the off-hand is actually more widespread than most would give credit.

            In the standard modes of rapier training the off-hand is often neglected or brushed over in favour of the sword parry. Indeed the techniques involved with the use of the hand parry are often simplified almost to the point of ignorance of their use. However it is a useful technique and gives the user an additional defence when used. The use of the off-hand for parrying can also be beneficial to use of off-hand equipment later on as the hand is already active.
            The use of the off-hand is even presented in most of the guards presented in rapier combat as they present the off-hand in front of the body ready for use, rather than behind the body. Even if it is static the off-hand can provide a defence if it is accidentally hit rather than the body, however it is a much more active use which will be the focus here.
            Saviolo is the most active user and advertiser of the use of the off-hand. Indeed he even prefers the use of the use of the off-hand parry to the use of the sword for the same action. His principle use is based upon the idea that it is better to use the hand and keep the sword free and point on-line and thus threatening the opponent easy for use. However even in this he does not give much instruction as to the specifics of the use of the off-hand, merely describing the particular situation and its use. This lesson is designed to introduce such specifics and present the off-hand as a useful, if often forgotten, option for the fencer to use.

Off-Hand Definition and General Use

            Before the details of the use of the off-hand can be discussed some important definitions and principles need to be addressed. The first part of this is to define exactly what is meant by the off-hand. The off-hand is that part of the body which extends from the points of the fingers to the wrist bone, in most instances. However, should a parry be missed with the hand and caught with the forearm and still successfully made, then it can also include this.
            In the use of the off-hand against the opponent’s blade, the palm of the hand is the optimum contact surface. This is due to the padding which is present on the palm of the hand and also the increased control in using the palm of the hand. Firstly, if the back of the hand is used, the knuckles can come into contact with the opponent’s weapon and this will sting. Secondly, the back of the hand gives no option to grasp the opponent’s weapon and gives less control.
            While the parry with the hand is a technique which can be used and effective in and of itself, it is even more effective when combined with another technique. In defence the off-hand parry can be enhanced by the use of a void, for example. This is a technique which needs to be added and used with other techniques; use the hand, sword and other techniques together and it will be substantially more effective.
            When the hand parry is considered one subject which always eventuates is the subject of the parrying gauntlet. This is a subject, which is best discussed and defined early in the lesson. The parrying gauntlet is not required for the off-hand to be effective, but can be used as an adjunct to enhance its use.

Parrying Gauntlet

            There are several different types of gauntlet that can be used on the off-hand in order to enhance the techniques which will be discussed here. The most common type of gauntlet ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

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... or direct from the author.

On the Manner of Wearing a Sword: The Lesson

Greetings,

This is the lesson version of the discussion which I had previously made on the manner of wearing a sword. This takes a much more practical approach to the subject and includes references for anyone who might be interested in a little more research, or where I got my findings from. This lesson is more focussed at a recreationalist approach to the subject, but still applies overall.

Introduction

“The man dancing the Balletti gravi will wear the cloak, and the sword in the manner which is demonstrated in the design of the Balletto of the Bellezze d' Olimpia: and dancing Cascarde, or Gagliarda, they will carry that as is demonstrated in the design of the Cascarda Alta Regina: keeping it as most it will please him either under the right arm or under the left; which one does not matter much: neither dance without this ever, because it makes a most brutish sight. Dancing gagliarda, and finding the sword, he shall hold that with the left hand, such that he would not let it go wandering: and finding it again in the Ballo to have little field, keeping it with the hand, it will return some with the point towards the forward part, such that it not offend the bystanders.” (Caroso, 1581)

The wearing of a sword is a subject which is often overlooked with regard to weapons, but is one which needs some attention paid to it. Some would think that this is a subject where the knowledge is automatic, but there is a great deal more attention that needs to be paid to it. The wearing of a sword, especially in public is a skill not unlike those designed to teach how to use the sword, thus it is a skill which needs instruction, especially for the modern wearer who is not used to the issues associated.

