Saviolo's Weapons

Greetings

I took it upon myself to examine the depictions given by Vincentio Saviolo, or at least his artist, of the two combatants and their weapons in order that I might discern the length of the weapons though proper by Saviolo for the practice of his art. While Saviolo gives no indication of the length of his weapons in his text, nor gives any particular preference to the length of the weapon desired by him, the depiction of the weapons gives some idea of what these weapons should be like. The following details the short bit of research that I embarked upon in the search for the weapons of Saviolo.

The first question is why? Or more to the point, why bother? To this I answer that having some idea of the length of the weapons is useful due to the effect which the length of a weapon has upon the combat in which it is involved. Clearly a weapon's make-up will have an effect on the combat. Weapons designed for cutting thrust less well, and vice versa. Thus gaining some idea of the length of the weapons in Saviolo will assist in the understanding of his combat, along with the proportion of the weapon to the user, which also has an effect.

What needs to be noted and accepted is that there are some inaccuracies that need to be taken into account. These inaccuracies will become apparent because of the method used and also some of the data collected from external sources. However, even with these factors the results of this examination are useful as it will give at least an approximate answer to the question.

First of all the "average" height of a male of the Renaissance period was researched in order to give some way to transfer the data from the page and into a "real world" setting. By the research performed on this particular subject the average height was established at approximately 5'5" or approximately 165-cm. The second part was to decide on what images to use to gain the data. So four images were selected, the first four given in the manual. Thus there is the depiction of the three single rapier and one from rapier and dagger. With this information gained it was then possible to start examining the images.

All of the images were scaled so that they were all from a common source. These images were then ...

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.

Rapier and Cloak - A Bluffer's Guide

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

di Grassi's Rapier and Cloak - The Second Part

Greetings,

This is an unusual case, as  there is a second part to the most recent blog which has been posted on di Grassi's Rapier and Cloak. Many people who read about di Grassi's Rapier and Cloak either only read the first part found in his manual or read on the second part. In order to understand the proper and complete operation of the use of the cloak it is necessary to have both. Thus what is presented below is di Grassi's information about the use of the cloak from "The Second Part intreatinge of Deceites and Falfinges of Blowes and Thruftes".

As with the previous presentations of period works, all of the spelling and punctuation has been kept as it was in the original. All of the previous mentions of the conditions of the previous presentations of di Grassi's work thus also apply to this one. Enjoy.

Cheers,

Henry.

Of Sword and Cloke, or Rapier and Cloke

For to diſceyue the enimie with the cloake, it is neceſſarie to know how many waies in may ſerue the turne, and to be skilfull how to fould it orderly about the arm, and how to take aduantage by the largenes thereof: and farther to vnderſtand how to defend, and how to offend and hinder the enimie therewith, becauſe it fales not out alwaies, that men fight with their cloake wrapped about the arm, and the ſword in hand, Therefore it is the parte of a wiſe man, to knowe alſo how to handle the cloake after any other manner.

            Wherefore one may get the aduãntage of the cloke, both when it is about his bodie, and when it is folded about his arme: The cloke being about the arme in this maner. When it chaunceth any man to bicker with his enimie, with whom he as at poynt to ioyne, but yet happelie weareth about him at that inſtant no kind of weapon, whereas his enimie is weaponed, & threateneth him, then by taking both ſides of the cloake as neare the coller as is poſsible, he may draw it ouer his owne head, and throwe it at his enimies face, who then being intanglerd and blinded therewith, may either be throwen downe, or disfurniſhed of his weapon very eaſely by him that is nimble, eſpecially if he haue to deale againſt one that is ſlow. A man may after an other manner take the aduantage of the cloake which the enimie weareth, by taking with one hande both ſides thereof, neere the coller; which ſides being ſtrongly holden, cauſe the cloak to be a ginne or ſnare about the enimies necke, the which ginne being violently haled, and plucked with one hande, he may fo forciblie ſtrike him with the other on the face or viſage, that he will goe neere hande to breake his necke.

