Greetings,
Considerations of the form and size of our companion items tends to be relegated to secondary discussions. In this discussion there will be a short investigation of the rotella, with these considerations in mind, it will be one of my more formal posts.
Cheers,
Henry.
Abstract
A fencer
needs to consider the size of their companion item as much as their primary
weapon. The discussion that follows addresses the size and form of the rotella
directing the investigation toward the proportion of the rotella in reference
to the individual who uses it. This investigation is derived from extant images
from different sources including martial art treatises, to found these ideas in
the period in which the rotella was used, and to give the discussion some
practical consideration.
Introduction
When the
rotella is considered by many, there is the consideration of a ubiquitous round
shield which is used by the combatant to perform various actions. There is rarely any consideration of the form of the rotella or its size. When the form
is considered, small things such as its strap configuration and how the
combatant holds the rotella make a difference. When size is considered the size
of the rotella can determine whether or not the rotella is effective in
protecting the combatant who is using it or is too cumbersome for the combatant
to use it as effectively as it could be. For the examination of the rotella
there will be an examination of images from period eight period pieces,
including five treatises from Renaissance martial art treatises. From this it
is hoped that a greater understanding of the rotella in its form will be
gained.
Historiography
The first is
an image by Bernat Martorell Sant Celoni, from 1452, an altarpiece of Saint
Vincent, referred to as MNAC 15797.[1]
This piece depicts several armoured individuals, but the one in the foreground
is armed with a round shield, so is of great interest to this study. This is
the earliest piece and gives a preview of the rotella, rather than its final
product.
Chronologically, the next two
images come from Marozzo’s treatise of 1536[2]
and represent the rotella in its more usual situation, in a civilian context,
or the context in which many know it from. What is most interesting is this
form is actually more a military than a civilian form intended for use in pike formations,
adopted for civilian use. This depicts the rotella as it is more commonly
known.
Next are three images which come
from Agrippa’s treatise of 1553[3]
and present three situations with pairs of combatants in civilian attire
combating with sword and rotella. The images are quite clear about the actions and
the form of the rotella is quite established by this time. Again it is the
civilian use of this form.
Following after this is the first
of the images from Giacomo di Grassi’s treatise. First there is the image from
his original treatise of 1570.[4]
This is from the original treatise. This should not be confused with the later
treatise by the same author as this is the translated treatise of 1594.[5]
Both depict an individual with arm extended holding a sword in one hand and a
rotella in the other, strapped to the arm.
Lovino published his treatise in
1580[6]
however the images which were used for this discussion were sourced from a
different location.[7]
This was to get better images so the detail could be seen more clearly. The
rotella which are present in these images are somewhat different to the others
which are present in the others which make an interesting difference, even if
it is only slight.
An image from the British Museum
of an individual standing with a sword and a large round shield was used, the
original image made by Jacques de Gheyn II in 1587.[8]
This is clearly a military figure with the line of soldiers marching past
behind him. It demonstrates that the shield, and sword, had not been completely
outmoded on the battlefield, it also gives a good example of a shield of the
period.
Next are two images from Capo
Ferro’s treatise of 1610,[9]
which depict two civilian combatants fighting with rapier and rotella. The
rotella are very plain having only the essential details that are required of
them for the image to make sense and for their effect to be known. It gives the
reader enough of an impression to know what’s going on but not so much to be
distracted.
Finally there is a portrait of
Alessandro Farnese from 1611.[10]
This depicts an interesting round shield with a very large spike on the front
of it. The shield is one of the ones which will be made note of in the
discussion as it has features which stick out as different from the more
standard format, more discussion will be made of its distinct features. The
portrait depicts the individual in a military situation, which places the
rotella firmly at the cross-roads of civilian and military use as is known of
it.
The Form of the Rotella
The two prime
elements of the rotella which have been presented through the examination of
the images which have been presented are that the rotella has two straps on the
back of it and that it is primarily convex in shape. The first strap is held by
the hand and the second strap goes about the arm. The convex shape is
important, it is not merely a round, flat shield, the convex shape is important
as this shape serves to deflect the incoming blade of the opponent.