Caroso, in the above statement, gives some very specific instructions for wearing the sword and cloak when dancing. Some of the information presented above will be re-presented below as it is applicable to the situation. Caroso's instruction is primarily discussing the wearing of the sword and cloak while dancing whereas this investigation will cover a much broader consideration of wearing the sword, while covering some specifics as well.

Appropriateness

            The first question that must be dealt with in regards to wearing a sword is whether or not it is appropriate to wear a sword in the first place. There are times when it is appropriate to wear a sword and there are also times when it is most definitely not appropriate. In this, there are times in medieval and Renaissance instances, as they are being recreated, and times in the modern world when it is and is not appropriate to wear a sword and the level of censure can be severe for some of these.

Most of the appropriateness of wearing a sword comes from the perceived social norms and conventions of the situation, as well as some legal ones. It is not normal for a person to be seen walking down the street in the modern world with a sword, this would obviously be a breach of a social norm. More to the point in this particular situation a person could also be pulled up by the local constabulary and could be charged with "going armed in public with intent to cause fear", which while it is a misdemeanour is still a serious situation to put yourself in. However, should the same person be found wearing medieval or Renaissance dress and the appropriate weapon at a medieval or Renaissance event or fair, then the situation would be different and the person would blend in. Consider whether the situation is appropriate before girding yourself with your weapon.

Weapons and Alcohol

Weapons and alcohol simply do not mix. There are many stories of people being injured and/or killed when weapons and alcohol are mixed. Some of these stories are from the medieval and Renaissance period and some are from the modern period. The two should be kept from one another regardless of the social situation, thus it is advised that the weapon be put in a safe place before going anywhere near a bar or tavern. Wearing a sword into such a situation has too high a potential for causing issues. The owner of the weapon should even consider putting the weapon away in a safe place should they be in a private situation where alcohol will be served.

Costume

“While some military swords were worn as costume decoration from the end of the fifteenth century, the rapier and dagger combination were specialist weapons designed for use away from the battlefield.” (Patterson, 2009:58)

Surprisingly enough, even when associating with a medieval or Renaissance recreation group the consideration of appropriateness still applies and needs to be considered. The first question that needs to be asked is whether the wearing of a sword is appropriate for the attire which is being worn in the first place. The common wearing of swords in a civilian situation did not really come about until the Renaissance period, as indicated, and even in that it was not really until the later period that it became common. Thus the period of the costume with regard to wearing a weapon is something that needs to be considered. You should investigate whether or not it would be appropriate for your own costume.

Rank

“as economic development generated wealth for the middle classes, many aspiring gentlemen incorporated the rapier and dagger into their everyday dress … As clothing accessories they were decorated as a set and worn in a fashionable sling called a hanger. Their decoration might also match the spurs in their boots, the pendants around their necks, and the embroidery in their clothes” (Patterson, 2009:58)

With regard to the suitability of the attire for wearing a sword with it there is also the question of rank, or to be more general, social status. Wearing a sword with a peasant outfit would look almost as out of place as being heavily jewelled. Thus we must consider whether the attire which is being worn is appropriate to be accompanied by such a weapon.

With regard to the question of rank, there are some obvious ranks which would carry swords as part of their outfits. These would be knights and the nobility. However there are also lower ranks that would wear weapons, such as the gentry. In fact a gentleman of the later Renaissance period would not be seen in public without a weapon at his side. However, to add to this we must consider the image which is being presented in this instance and whether such a weapon is suitable for it. Clearly a person should consider whether they will wear a sword in the presence of royalty as this can cause some issues as well. Obviously only people of the appropriate rank should even consider doing so. It is better to assume that you do not have the appropriate rank than to wear the weapon and possibly cause issues.

Mounting

Now that the appropriate situations have been considered it is possible to look at the mounting of the weapon, or how it is worn. This would seem to be an automatic sort of thing, but actually there are things which need to be considered. The appropriate mounting for the weapon must be considered in order to be able to control the weapon. Having a weapon in an in appropriate mounting not only looks bad but also can lead to a lack of control of the weapon which can be disastrous. Thus the appropriate weapon must be placed with the correct mounting.