            There be manie other waies whereby one may preuaile with the cloake, to the greateſt parte whereof, men of meane iudgement may eaſely attaine vnto. Therefore when one hath his cloake on his arme, and ſword in his hand, the aduantage that he getteth thereby, beſides warding of blowes, for that hath bene declared in the true arte is, that he may moleſt his enimie by falſing to fling his cloake, and then to flinge it in deed. But to falſe the flingyng of the clok is verie daungerous, becauſe it may not be done but in long time. And the verie flinging of the cloake, is as it were a preparation to get the victorie, and is in a manner rather true art then deceit, cõſidering it is don by the [ſtrenght] ſtreyght or ſome other ſhorte line: neither for any other cauſe is this the rather here laide downe, in deceite, then before in true arte, then for that when one ouercometh by theis meanes, he ſeemes not to conquere manfully, becauſe he ſtrikes the enimie before blinded with the cloake, wherefore when one mindeth to flinge his cloake, he may either do it from and with his arme, or elſe with his ſword: and in ſo doing it is neceſſarie, that he haue not the cloake too much wrapped about his arme: I ſaie, not aboue twice, neither to hold it ſtreight of faſt with his hande, that thereby he may be the better able when occaſion ſerueth to fling it the more eaſelie. If therefore he would fling it with his arme, and haue it goe with ſuch fury, and make ſuch effect as is required, he muſt of force ioyne to the flinging thereof the increaſe of a pace, on that ſide where the cloake is, but firſt of all he muſt incounter, either finde, either ſo enſure the enimies ſword, that by the meanes of the increaſe of that pace it may do no hurte.

            And it is requiſite in euerie occaſion, that he finde himfelſe to ſtand without: and when either an edgeblow or a thruſt comes, be it aboue or in the middle, as ſoone as he hath warded it with his ſword, he ſhall increaſe a pace and fling his cloake, how ſoeuer it be folded, either from the coller, either from any other parte, or elſe to hale it off from his ſhoulder, although it bee on his ſhoulder: and in this order it is eaſelie throwne, & is thereby the more widned in ſuch ſort, that the enimie is more entangled and ſnared therewith.

            Concerning he flinging of the cloake with the ſword, I ſaie, it may be throwen either with the point, either with the edge: with the poynt when one ſtandeth at the lowe warde with the right foote behinde, an the cloake before: In which caſe the cloake would be well and thicke doubled and placed on the arme, but not wrapped. And in ſteed of driuing a thruſt with the poynt which ſhalbe hidden behinde the cloake, he ſhal take the cloake on the poynt of the ſworde, and with the increaſe of a pace, force it at the enimies face. And in this manner the cloake is ſo forciblie, and ſo couertly deliuered and flinged, that the enimie is neither a ware of it, neither can avoyde it, but of force it lighteth on his face, by meanes whereof, he may be ſtroken at pleaſure in any parte of the bodie.

            The cloake may be flong or throwen with the edge of the ſworde, when one ſtandeth at the lowe warde, with the poynt of the ſword turned backewardes, one the left ſide and the cloake vpon it, folded at large vpon he arme vp to the elbowe: but not faſt wrapped about it, and whileſt he falſeth a reuerſe, he may take the cloake on the edge of the ſword and fling it towards the enimie, and then ſtrike him with ſuch a blow as ſhal be then moſt fit for his aduantage deliuer.

            Manie other deceites there might be declared of the cloake, aſwell of flinging as of falſing: but becauſe I thinke theſe to be ſuſſicient for an example to frame manie other by, I make an ende.

Giacomo di Grassi's Rapier and Cloak

Greetings,

What appears below is a transcription of Giacomo di Grassi's Rapier and Cloak from the 1595 edition of "His True Art of Defence". I have not included the image from the source, but have placed a marker in its place, but the spelling and punctuation is as close to the original as could possibly be transcribed.  Enjoy.

Cheers,

Henry.

