Rotella: Considerations of Form and Size

 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

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[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

Sword and Shield Treatises

Greetings,

The following is a discussion, as indicated by the title, about treatises in the discussion of the use of the sword and shield. Before any further reading is done, it should be noted that the buckler has been excluded from this discussion, thus the discussion is about larger shields which were typically used and associated with war. While this is the case, the rotella and variants has been included due to its size, and thus use characteristics. What will be noted is a distinct gap in knowledge...

Treatises

          In studying the idea of the use of sword and shield in the medieval period there is an issue as there is a large gap in knowledge. Studying the sword and shield in the Renaissance period is not so much of an issue as when the shield left the battlefield it found a place in civilian combats thus there were theorists willing to write about its use. Previous to these writings however, there is a gap in our knowledge. It would seem that the knowledge for this period was either passed from one man to another or if it was written down it was lost.

Vegetius: Roman Source Material

          One of the earliest treatises we have with regard to the use of the sword and shield is Flavius Vegetius Renatus, or as he is more commonly known, Vegetius (2008). He wrote at the end of the Western Roman Empire discussing the training methods of legionaries of the earlier periods when the Empire was at its height. It will be claimed that this particular source is not of much use because it discusses Roman methods of warfare rather than medieval forms, however, it was significant enough to be re-written and re-purposed in the medieval period as the Poem of the Pel (Neele, 1460).

          The six stanzas which are considered by most practitioners to make up the Poem which, start with the second, are an almost direct copy of the writings of Vegetius. If a comparison is made between the two documents, it will be noted that there are too many similarities between these two documents that make it unlikely that the Poem was not a paraphrasing of a selection out of Vegetius’ treatise. Unfortunately in the thousand-year gap between Vegetius and the Poem there seems to be little to go on.

Norse Sagas

          The Norse, like many people wrote great stories of the histories of their people. Within these stories there are battles which are told, these stories can tell us something of what combat was like for these people and tell us how they used their weapons. Of course being the great stories that they are, they also have to be taken with a certain degree of criticism as well as in such stories there are often exaggerations made.

          These stories cover a period in which there is not much written down which means it is useful to have them to gain some understanding of combat in this period, but they are not exactly the combat treatises that we are used to seeing from the Renaissance period. The information which is presented needs to be examined, critiqued and then experimented with for validity. The same can be said for any primary source material, but in the case of the written word where stories are concerned more care needs to be taken.

          Of course it does not mean that valuable information cannot be extracted from such sources, but it should always be validated by other sources. In some instances these sources may be other contemporary sagas, or experimental archaeological findings. In both cases the examination needs to be taken with a level of caution to avoid incorrect interpretation or personal bias.

The Medieval Gap

“anyone who might believe that there are no actual Medieval fighting manuals or that there are no real historical sources for Medieval martial arts is entirely ignorant on the subject.” (Clements, 1998:11)

           There is a large gap with regard to written sources between the Norse sagas and the Poem, mentioned previously. This leaves a gap in our written knowledge of how the sword and shield was used in the medieval period. Again, some information may be gained from eye-witness accounts and other chronicles of the period which, just like the Norse sagas, need to be critically examined before the information which they contain can be used with any authority.

          Most of the units in the medieval period were household units or units organised by a particular lord. The individuals with rank who were trained in the use of arms would have been trained by those who knew, and they would have been trained by others who knew, thus training would have been passed practically and by word of mouth rather than written down. This, of course, leaves few written sources for the historian or practitioner of martial arts to interrogate.

          What this means is that other sources have to be found to interrogate, and there are other sources available, if a person is willing to look and broaden their horizons. Rather than limiting a search to treatises, chronicles of battles can be useful where individual conflicts are described, as are individual encounters. Further, the artists of the period would paint what they had in front of them to paint or illustrate in some fashion. This gives us snapshots of situations where equipment is being used and these can be interrogated for information as well. Combined with an examination of museum pieces and accurate replicas, some experimental archaeology based on such information can discover the skills which are hidden within these sources.