Suitable to Weapon

“Most medieval swords were strapped to the wearer with belts attached directly to the scabbards. They sat on the left hip, slightly angled forward so they could be controlled and drawn easily. Later swords were usually suspended from the belt at a more horizontal angle, either by various arrangements of straps or by a baldric, a broad strap hung from the right shoulder and running round the body across the left hip.” (Ducklin and Waller, 2001:34)

In the case of all swords, this must start with a scabbard. This protects the blade of the weapon and prevents a piece of steel being exposed to damaging or being damaged by passers-by. The next part is what sort of hanger is appropriate, or even if one should be used. For most medieval swords, the scabbard was mounted directly on to the belt as they had a belt designed for the purpose. In the case of the rapier and later weapons a hanger was attached to the scabbard and this was mounted on to the belt. The owner of the weapon should research for the appropriate mounting rig for the weapon.

Position

Once the correct mounting rig has been chosen then it is necessary to consider the position of the weapon. In the case of the rapier the hanger and belt made it possible to shift ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Bibliography

Caroso da Sermoneta, Fabritio (1581) Il Ballarino

Ducklin, K. and Waller, J. (2001) Sword Fighting: A Manual for Actors & Directors, Applause Theatre Books, New York, USA

Patterson, A. (2009) Fashion and Armour in Renaissance Europe: Proud Lookes and Brave Attire, V&A Publishing, London, UK

On the Manner of Wearing a Sword

Greetings,

This is a subject which has been written on request from some of my readers. It is a subject which is often overlooked with regard to weapons, but is one which needs some attention paid to it. Some would think that this is a subject which the knowledge is automatic, but there is a great deal more attention that needs to be paid to it.

“The man dancing the Balletti gravi will wear the cloak, and the sword in the manner which is demonstrated in the design of the Balletto of the Bellezze d' Olimpia: and dancing Cascarde, or Gagliarda, they will carry that as is demonstrated in the design of the Cascarda Alta Regina: keeping it as most it will please him either under the right arm or under the left; which one does not matter much: neither dance without this ever, because it makes a most brutish sight. Dancing gagliarda, and finding the sword, he shall hold that with the left hand, such that he would not let it go wandering: and finding it again in the Ballo to have little field, keeping it with the hand, it will return some with the point towards the forward part, such that it not offend the bystanders.”
Fabritio Caroso da Sermoneta (1581) Il Ballarino

Caroso in the above statement gives some very specific instructions for wearing the sword and cloak when dancing. Some of the information presented above will be re-presented below as it is applicable to the situation. Caroso's instruction is primarily discussing the wearing of the sword and cloak while dancing whereas this investigation will cover a much broader consideration of wearing the sword.

The object of this particular topic is to cover a rather broad and general appraisal of wearing the sword. Some of the information presented will be specific to the Society for Creative Anachronism (SCA), but for the most part it will address the concept of wearing a sword from a much more general approach. The discussion will be presented in terms of some general areas of discussion which will be covered in order to cover as much of the subject as possible.

There are times when it is appropriate to wear a sword and there are also times when it is most definitely not appropriate. It is important to be able to discuss and divide these so that the sword can be worn at the appropriate time and not at others. In this particular instance there are times in medieval and Renaissance instances, as they are being recreated, and times in the modern world when it is and is not appropriate to wear a sword, and the level of censure can be severe for some of these.

Most of the appropriateness of wearing a sword comes from the percieved social norms of the situation. It is not normal for a person to be seen walking down the street in the modern world with a sword, this would obviously be a breach of a social norm. More to the point in this particular situation a person could also be pulled up by the local constabulary and could be charged with "going armed in public with intent to cause fear", which while it is a misdemeanour is still a serious situation to put yourself in. However, should the same person be found wearing medieval or Renaissance dress and the appropriate weapon at a medieval or Renaissance fair, then the situation would be different and the person would blend in.

Weapons and alcohol simply do not mix. There are many stories of people being injured and/or killed when weapons and alcohol are mixed. The two should be kept from one another regardless of the social situation, thus it is advised that the weapon be put in a safe place before going anywhere near a bar or tavern. Wearing a sword into such a situation has too high a potential for causing issues.