The Rapier and Cloake

That I maie continue in the weapons which are moſt vſuall and moſt commonly worne: After the Dagger, I come to the Cloake: The vſe whereof was firſt founde out by chaunce and after reduced into Arte. Neither was this for any other cauſe then for that nature doth not onely delight to inuent things, but alſo to preſerue them being inuented. And that ſhee may the better doe it, ſhee taketh for her helpe all thoſe things that are commodious for her. Wherefore, as men in diuers accidẽts haue caſually proued, that the Cloak helpeth greatly (for as much as they are to weare it daily) they haue deuiſed how they may behaue themſelues in all that, in which the Cloak may ſerue their turne. Which accidents, becauſe they are infinite, & do not generally ſerue for our purpoſe, I wil reſtraine my ſelfe and ſpeake of thoſe onely which appertaine to this Arte, the which are ſuch and ſo effectuall, that they may greatly helpe to the obteining of ſafe victorie, if they happen to be placed in ſuch a man as knoweth howe to vſe and handle them. And for that in true Arte it doth little preuaile, the vſe thereof being in a manner altogether deceitfull, I was reſolued to put ouer all this to the treatiſe of Deceit, as vnto his proper place. Notwithſtanding, to the ende it may not ſeeme ſtrange to any man, to read nothing of the Cloak in al the handling of true Arte, I am minded to laye downe a certaine fewe blowes in the accuſtomed wardes, referring the more abundant handling thereof vnto the treatiſe of Deceit.

The manner how to handle the Cloake

As the Cloake in this Arte, hath in it three things to be conſidered, to witt: length, largeneſſe, and flexibilitie: ſo it is to be wayed how far each of theſe will ſtretch, to ſerue the turne. Of which three, one doth properly belong vnto it, and that is flexibilitie, which maie neither be encreaſed nor diminiſhed: The other two, may receiue alteration. But yet it is at any hande to be prouided, that theſe two alſo be not diminiſhed. For the Cloake is no ſtrong thing, which of it ſelfe may withſtand the blowes of the weapon, being directly oppoſed againſt them.

And therefore he ſhall proue himſelfe but a foole who truſting to the Cloth wrapped about his arme, doth encounter any right edgeblowe therewith. For ſeeing the Cloake is not flexible in that parte (which flexibilitie is his onely ſtrength) litle preuaileth either length or largenes, wrapped about a ſolide ſubſtãce. But being oppoſite in that parte thereof, where it hath length, largenes and flexibilitie (which is from the arme downwardes) it is auailable: for all three being ioyned togither will warde any edgeblow: which manner of warding ſhould not be ſo ſure, if the cloake had onely length and flexibilitie: for hauing behind it litle ayre, which is the thing that doeth ſtrengthen it, it may eaſily be beaten too, and cut, by any great blowe. Therefore, if a man haue ſo much lieſure, he ought to wrapp his Cloake once or twice about his arme, taking it by the Cape or coller, and folding his arme therein vp to the elbowe, and therewithall to warde all edgeblowes from the flanke thereof downwardes, aſwell on the right ſide, as on the left ſide, alwaies remembring to carrie his foote differing from his arme, for the auoyding of danger that may riſe by bearing his legg on the ſelfeſame ſide, neere his cloak knowing the Cloak wardeth not when there is any harde ſubſtance behind it.

            Thruſtes alſo themſelues, may be giuen without if with the Cloake, or with the hand in the Cloake, the enimies ſworde be beaten off, one handfull within the poynt thereof. For the edge hauing but ſmall power in that caſe, is not hable in ſo litle time, to cut the hand. The blowes alſo, aſwell of the poynt, as of the edge, from the flanke vpwardes, ought to be warded with the ſworde; For to lift the arme ſo high being burdened with the waight of the Cloak, which naturally draweth downwards, as it is violent thing it is alſo perilous, leaſt the arme be placed in ſteede of the Cloake, and ſo reſt wounded, or left the arme or Cloake be placed before the eyes, which by that meanes remaine blinded.

An Aduertifement concerning the warding and wrapping of the Cloake.

There are two waies (in theſe daies) to wrappe the Cloake, the one is, when one hauing leaſure taketh the Cloake by the cape or coller, and ſo fouldeth it once or twice about his arme: The other is, as often times it falleth out, when letting the Cloke fall downe from the ſhoulder, it is happelie taken by one ſide, & ſo is turned once or twice about the arme.