The Renaissance Flourishing

          Some would claim it was firearms which sent armour and swords from the battlefield in the Renaissance period, but this is a very simplistic view, especially considering members of cavalry were still wearing breastplates and using swords in the Napoleonic Wars. What the Renaissance really did for the sword and shield was enable the information about its use to be put to print thanks to the invention of the printing press. It is true that as armour improved the shield was removed from the armoured man’s armoury, but it found a new life in that of the civilian’s, and it would also remain on the battlefield for a little while longer.

          The duelling shield as seen in Talhoffer’s (2000) manual of 1467 is a shield which is different from all others in that it could also be used as an offensive device as well, having a spike at both ends. Without using these appendages it could be utilised the same way as any other large shield of the period. This demonstrated a judicial use of the sword and shield, relatively common to the Germans.

          More common to this period was the use of the rotella of the Italians as typified by the manuals of Marozzo (1536), Agrippa (1553), di Grassi (1570 and 1594), Lovino (1580), and Capo Ferro (1610), who demonstrated the use of this round shield for civilian combats. These treatises give us detailed examinations of how these shields were used in civilian combats against others with like weapons, and while some information can be inferred about the use of previous shields caution must be taken with regard to this endeavour that personal preferences and prejudices do not interfere in this research.

          There is one final source which needs to be noted and that is Colombani (1711). This is an interesting source as it does not supply much information about how to use the shield, but places it in with other devices. The date of this treatise is also interesting in that it is so late and places it quite out of the usual range of Renaissance period instruction in this form. It does, however demonstrate a continued interest in its use.

Source Use

          In the investigation of the sword and shield it is important that rigorous investigation is made of all the available material. What has not been noted in this collection is that there are also Iberian sources which also mention the use of the shield and these need to be taken into account. Thus the researcher needs to make clear what their purpose is in their research, and also which particular area of research is being pursued.

          Further complications can arise as to whether a particular shape of shield is being used or a particular size is also being used. If, for example, the buckler is also being included in such research then treatises such as the M.S. I.33 also need to be taken into account. What will also be noted is that the buckler is a much smaller shield and thus the use of this form of shield is quite different to the much larger forms, thus some sort of focus is actually required to do the subject justice.

          A subject needs to be chosen which limits the parameters of the search, but then this search should not be limited only to the written word or only written treatises. In the case of the medieval shield, if limited to the written word, it would be severely hampered and there would be much which would have to be assumed or estimated, such things need to be taken into account. The search needs to take into account the broadest amount of materials but to keep focused on the particular subject area for efficient and effective research.

Bibliography

Agrippa (1553) Fencing: A Renaissance Treatise, Edited by Ken Mondschein (2009), Italica Press, New York

Clements, J. (1998) Medieval Swordsmanship: Illustrated Methods and Techniques, Paladin Press, Boulder, Colorado

Colombani (1711) L'Arte Maestra ("The Master Art") https://wiktenauer.com/wiki/L%27Arte_maestra_(Carlo_Giuseppe_Colombani)

di Grassi (1595) His True Arte of Defence: Showing how a man without other Teacher or Master may Safelie handle all Sortes of Weapons, Signe of the Hand and Starre, London, http://www.umass.edu/renaissance/lord/pdfs/DiGrassi_1594.pdf

Kirby, J. (ed)(2004) Italian Rapier Combat: Ridolfo Capo Ferro, Greenhill Books, London, UK, Stackpole Books, Pennsylvania, USA

Lovino (1580) http://jan.ucc.nau.edu/~wew/fencing/lovino.html

Marozzo (1536) https://wiktenauer.com/wiki/Achille_Marozzo

Neele, John (1460) “Poem of the Pel” in Knyghthode and Bataile (Cotton MS Titus A xxiii), Wiktenauer (http://wiktenauer.com/wiki/Poem_of_the_Pel)

Talhoffer, H. (2000) Medieval Combat: A Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat, Greenhill Books, London, UK (Translated and Edited by Mark Rector)

Vegetius (2008) On Roman Military Matters: A 5^th Century Training Manual in Organization, Weapons and Tactics, as Practiced by the Roman Legions, Red and Black Publishers, St Petersburg, Florida, Translated by Lt John Clarke (1767)

di Grassi - Of Sword and Buckler, Square Target and Round Target - from the second part

Greetings,

This is a transcription from the second part of di Grassi's (1595) His True Art of Defense. No spelling, punctuation, or grammar has been altered in any way. The only difference is the formatting which has changed due to the difference in width in the original text as compared to the transcription. This has been posted as a public service, anyone who would be interested in a more convenient version is free to contact me with regard to this.