While the
face of the shield in MNAC 15797 cannot be seen, from the back of the shield
and the shape present, it is likely that this shield is flat. This makes it
more likely that it is in fact merely a round shield rather than an actual
rotella. It can be seen as the precursor to the rotella as it possesses the
other elements found in the later forms of the rotella.
Later
additions such as the shoulder strap seen in the Jacques de Gheyn II example
and the portrait of Alessandro Farnese are examples of how the weight of the
shield was taken up to relieve the individual who may be carrying the shield
for an extended period of time or to move it out of the way, but again, do not
appear to be a standard form of the rotella, likewise the spikes seen on both
of these examples can likewise be seen as additions to the form rather than
standards of the form.
There is also
noted in the di Grassi 1570 and Lovino 1580 examples where the straps seem to
be mounted rather than in the middle of the rotella, but slightly lower on the
rotella. This may enable the fencer who is using the rotella to more easily be
able to protect their head, again this is not a standard form found in all
examples. Further on the di Grassi 1594 example the straps seem to be mounted
more toward the “back” of the rotella, giving more distance from the hand at
the front, pushing the rotella forward. This could be to give the fencer an
additional advantage, or it could merely be a mistake in this woodcut example
in copying the 1570 during translation to the 1594 edition.
Further on
the location of the straps, some have the strap for the arm located on the
forearm, while others have it located in the crook of the elbow. This may be
from the artists’ impression or, it may be deliberate to change the effect of
using the rotella. All seem to have a similar location for the strap, however
which makes this location more likely dependent on the individual who is using
the rotella rather than the make of the rotella itself, or by design. Such
considerations are important when considering the size of the rotella,
especially in proportion to the user.
Size and Proportion of the Rotella
The size of
the rotella, especially in proportion to the user is significant as this
determines the best size of rotella for the individual, and will determine such
things as how much room there is between the hand and the edge, and also where
the second strap sits across the arm. Further the proportion of the rotella to
the individual in regard to its size will also determine how effectively an
individual will be able to use the rotella, especially considering specific
rotella actions. Too large and the combatant will not move it effectively, too
small and the rotella will not sufficiently cover the combatant.
In regard to
the size in proportion to the individuals depicted some interesting results
have been gained. Five results where the rotella measures from shoulder to the
middle of the thigh, six results where the rotella measures from a fist in
front of the hand to the mid-bicep, two results where the rotella measures from
shoulder to waist, or a little in front of the hand to mid-bicep, and a single
result where the rotella measures from the shoulder to the top of the thigh.
In the images
supplied by Agrippa 1553, there is an equivalence gained where the rotella is
determined as above the shoulder to mid-thigh, or one fist in front of the hand
to about half the bicep, or one fist behind the elbow strap. This could mean
that the two highest results could be combined together to form a single result
due to the equivalent measurement presented.
The
proportion of the rotella to the fencer is important as it will determine how
the fencer can use the rotella. A rotella which is smaller in proportion to the
user will move more freely, while a larger one will cover more easily. The
fencer has to make a decision about what approach they will be taking, indeed
which treatise they are studying and whether the rotella is appropriate in size
and proportion to themselves for the actions described.
Conclusion
The rotella
is a most interesting a useful device when used properly. To use it properly
the rotella itself has to be of the correct form, strapped correctly, and of
the correct proportion to the user. The consideration of what proportion to use
will depend on the approach taken, thus the particular treatise which is
chosen. Particular attention should be paid to the form and proportion of the
rotella which is depicted in the treatise as this will make a difference.
There have
been examples presented of various round shields from the simple round shield
in the earliest example to later military examples of shields with extra
additions made to them to create different effects in their use. The attempt
has been made to cover various different forms so that examples are present of
the widest range and the greatest variety. This was to find the proper form and
proportion of the rotella. The result was that there was a general idea of what
the rotella form was, and a couple of ideas about the proportion, but these are
dependent on the use of the rotella as determined by the particular treatise
which is being followed.