            Nowe as concerning ſtriking, a man ought in the handling of theſe weapons as he would ſtrike, firſt to increaſe and carrie the one foote neere to the other, and then farther to increaſe a halfe, not a whole pace, as in other weapons: For at theſe weapons, it is daungerous leaſt (making a whole pace) he entangle his foote or feete in the Cloake and fall downe therewith. And this muſt be taken heede of, in the firſt and ſecond foulding, but principallie in the ſecond, becauſe in it the Cloake is longer, and therefore doth more eaſilie touch the earth & intangle his feet: In the firſt fold, although the cloak touch not the earth, becauſe the arme doth orderlie beare it, yet by reaſon of werines, the arme falleth & cauſeth the foreſaid effect.

[Insert image here]

The hurt of the high ward at Rapier and Clok.

In theſe maner of weapons, as in others, I will frame three wardes: The firſt by the foreſaid reaſons, ſhall be the high warde, which in theſe kind of wepons more then in anie other deſerue the name of a ward. For the Rapier (ſomething bending) wardeth as farre as the clok hand, and the clokhand down to the middle legg: foe that in this ward a man is warded from the top of the head down to the foot.

            Therefore ſtanding at this warde, whether it be with the right foote before or behinde, he may deliuer a thruſt with the encreaſe of a halfe pace forwards, ſtaying himſelfe in the lowe warde.

            The right edgeblowe ought to be deliuered from the wriſt without any motion of the feete, reſting in the lowe warde: but in deliuering of the reuerſe, it is neceſſarie to fetch a whole pace, and in a manner ſtraight. If the enemie warde it with his ſworde, then the encounter of the enemies ſworde, muſt be ſtayed ſuddenly with the Cloake-hand in the firſt part thereof, and a thruſt be deliuered vnderneath, with the encreaſe of a ſtraight pace.

The defence of the thruſt, right and reuerſed blowes of the high warde at Rapier and Cloake.

For the better auoyding of the hurts which proceede from the high warde: it is neceſſarie to ſtande at the lowe warde, in the which the thruſt is to be warded iiij. manner of waies, to wit: either with the ſingle ſworde within and without, either with the ſingle Cloake within and without. If with the ſingle ſword within, it is requiſite to fetch a compas with the foot backwards on the right ſide. In like caſe to turne the bodie the ſame waie, to the intent, to carrie it out of the ſtraight lyne (in which the blowe commeth) and to driue a reuerſed thruſt at the face, the which thruſt in ſuch order deliuereth is the longeſt that is, and ſuch a one, as thereby the hurt is not onely voyded, but alſo at the ſelfeſame time, the enimie is ſtroken in the face. If it chaunce, that the ſworde be encountered without then it is not onely profitable but alſo neceſſarie, to ſtep forwardes and with the Cloake to encounter the enimies ſworde in the firſt parte thereof. And recouering his owne ſworde, to diſcharge a thruſt vnderneath with the encreaſe of the right foote. And although it be laide down for a rule, not to vſe a whole pace in handling of the Cloake, this ought to be vnderſtoode in ſtriking, in the which (whileſt one endeuoureth to ſtrike with his ſworde) it may be forgetting the Cloake, his arme may fall, by meanes whereof he may ſtumble againſt it: but in warding, it doth not ſo happen. For nature being carefull to defende her ſelfe (at euery litle danger) lifteth vp both her armes, yea, although they be oppreſſed with waight and burden.

            Wherefore it is not be feared, that in warding this thruſt, his hand will be drawen downe by the waight of the Cloake.

            The ſame wardes and defences may be vſed with the ſingle Cloake, in which, one muſt likewiſe ſtrike, with the encreaſe of the right foote. This maner of warding is not verie ſure, and therefore it requireth great actiuitie and deepe iudgement, conſidering he ought to beare his Cloake and arme ſtretched out before him, & to marke when the enimies ſwords poynt ſhall paſſe within the Cloakhand one handful or litle more: and not to ſuffer it to paſſe farther, but to beat it off, and encreaſing to diſcharge a thruſt vnderneath; with the encreaſe of a pace with the right foote. But as I haue ſaide, this manner of warding hath litle certaintie and great perill in it, and yet it ſtriketh well, if it be done in ſhort time.