Cheers,

Henry.

Of Sword and buckler, ſquare Target and round Target.

            Being of opinion that as touching deceite, there is but one conſideration to be had of all theſe weapons, and for becauſe all the difference which may be between them is laide downe and declared in the true arte, in the conſideration of the forme of each of them: Therefore I am willing rather to reſtraine my ſelfe, then to indeuoure to fill the leafe with the idle repetition of one thing twice.

            All theis three weapons ought to be borne in the fiſt, the arme ſtretched out forwardes, and this is euidently ſeene in the ſquare Target and buckler: the round Target alſo, becauſe by reaſon of his greatnes and waight, it may not be holden in the onelie fiſt, & forwarde, in which kind of holding, it would warde much more is borne on the arme, being ſtretched foorth with the fiſt forwardes, which is in manner all one, or the ſelfeſame. Therefore one may falſe as much with the one as with the other, conſidering there is no other falſe vſed with them then to diſcouer and frame diuers wards, bering no reſpect to any aduantage. And yet there is this difference betweene them, that with the round Target, one may eaſely warde both edgeblowes and thruſtes, and with the ſquare Target, better than with any other, he may warde edgeblowes, becauſe it is of ſquare forme: and the edge of the ſword may eaſely be retained with the ſtreight ſide thereof, which is not ſo eaſely done with the buckler: for ouer and beſides the warding of thruſtes, the buckler is not ſo ſure of itſelf, but requireth aide of the ſworde. Edge-blowes alſo when they come a thwart (for in that caſe, they incounter the circumference thereof: the which if it chaunce, the ſword not to encounter on the diameter, or halfe, in which place the ſword is onelie ſtaied, but doth encounter it, either beneath, either aboue the ſaide diameter (maie eaſelie ſlippe and ſtrike either the heade or thighs: therefore let euerie man take heede and remember, that in ſtriking at the buckler, either with the poynte or edge of the ſword, he deliuer it croſſing or a thwarte.

            As concerning the falſes and deceites, which may be vſed in the handling of theis weapons, as at the ſingle ſworde, they are infinite, ſo at theis weapons they are much more, if the number of infinite may be exceded. For beſides, that with the ſword one may falſe a thruſt, an edgeblowe, on high, a lowe, within, without, and frame diuers other vnorderlie wardes, There remaineth one deceite or falſe properlie belõging vnto theis, which is, to beare the bukler, ſquar Target, or round Target, wide from the bodie, and therewithall to diſcouer himſelfe, to the end the enimie may be hindred, and loſe time in ſtriking, being therewithal ſure & nimble to defend himſelfe & offẽd the enimie. And this he may practiſe in euerie ward, but more eaſelie with the ſquare Target than with the other two, becauſe it is bigge and large inough, & may eaſelie encounter and find the enimies when in commeth ſtriking: but this happeneth not in the rounde Target, becauſe his forme is circuler, neither in the buckler, becauſe, beſides his roundnes, it is alſo ſmall: by meanes of which two things, blowes are very hardly encountred except a man be very much exerciſed in the handling thereof. And becauſe there are two weapons, the one of offence, and the other of defence: it is to be conſidered, that when by meanes of a falſe thruſt or edgeblowe, the enimies round Target, ſquare Target or buckler, is onely bound to his warde, and his ſword remaines free and at libertie, one reſolue not himſelfe to ſtrike immediatly after the falced thruſt, for then he may verie eaſelie be hurt by the enimies ſword. Therefore let him remember for the moſt parte, to falſe ſuch thruſtes, againſt the which, beſides the weapon of defence, the ſword be alſo bound to his warde, or elſe to falſe edgeblowes from the knee downewards: for ſeeing the round target, or any of the other two, may not be vſed in that place, of force the ſword muſt be there placed at his defence, which as ſoone as it is found, and thereby enſured that it may do no hurte, a man may then ſtep forwardes, and deliuer ſuch a blowe as he beſt may without daunger.

