Introduction
While there
will be reference to three manuals of the Renaissance period, this
investigation is more of an introduction to the use of the cloak, based on the
general principles found in these manuals. This is designed to give you and
understanding of how the cloak operates so that you are able to use it in a
competent fashion. More specific lessons on particular masters are of benefit
to study however having a foundation in the use of the cloak will make these
more in-depth lessons more useful.
The rapier
and cloak combination is one of the more difficult to use, but it can also be
one of the most satisfying if performed correctly. There is an inherent amount
of flair in the use of the cloak due to the nature of the combination, and much
care needs to be applied in its use. There are those who do not like this
particular combination and those who like it very much. This is up to personal
preference. As with other combinations, there is much, which can be said about
it, from the holding of the cloak, to its use.
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 three masters works with regard to their use of the
sword and rotella. Chronologically they are 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
cloak versus sword and cloak, but the information found within can also be
applied to other situations with a little modification. The best and most in-depth
discussion comes from di Grassi. The other two give basic instruction and ideas
about how to use the cloak.
Bibliographical Issues
In the
study of the sword and cloak 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
investigation is more focused on the use of the rapier and cloak and as such
the words "sword" or “rapier” will be used in reference to the weapon used.
As for the
cloak itself, there is some discussion and confusion as to whether it is more
appropriately called a cape or cloak. The Italian manuals use the word “cappa”
while di Grassi uses “cloak”, in various spellings. In some ways this is a
question of the object itself rather than a bibliographic issue, as is
presented below. For the purposes of this investigation the generic “cloak”
will be used.
Cloak or Cape?
There are
many different types of cloak and cape, depending on size, weight and
construction, and the choices between these will be of a personal nature. The
main difference between a cloak and a cape is the size, the cloak being larger.
A larger cloak will protect more, but it will be heavier and easier to
entangle. A smaller cloak will protect less, but will be lighter and move
faster. In general the item will be called a cloak for convenience.
The cloak should be constructed
of a material which will resist tearing but should also be light enough that it
can still be used. The use of the cloak should be considered in its
construction. It is advised that cloaks of various constructions and sizes be
used before one is constructed in order to figure out which will suit you the
best. The masters do not actually describe the size or construction of the
cloak and thus it must be inferred from images or what they write. There is an
equal chance that they could be talking about a cape or a cloak. Simple advice
dictates that the best cloak to use for the techniques of the master is one
which is appropriate to them and also appropriate to you.
Holding the Cloak
The cloak
may typically be held in one of three different ways, wrapped around the arm,
draped over the arm, or held in the hand. Each one of these has advantages and
disadvantages, which need to be considered. Wrapping the cloak around the arm
will allow for the greatest control, but will limit the range and agility of
the cloak. Draping the cloak over the arm will allow for a similar amount of
control as wrapping, but will give the cloak more range and agility. Holding
the cloak in the hand, gives the cloak the best range and agility, but the
least amount of control, it is also the easiest to move the cloak from one
position to another by this method, and also to throw the cloak.
The choice
of how the cloak is held will determine what is possible. Rather than focusing
on a single method of use a more broad approach will be used. The cloak, as
instructed by di Grassi may be wrapped about the arm, held in the hand or even
simply placed folded over the arm. This allows more utility in the use of the
cloak rather than restricting it. The best thing to do is to hold the cloak
however is most suitable for what you want to do with it at the time.
Wards
Just as the
method of holding the cloak will determine what is possible with it, so too
will the ward play a part. The position of both the cloak and rapier will
determine what you are able to do with both of them and what sort of access you
have to both offensive and defensive actions. In order to gain an appreciation
for the options available it is useful to examine what the Renaissance masters
had to say about the ward.
Agrippa has
his cloak wrapped around the hand, and also used in combination with the
dagger. The cloak is kept low and the rapier adopts a high or low position. He
also depicts taking the cloak off the shoulder and shows it to be about thigh
length. This depiction of the cloak is useful for sizing as to usage. Both the
sword and cloak are placed in a terza position and centralised.
Giacomo di
Grassi depicts only one ward but describes three wards in his text. Each one of
the wards moves the position of the weapon rather than the position of the
cloak, depending on the ward. The cloak however is positioned extended from the
body, but also with the arm bent in order to cover the body with the position
of the cloak for all of the wards. This extended position is similar to that ...
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
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