            The right edgeblowe may in like manner be warded with the ſingle ſworde or cloake: but when it cõmeth aloft, it ſhall not be commodious to encounter it with the ſingle cloake, for by that meanes the eyes blinde themſelues. How much this importeth, let others iudge. But, when the ſaide right blo we commeth in manner lowe, ſo that it may well be warded, keeping the enimie in fight, then the cloake is to be oppoſed, with the encreaſe of the left pace, &; preſently thereupon, a thruſt to be diſcharged, with the encreaſe of a right pace.

            When one oppoſeth the ſingle ſworde againſt the right blowe, he muſt driue a thruſt at the face, & fetch a compas with his hinder foote, cutting the face with the ſaide thruſt and ſtaie himſelfe in the broad ward. The ſelfe fame muft be done, when he defendeth him ſelfe with both together, to wit, with the ſword and cloake.

            Againft the reuerſed blowe, the ſelfe ſame manner is vſed in warding to wit, either with the one, or with the other, either with both ioyned together.

            With the cloake, by the encreaſe of a pace, and by encountring the enimies fworde, as farre forwards as is poffible, that thereby it may be done the more commodioufly, deliuering a thruft therewithall vnderneath, with the encreafe of a pace of the right foot.

            With the ſingle Rapier, the ſame defence may ſuffice, which is layde downe in the treatiſe of the ſingle Rapier, and that is, to diſcharge a thruſt at the enimies thigh, the which withſtandeth the full of the reuerſed blowe.

            Nowe, if one would defend himſelfe with both theſe weapons ioyned togither, he muſt encreaſe a pace with the right foot, &; ſtaying the enimies ſword with his cloake, recouer his owne ſworde nimbly, and then deliuer a thruſt with the encreaſe of a pace of the right foote.

The hurt of the broad warde, at Rapier and Cloake.

In this warde, as well as in others, a man may both thruſt and ſtrike, yet diuerſly: For he may not diſcharge a right edgeblowe beneath. And the reuerſe is manifeſtly dangerous: So that, when he is to deliuer it, he ought to perfourme in this order.

            Firft, he ſhall driue a thruſt, fetching a compas with his hinder foote, that by that meanes it may reach the farther, then ſuddenly (without mouing of himſelfe) he ſhall diſcharge a right edgeblowe, from the wriſt, after the which preſently, the reuerſe muſt followe, with the encreaſe of a pace of the right foote: and further, muſt follow on with the thruſt alreadie prepared, and increaſe the like pace.

The defence of the broad warde, at Rapier and Cloake.

To him that will ſafely warde himſelfe from the hurt of the broad warde, it is requiſite, that he ſtand at the lowe warde. And when the thruſt vnderneath hand commeth, he ſhall thruſt at the face, fetching a compas with his hinder foote towardes the right ſide, with which kinde of thruſt, it doth lightly happen that the enimie is hit in the face: but if it faile, yet for all that, the enimie obtaineth not his purpoſe, in the diſcharge of the thruſt of the broad warde: For by deliuering the thruſt vnderneath, and compaſſing of the hinder foote, the bodie is carried out of the ſtraight lyne: So that, as ſoone as the thruſt is deliuered at the face, and the foote to be plucked backe, ſetling in the broad warde. To warde the right and reuerſed blows, there is a thruſt to be giuen at the thighes or ſome other place that may moſt hinder them, in the verie fame time that ſuch blowes are in their circle or compas. Although I do not beleue that there is any man ſo foolifh, that (in his warde) will deliuer a reuerſe onely.

Of the hurt of the lowe warde, at Rapier and Cloake.