An Aduertiſment concerning the defences of the falſe of the round Target.

            Everie time that one vſeth to falſe with round Target, ſquare Target, and buckler, or as I may better ſaie, with the ſword accompanied with them, he falſeth either an edge-blowe, either a thruſt, either leaueth ſome parte of the bodie before diſcouered. Againſt all the falces of the edge, which come from the knee vpwards, the round Target or any of the reſt, muſt be oppreſſed, and then ſuddenly vnder them a thruſt be deliuered, againſt that parte which is moſt diſarmed. But if blowed come from the knee downwardes, they of force muſt be encountred with the ſword, and alwaies with the falſe, or backe edge thereof, whether that the blowe be right or reuerſed: & therewithall the enimies legge muſt be cutt with the edge prepared without mouing either the feete or bodie. And this manner of ſtriking is ſo ſhorte that it ſafely ſpedeth. Moreouer, all thruſts and other edgeblowes, aſwell high as lowe may, naie rather ought to be warded, by accompaning the target or other weapon of defence with the ſword, whoſe poynt would be bent towards the enimie, & as ſoone as the enimies ſword is encountred, if it be done with the falſe edge of the ſword, there is no other to be done, then to cut his face or legges.

            But if the ſword be encountred with the right edge then if he would ſtrik with the edge, he muſt of force firſt turne his hand and ſo cute. And this manner of ſtriking and defending, doth properlie belong vnto the round Target, ſquare Target and buckler, and all other waies are but vaine and to ſmall purpoſe: for to encounter firſt and then to ſtrike, cauſeth a man to finde himſelfe either within the enimies Target or ſword, by which meanes he may eaſelie ſtrike, before either the ſword or Target may warde againe.

            But if any man aske why this kind of blowe carrieth ſmall force, and is but weake? I aunſwer, true it is, the blowe is but weake, if it were deliuered with an axe or a hatchet, which as they ſaie, haue but ſhort edges, and maketh but one kind of blowe, but if it be deliuered with a good ſword in the foreſaide manner, becauſe it beareth a long edge, it doth commodiouſly cut, as ſoone as the edge hath founde the enimies ſword, and eſpecially in thoſe partes of the bodie which are fleſhy and full of ſinnowes. Therefore ſpeaking of deceite or falſing, a man muſt alwaies with the ſword and round Target and ſuch like, goe and encounter the enimies blowes, being accompanied to gether. And as ſoone as he hath found the enimies ſword, he ſhall within it, cute either the face or the legges, without any farthar recouerie of his ſword, to the intent to deliuer either thruſtes, or greater edgeblowes: for if one would both defende and ſtrike togeither, this the moſt ſhorte waie that is.

            But when the enimie diſcouereth ſome parte of his bodie, thereby prouoking his aduerſary to ſtrike, and then would beate off the blowe and ſtrike withall: in this caſe, either a man muſt not ſtrike if he perceue not that his ſword is more neare the enimy, then his owne Target is to the enimies ſword, or elſe if he ſtrik and be further off, he muſtrecouer his ſword & void the enimies blowe, ſtriking comodiouſly ether aboue ether ſome wher els. And it is a very eaſie matter to loſe much time, for the Target and ſuch like are heauie, and if theſe motions meete with no obiect or ſteye, they paſſe beyond their ſtrength. But if it ſo happen or chaunce, as I haue before ſaide, that a man findes himſelfe more neare to hurte the enimie, then the enimie is readie to defend himſelfe, then he muſt not falſe a blow firſt, & then recouer his ſword, but ſtrik & driue it home at the firſt, as reſolutlie & as nimblie as he may poſsiblie: & this maner of ſtriking pertaineth rather to true art then to deceit or falſing.

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 ...

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

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