Surprisingly enough, even when associating with a particular medieval or Renaissance recreation group the consideration of appropriateness still applies and needs to be considered. The first question that needs to be asked is whether the wearing of a sword is appropriate for the attire which is being worn in the first place. The common wearing of swords in a civilian situation did not really come about until the Renaissance period, and even in that it was not really until the later period that it became common.

With regard to the suitability of the attire for wearing a sword with it there is also the question of rank, or to be more general, social status. Rank is a question which will be discussed further along. Wearing a sword with a peasant outfit would look almost as out of place as being heavily jewelled. Thus we must consider whether the attire which is being worn is appropriate to be accompanied by such a weapon.

In the question of rank there are some obvious ranks which would carry swords as part of their outfits, these would be knights and the higher nobility. However there is also a lower rank that of the Award of Arms which it is also suitable to carry a sword, hence the title of the rank. The lower status of this rank ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Documentable Combinations

Greetings,

Things have been a little "dry" of late with regard to subjects of usefulness for my blog hence the gap between my last post and this one. However with some due consideration, I have decided that the current subject would be one which would be pertinent to discuss. I will be starting this particular subject with a disclaimer in order that I can be clear as to my subject matter and the point to the discussion.

Disclaimer:
This discussion is a discussion about the seven standard forms used in rapier combat within the SCA (Society for Creative Anachronism), as such the discussion will be more focussed on the conventions and rules of the SCA rather than any other organised form of combat. The discussion is not encouraging the removal of any combination of weapons or form from combat due to their documentable or not documentable nature. Something can be learnt from all forms regardless. This is designed to be a discussion of an intellectual nature exploring what is and is not available with regard to the documentation available and what we as fencers can imply or infer from what is available in order to make such undocumentable forms legitimate.

Seven Standard Combinations
In SCA Heavy Rapier which is the standard form of rapier combat used in Australia, with the adjunct of Cut-and-Thrust Combat being an additional form of combat. Within the standard form of Heavy Rapier there are seven recognised "standard" combinations being: single rapier, rapier and gauntlet, rapier and dagger, case of rapier, rapier and buckler, rapier and cloak, and rapier and cane or baton. This is not to imply that other forms do not exist or indeed are used. These are the seven recognised as "standard" for SCA Heavy Rapier purposes. As time goes on and other weapons are discovered and used more forms are introduced, but the seven remain as the standard ones.

Documentation
Documentation is available for all but the rapier and baton combination. The single rapier is the standard one which most theorists begin with or at least appears somewhere in their work. Almost as popular as the single rapier is rapier and dagger, which is mentioned by most including Capo Ferro and Fabris to mention only two. Rapier and gauntlet is mentioned by Saviolo and Silver, if only in passing, though Saviolo's single rapier does focus on the use of the off-hand in defence as primary. Case of Rapier is mentioned in Di Grassi and also Agrippa, as is rapier and cloak. Finally rapier and dagger is mentioned in Di Grassi and even earlier in Marozzo. This presents a true glossing over of the theorists for these forms.

Rapier and Cane: Plausible
Arguments for the use of the rapier and cane can be found in the simple idea of an item found at hand ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Glove Preparation

Greetings,

One of the most important pieces of equipment and indeed protective equipment that a fencer needs to obtain is gloves. This is regardless of the type of fencing that the person is engaging in. This blog addresses the idea of new gloves primarily and how to make them more usable to the fencer, or how to prepare a pair of gloves so that they can be used.

The first thing that needs to be discussed is glove choice. In this there are many different pieces of advice that can be given and many different types of glove to choose from. There are fencing gloves of various kinds, gardening gloves of various kinds, and of course all manner of glove in between. So the fencer needs to make a choice as to what is best for them.

The first piece of advice that I will give is go for a leather pair, that is leather in some fashion. Leather has the advantage of being natural and also hardy in nature for the most part. These are two attributes which will serve you well in the long run. Natural has the advantage of being able to breathe and thus allow some of the sweat from your hands to dissipate. Hardy means that they will last a longer amount of time than if they were not. As such avoid artificial or constructed materials such as vinyl in your gloves.