This warde is ſo ſtraight and perilous, that no man ought to aſſure himſelf to deliuer an edgeblow in any manner of waie. For vnder any of them he may be eaſily ſtrooken, and each of them may eaſily be warded with the Cloake. Therefore, he muſt diligently take heed, that he thruft onely, the which muſt neuer be diſcharged before the enimies ſworde be found, and then as farre forwardes as is poſſible. So then finding it, he may thruſt both within and without. Neither is there in this thruſt any other aduantage to be gotten, then to ſteale a halfe pace vnwares of the enimie, which may be done verie commodiouſly, conſidering the cloak occupieth the enimies ſight, And hauing drawen this halfe pace, and found the enimies ſword, he muſt encreaſe an other halfe pace forwardes, and ſtrike him, coſting and forcing the enimies ſworde, on that ſide where it may do no hurt. And this maie be vſed both within and without: But he whome it pleaſeth, and who doubteth not to be entangled in the Cloake, maie (finding himſelfe within) carrie his left foot making a pace therewith, and betweene his cloake &; his ſworde, cloſe the enimies ſworde, and deliuer a thruſt with the encreaſe of a pace of the right foote: And finding the enimies ſword without, he may vſe the ſelfe ſame encreaſe and thruſt. But if he finde not the enimies ſword, he may deliuer a litle edgeblow from the wriſt of the hand, in ſuch ſorte, that the enimy haue no leaſure to enter in: And hauing found the Sword, to diſcharge a right or ſtreight thruſt, or elſe not voyding the enimies ſword by the encreaſe of a left pace, to driue a thruſt from aloft downwards, lifting vp the fiſt ſomewhat high, and deliuering it with the increaſe of a pace of the right foote.

Of the defence of the lowe Warde at Rapier and Cloak.

To the ende a man may warde himſelfe from all the thruſtes reckned in the hurtes of this warde, he neither ought, neither happely may doe any other thing then voide his bodie from the ſtraight line, wherein the enimie purpoſeth to ſtrike, making a left pace forwards, ſomewhat thwarting or croſsing and ſtriking the enimie ſafely. The which doth not ſo chaunce, when one defendeth himſelfe either with the ſingle Cloake or ſingle Rapier: For whileſt he aſſaileth to defend himſelf, he cannot ſtrike. And if the enimie do firſt moue, and ſtrike ſtraight, in the which, his ſworde is not carried much outwardes (and it hardly done,) I ſaie, the enimie may be ſtealing of half paces, diſcharge a thruſt perforce. And therefore he muſt take heede, that (as the enimie moueth) he encreaſe a ſlope pace (by the meanes voyding the hurt) then a thwart or croſſing pace next, with the encreaſe of a ſtraight pace of the right foote, to ſtrike the enimie with a thruſt vnderneath.

            This may ſuffice, for the handling of theſe weapons as much as appertaineth to ſure plaie. All that which remaines is reſerued to the treatiſe of deceit, in which place ſhall be ſeene manie handlings of the cloake no leſſe profitable then pleaſant.

Move Slow, Learn Fast

Greetings,

The meme of moving slow and learning fast is one which has been around for ages. For the most part it is a principle which I like and can easily relate to, however I will be presenting this idea from a slightly different point of view as my main focus will be fencing. Odd? A little in some ways, but as will be demonstrated below, the slow movement principle applies more to the use of the sword than many would think.

Fencing for the most part is a quick, energetic form of combat or sport, depending on what your weapon is. This means that the actions are quick and precise. With this in mind, for some, it will be difficult to understand how practicing actions slowly will help them progress when in the end they are going to have to perform the same actions at speed. This is something which you will find will come from the greener students for the most part, but some advanced students as well.

In the SCA, the heavy combatants, i.e. fully-armoured combatants use what is know as "quarter-speed" this is slow movement of the weapon and body in order for warming up for the most part and also for practice without armour. Essentially this is moving at a slow speed where both combatants can see the weapons moving and thus there is a less likelihood of injury even when not wearing any armour. This same technique, or something like it can also be applied to fencing.

The use of slow work allows us to see the body and weapon moving. This is something which is much more difficult to see at full-speed when bouting. What this means is that the combatant and any ...

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.