Bibliography
Agrippa, Camillo (1553) Trattato
di Scientia d'Arme, con vn Dialogo di Filosofia, https://wiktenauer.com/wiki/Trattato_di_Scientia_d%27Arme,_con_vn_Dialogo_di_Filosofia_(Camillo_Agrippa)
Capo Ferro (1610) Gran
Simulacro dell'Arte e dell'Uso della Scherma, https://wiktenauer.com/wiki/Ridolfo_Capo_Ferro_da_Cagli
de Gheyn II, Jacques (1587) British Museum No:
1864,1114.465, https://www.britishmuseum.org/collection/object/P_1864-1114-465
di Grassi, Giacomo (1570) Ragione di adoprar sicuramente l'Arme, https://wiktenauer.com/wiki/Ragione_di_adoprar_sicuramente_l%27Arme_(Giacomo_di_Grassi)
di Grassi, Giacomo (1594) His True Arte of Defense, http://www.umass.edu/renaissance/sites/default/files/assets/renaissance/lord/DiGrassi_1594.pdf
Kirby, Jared (ed.) (2004) Italian Rapier Combat: Ridolfo
Capo Ferro's 'Gran Simulacro', Greenhill Books, London
Lovino, G. A. (1580) Traite d’Escrime http://www.umass.edu/renaissance/sites/default/files/assets/renaissance/lord/Lovino_1580.pdf
and https://elegant-weapon.blogspot.com/2016/03/episode-57-rotella.html
Marozzo, Achille (1568) Opera
Nova, https://www.wiktenauer.com/wiki/Opera_Nova_(Achille_Marozzo)
Martorell Sant Celoni, Bernat (1452) Altarpiece of Saint
Vincent, Museo Nazionale di Arte della Catalogna - MNAC, Barcellona, MNAC 15797
(Photo by Andrea Carloni (Rimini)), https://www.museunacional.cat/en/colleccio/altarpiece-saint-vincent/bernat-martorell/015797-cjt
Mondschein, Ken (ed.) (2009) Fencing: A Renaissance Treatise, Italica Press, New York
van Sichem, Christoffel (1611) Portrait of Alessandro
Farnese, Duke of Parma, https://www.rijksmuseum.nl/en/collection/RP-P-OB-15.608
[1] Bernat
Martorell Sant Celoni, 1452 Altarpiece of Saint Vincent, Tempera and gold on
wood with gold leaf. Museo Nazionale di Arte della Catalogna - MNAC, Barcellona,
MNAC 15797 Photo by Andrea Carloni (Rimini),
https://www.museunacional.cat/en/colleccio/altarpiece-saint-vincent/bernat-martorell/015797-cjt
[2] Opera Nova, images are from the
coverplates of the 1568 edition, https://www.wiktenauer.com/wiki/Opera_Nova_(Achille_Marozzo)
[3] Trattato di Scientia d'Arme, con vn Dialogo
di Filosofia, the modern version is available translated: Agrippa, Camillo (2009) Fencing: A Renaissance Treatise, Italica Press, New York (Edited by
Ken Mondschein)
[4] Ragione di adoprar sicuramente l'Arme, https://wiktenauer.com/wiki/Ragione_di_adoprar_sicuramente_l%27Arme_(Giacomo_di_Grassi)
[5] His True Arte of Defense, http://www.umass.edu/renaissance/sites/default/files/assets/renaissance/lord/DiGrassi_1594.pdf
[6] Traite d’Escrime http://www.umass.edu/renaissance/sites/default/files/assets/renaissance/lord/Lovino_1580.pdf
[7] https://elegant-weapon.blogspot.com/2016/03/episode-57-rotella.html
[8]
British Museum No: 1864,1114.465; Date: 1587; By: Jacques de Gheyn II, https://www.britishmuseum.org/collection/object/P_1864-1114-465
[9] Gran Simulacro dell'Arte e dell'Uso della
Scherma, a translated version is available Capo Ferro, Ridolfo (2004) Italian Rapier Combat: Ridolfo Capo Ferro's
'Gran Simulacro', Greenhill Books, London (Edited by Jared Kirby), or https://wiktenauer.com/wiki/Ridolfo_Capo_Ferro_da_Cagli
[10] Portrait
of Alessandro Farnese, Duke of Parma, by Christoffel van Sichem, before 1611, https://www.rijksmuseum.nl/en/collection/RP-P-OB-15.608