The next piece of advice which is important is fit. Some styles of gloves only come in certain sizes and it is important that you choose a style of glove which suits your hand shape and size. Sure there is some leeway, but they have to start with a reasonable fit to start with if you are to have any hope of being comfortable. This is the second factor they need to be comfortable, not much good if you want to take them off the instant you put them on.

Some gloves start of quite supple due to their construction and material. Some gloves start of quite stiff and will need quite a bit of working to get them supple. The irony is that the stiffer gloves will take longer to prepare, but will also last longer. The ones which are more supple to begin with will be easy to use and prepare but are less likely to last as long. These are all considerations that should be made in your glove choice.

The primary focus for the preparation of the gloves in this blog will be toward welding gloves. This is because these are the type of glove which I favour myself and have been using for years. However the points which are raised here will pertain to other types of glove as well. However, consider how the preparation suggested may affect your particular type of glove before applying it.

...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Henry's Rules - The Essentials

Greetings,

Sometime ago I mentioned that I would post something of my own rules of fencing and I have had a long think about this particular subject. Much like the Jethro Gibbs (NCIS) list mine is a work in progress and tends to grow and change somewhat as I find new things to add. In order to reduce this I have decided that I will talk about my most essential rules in this blog.

1. Don't get hit - defence is most important.
2. Hit the opponent - only real way to victory.

All the other rules that I have come up with are supplementary to these two and assist in some way to achieve them. As I have mentioned above I have a much longer list of rules also about 20 in number which I have assembled from various experiences in my fencing career to date. I use them here and there in training my students and obviously during fencing. Rather than listing all the ones that I have to date, there is a more useful purpose that can be gained from this discussion.

My personal piece of advice is that each fencer should develop their own list of rules to follow. In this at least one thing is most important, they will not be set in stone, they will change. You need to be ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Why Do I Research?

Greetings,

Anybody who knows me at all will know that I tend to get into my research projects heavily. I tend to find big projects which are disguised as little ones and then feel that I have to complete them in order to feel that I have done the job properly. I don't tend to do things small and tend to research things to death, of course as would be expected there is a cause behind this. The reasons for this can be found in my own history and interests.

I have had a long-term interest in things historical and in order to understand where this comes from I need to explain a little of my own history. I suppose my first interest in history is a result of the influence of my parents, especially my father who is quite well-read and who have encouraged me to follow my interests in the field. My first real inspiration for history can be found in my first trip abroad.

In 1981, my parents took me and my sister over to the United Kingdom we explored England, Scotland and Ireland. We saw great and popular sites such as the Tower of London, Windsor Castle and the British Museum. What an eye-opener. The trip to Ireland was more of a personal trip and we spent some time in a graveyard scrubbing grave stones looking for ancestors. Now, sounds pretty boring, I can tell you it was quite the opposite, nothing like finding your roots to inspire a deeper love of history. So, this sewed the seeds of my interest, and it was only to be increased as I grew older.

My sixth year of primary school was also a turning point for me as I had a teacher who encouraged my interest in history so I went with it, investing time and energy in my assignments on various topics. Most male kids at this age wanted to be astronauts, policemen or in the army. Me, I decided at that point in time that history would be my thing and I decided that I wanted to become a historian. It would give me an excuse to research periods of history and have some sort of tangible result as a purpose, needless to say the following years would just increase this desire.

From my this point in time I would attempt to tailor all of my education with an historical bend to it. I took History in grade 10, and would follow this up with both Ancient and Modern History in grade 11 and 12. The other subjects were merely means to an end, to allow me to pursue my love of history even better. This was only to be advanced when I found a social group interested in medieval history.

I joined the SCA (Society for Creative Anachronism) in grade 12. This group is focused on the years 500 to 1600AD or thereabouts so suited me down to the ground. Now not only could I study history but I could go about putting some of my research into practice. Talk about finding a niche. I am still in this group and am really enjoying it, the practical aspects of the research really adds something to it.