Case of Rapiers: A Bluffer's Guide

Introduction

            The case of rapiers is a challenging weapon form to learn and one which is quite difficult to master. Indeed the authors of the reference material to be used in this lesson advise the reader that this weapon form should only be used by a practitioner who is sufficiently trained and experienced in their use, to quote di Grassi “he which is not much practised and exercised therein, ought not to make profession of this Arte: for he shall find himself to be utterly deceived.” (di Grassi, 1594).

The case of rapiers is essentially the use of two rapiers at the same time however it is not always as simple as this. These weapons are often matched in length, but not necessarily. The weapon form is sometimes called “Florentine” by some, describing the use of two swords simultaneously. In some ways this combination is similar to rapier and cane as there are two long items, but different in that both are weapons and can be used offensively. In a way it is also similar to the rapier and dagger combination in that there are two offensive items to use, but it is also different in that both weapons are long.

            This is a weapon form which has been discussed by several theorists and masters of the Renaissance period. For the purposes of the following investigation the focus of the research will be on one of these, Giacomo di Grassi. The single source was chosen as it supplies a relatively simple approach to the use of the case of rapiers, and provides a solid foundation for the theoretical elements found in its use. This lesson will also take into account my own experiences in the use of the case of rapiers, which has been noted to be somewhat different to most.

            The focus of this lesson is the investigation of the use of the weapon form in a practical manner. In order to find a foundation it will be based upon having opponents with matched weapons in the active descriptions of the form on the basis that the manuals describe this. This is most useful as it describes not only how to attack but also to defend against the same combination. Before this is possible it is important that a more general approach is taken to the form, thus the operation of the weapons alone, before coming to a place where contact with another opponent is possible.

Bibliographic Issues

            In the study of the case of rapiers 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. The True Art of Defence by di Grassi was originally written in Italian and published in 1570. The 1595 version of the manual which is being used for this investigation is an English translation of this manual. This is important as it means that however skilled the translator of the language there will be some interference between the different versions of the manual. Indeed there are even issues as the 1595 version was written in Elizabethan English which is different to the modern language. This issue does form a barrier to the research, but not one which is insurmountable.  

            Further to this language issue, and directly related is the names of the device being used, the sword. Often “spada” in Renaissance manuals is translated as “rapier” where in actual fact it simply means “sword”. This is the case for the translation from the 1570 Italian to the 1595 English. While it would be more accurate to refer to this description as a case of swords lesson, the rapier is the focus and while cutting actions are primarily the purview of the sword, the cutting actions can be performed with a rapier. Aside from this, the fact that it is referred to as a rapier in the 1595 version makes the discussion of the weapon valid.

Principles

            The case of rapiers would seem to be one of the most complex systems devised, and in some ways it is, however what should be noted about this is that as with any system it is based on principles and for the most part these principles are relatively simple. While the principles do not explain the entire system they are advantageous in gaining an understanding of the foundations of the system.

            The simple thing is that the case of rapiers places a sword in each hand this is clear and evident to all. Regardless of the length of the weapons and whether they be matched or not it is two swords. These weapons have the ability to both strike and defend the wielder. It is important that both hands can be used to attack and defend for maximum effect, “a man ought to accuftome his bodie, armes and handes afwell to ftrike as defend.” (di Grassi, 1594).

            The case of rapiers is two weapons, as stated, two weapons which can both attack and defend. What needs to be realised here on a conscious level is that the weapons are one in each hand and each can be used independently and in combination in order to achieve the end of the combatant.

“For feeing they are two weapons, & yet of one felffame kind, they ought equally and indifferently to be handled, the one performing that which the other doth, & euery of thẽ being apt afwel to strik as defend.” (di Grassi, 1594)

            This means that the weapons can be used alone against the opponent doing what needs to be done or they can also be used in combination. The used in combination is the more effective choice but the independent option should not be forgotten. In combination, the actions of one weapon should be supported by the actions of the other weapon. Thus where one is used to defend so the other should strike, and where a weapon is used to strike, so should the other defend. This allows for the maximum benefit possible from using two weapons.

            As with any weapon form in the arts of the Renaissance period, circular and sloping footwork is the best approach to the opponent. In the case of two weapons of length this is vital. To approach directly upon the opponent is substantially less effective than to use circular or sloping footwork to change the facing and thus gain an advantage over the opponent.

            The case of rapiers is a complex weapon form, but the basics should never be forgotten, they still apply. The simple actions which work at single rapier work just as well with the case of rapiers. In all instances the single weapon can dominate and beat the double weapons so long as the one using the single does not forget the foundation elements. This is the same with ward choice, using one which confirms to the basic principles and works for you is best, remember to move through them rather than remaining static.

            These are the base principles which will form the foundation of the information which follows. The principles will be found in the various elements and elucidated upon in order that their real meaning can be completely understood. Without the principles which have been presented this system works substantially less well.

Wards

            In the case of the wards for the case of rapiers, they are wards in the truest sense; they are positions from which a defence or offence is launched not positions of safety. Giacomo di Grassi uses his wards as positions from which the action is started. These are foundation positions which enable the weapons to be used against the opponent. Regardless of the ward chosen there are some important factors which need to be taken into account.

            The first factor has already been iterated in that they are positions from which an action is made, not guards and thus positions of safety. The combatant should always remain alert and aware of the actions of the opponent regardless of the position he is in. Further to this the combatant needs to be aware of the position of his weapons.

The weapons need to be held in such a way that they are not easy to tangle. This issue of tangling must be taken into account whether it is an active action of the opponent in order to immobilise the weapons or an inadvertent action of the combatant making an action of his own. In this they need to be kept separate in some fashion, in order that one weapon does not foul the action of the other or by its action become entangled in the other.

In the discussion of the sword there is always the consideration of lines. These are important for defensive and offensive purposes. In the typical situation the lines are based on the position of the primary weapon. In the case of using two swords, both are essentially the primary weapon thus resulting in a complication. In essence due to the doubling of weapons the lines are doubled; one for each weapon.

The place where this is of most importance is the inside and outside lines. This is not to say that there is less significance for the high and low lines. Each weapon has an inside and outside line. What needs to be noticed here is that the inside lines will occupy the same space as they cover the same area. It is possible to make all four parries with each weapon, thus two parries could be used to cover a single line. More of this will be discussed later on.

In his manual, di Grassi discusses three wards, as he does through the entire manual. These wards are the High, Broad and Low wards. In all cases it is the rear weapon which is the focus of this description. The forward weapon, regardless of the hand, will adopt a Low ward, which is slightly more extended in the double Low ward. The rear weapon accompanies the rear foot. The only ward which is actually depicted in his manual is the High ward. The following is the depiction from the 1570 manual.

            The High ward as presented has the left foot forward with the left sword in a Low ward, while the right sword is in the High ward position. The rear arm is high above the head in the position of first while the other is in the usual position of the Low ward. This footwork position remains the same for all of the wards as does the rear foot accompanying the “descriptor” weapon at the rear.

            The Broad ward as described has the same footwork position as above and the same position for the left-hand sword in the Low ward. The rear arm is extended from the body to the right in a position of second with the point aimed at the opponent. The arm needs to be extended in this position for the ward to be formed properly.

            The Low ward, and di Grassi’s preference for ward, is slightly different from the others but the same principles apply. Once again the footwork position is the same with the left to the front and the right to the rear. In this case the weapons are both in the Low ward position and the forward weapon should be pressed forward a little from the front leg for clearance. This ward is clearly demonstrated as the preferred ward as it is used to oppose the other two wards using contra-postura, and also di Grassi spends more time discussing the Low ward than any other ward.

            There are other wards which can be used indeed Marozzo describes a ward for each hand alluding to the use of two weapons independently in the process. Other wards which may be adopted are ones such as the open ward in which one weapon is placed to the front aligning with the foot on 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

di Grassi, G. (1595) His True Arte of Defence, translated by I. G., Signe of the Hand and Starre, London

What's Next?

Greetings,

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

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

So the student will progress on to more advanced techniques. These may involve more advanced techniques on the same weapon and/or may include the addition of other weapons. Once again, based on the foundation laid in the beginnings of training, the skills of the student will develop. This is the purpose of the training at this point in time to develop and hone the skills. This will, no doubt, take ...

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.