Needless to say my venture into higher education would result in me studying a Bachelor of Arts (BA), with majors in History and Anthropology. More chances to put my zeal into subjects that I enjoyed and further myself to my goal of becoming a historian. It also allowed even more research into areas of interest and allowed me to gain even more tools with which to do so. It would also result in the reason that I tend to research things to death as my training in research would tend to a bend where it was to be done properly. Eventually after graduating with my BA I would eventually get to pursue Honours in ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

The Other Project: A Gentleman's Handbook

Greetings,

For those who are used to my more formal manner of writing, they will have to excuse me for this particular edition as this is a discussion of a more personal nature. I have mentioned previously about my project to create a fencing manual in the style of the Elizabethan period, and made some discussion of it. It is still proceeding and as I get further along I will give another update. At the same time I have been working on a second project and it is this one which I will be discussing here.

Before I go any further, I will apologise to my female readership as this project is aimed at the male fencer rather than the female fencer. This does not imply or suggest that the female is not suited to fencing, or cannot learn something from what is contained within this project, simply that it is aimed more at the male fencer. This is simply due to my own knowledge on the subject, the data which has been collected along with my own proximity to the subject being of the male gender. Once again I apologise for any offence taken in any form as it is totally unintended.

The project is what I originally called "supplementary education" and is designed to fill in those parts of the education of the fencer which are not usually filled in the usual aspects of fencing instruction. Since this time it has changed its name to "A Gentleman's Handbook" which more suits its contents, being aimed at the male fencer. With the simple aim of changing the fencer into a gentleman. In order to understand this particular project some information will have to be filled in. This will present an approach and reasons for the project.

I have had an interest in those aspects of fencing which occur both on and off the field for sometime. These are not the simple interactions of two fencers crossing blades with one another but the more social aspects of this encounter. I have already put some of my thoughts into words in an article that I wrote on fencing etiquette a while ago. If you are interested this can be found here: http://www.sca.org.au/rapier/index.php/Henry-Fencing-Etiquette. The writing of this particular article got me thinking about the less martial aspects of the art which is practiced and what the difference between a gentleman and a fencer is.

Before I can explain the thought processes some terms need to be explained. A fencer is someone who is interested and learns how to use a sword and then crosses swords with other like-minded individuals. Hopefully this individual is taught some respect for what he does and the others he does it with. When the gentleman is thought of in the modern conception he is polite and does nice things for people and is an example of good etiquette. This pales in comparison to the character that my project is attempting to inspire the reader to become. The goal in order for this achievement is to bring up the image of the fencer in general and also as a result fencing in general.

For my readers who are of a more sport or classical fencing bend this approach can still apply to you, but it is more aimed at my Renaissance fencing colleagues. This is not in order that a person can become more of their persona, though it will help with this, it is more so that they can more understand the type of individual who wielded a rapier in the Renaissance period, and who they emulate in the process of doing this themselves. It is the finer points of the gentleman of the period and the etiquette associated which gives the sword arts of the period their flavour, and also provides one of the reasons why we engage in combats on a "level playing field" and with courtesy.

There will be two versions for this particular project, one which is a discussion paper presenting theories and points of view in a more formal manner. This is the intellectual discussion of the material presented in the manual. This version of the handbook is singular and succinct and can be found for your perusal, should you be interested, here: http://dl.dropbox.com/u/32538238/A%20Gentleman%27s%20Handbook%20-%20Discussion.pdf. This will form the basis for the second version of the handbook which will be more practical in nature.

The second version of the handbook will see the chapters and discussions presented in the discussion version turned into lessons allowing for more practical application of what is presented in them. This will hopefully allow the reader to take the knowledge presented and then be able to apply the knowledge in appropriate situation and as a process be able to grow as a fencer, hopefully toward the ideal which is presented in the handbook. This version of the book will have a more evolutionary nature in that there will no doubt be supplementary lessons which will be added on to it as time goes along. This is in order to enhance the reader of the handbook and increase his abilities to perform at his best furthering him along the path to the true gentleman. I had thought that I may have to create a website or another blog for the dissimulation of the lessons as they are created, an appropriate method will be found in order to do this. Any thoughts my readers my have about this would be greatly appreciated.

While this has been named the "other" project, I actually find that both projects are important as one another while they serve different purposes. In one way the information from one can be used to enhance the other and vice versa

Cheers,

Henry.