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CircleofSteel
WesternMedievalMartialArts

AnAuthentic600YearOldDocumentedTradition

DuringtheMiddleAges,thewarriorsofEuropedevelopedapowerfulstyleofcombatthatwasequally victoriousonthebattlefieldintimesofwar,onthestreetforsuppressingriotsorinpersonaldefense,andina personalorjudicialdueltothedeath.AsthewarsragedacrossEurope,fightingtechniquesweretemperedinthe forgeofbattle,andtheswordsmenofeachcountryperfectedthetechniqueswhichtheywouldpassontothe nextgeneration.

Thoughthetechniquesofkillinginanycountryareinherentlypartofanoralfolktradition,passedonfrom onewarriortoanother,startinginthelate1300'swefindbooksteachingfightingtechniqueswerebeingmadein smallnumbers,eachonecarefullyreproducedbyhand.Someofthesebookscontainedonlyafewdozen illustratedtechniques,butothers,suchtheworksbyFioriDeiLiberiandHansTalhoffer,catalogliterally hundredsofindividualtechniquesandcounters.Bythe1400'sthesemanuscriptswereproducedinanever increasingnumber,withsomeauthorswritingmultiplebooksintheirlifetime.Thiscontinuedthroughoutthe MiddleAgesandRenaissance,withbooksbeingwritteninmanycountries,thoughthevastmajoritycamefrom GermanyandItaly.Ifthe1400sweretheheydayofMedievalclosecombat,thenthiswasalsothegoldenera oftheFechtbuch (fight-book). Duringthe1500s,everythingchangedwiththeinventionofprintingandtheriseofteacherswhoaccepted civiliansasstudents.Beforethistime,thesebookswerekeptamongprofessionalwarriors,astherealkilling techniquesandcounterswereguardedsecrets.TheItalianmasterFioriDeiLiberisaysinhis1410bookFlos Duelatorum(FlowerofBattle)thatthesetechniquesshouldbekeptsecretForthemenwhowoulddefendthe countryintimesofwar,inriots,andinduels andshouldneverbecomeknowntothecommonpeoplewhoare borntobowtheirneckstotheyokeandserve.Fioriwouldnevershowhistechniquesinpublic,exceptashe usedtheminbattle,andhetaughtallhisstudentsinprivate,swearingthemtosecrecyaboutwhattheylearned. HewritesFlosDuelatorumonlybecausehewasanoldman,farpasthistimeofneedingtoeverusetheseskills again. Thefirstmanualtobemechanicallyreproduced,wasAchilleMarozzosOperaNova(TheNewWork)in 1536.Thetitleisquiteaccurate,forhechangesthingsfromtheolderwayofmilitaryinstruction,andhere showscombatwiththecivilianinmind,andasimplifiedmethod,withcloseincounter-techniquesbeing conspicuouslyabsent.Techniquesforarmoredfighting,whereyourwholebodyissuddenlyametalweapon,
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whichwereonlyimportanttothesoldierofthedaywerealsoignored.Inotherways,however,OperaNova alsopreservedmilitaryweaponsthatwerefadinginpopularity,likethelongsword,andisstillaclassicworkby oneofthegreatmastersoftheWesternArts! StartingfromMarozzo,andonintotheRenaissance,themajorityofbookspublishedwereonthecivilian aspectsofswordplay,andthiscivilianelementwould(overthenextfewhundredyears)changetheartinto simplyasport modernOlympicfencing!TheRenaissanceandafter,therefore,holdlittleinterestforme,and arenotmyexpertise,soIwillleavethiswork,assomanythings,forotherstoaccomplish.Thoughtherewere manygreatlatermasterswithprofoundinsightsintothecivilianweaponsoftheirtime,Iprefertheearliest MedievalGermanandItalianmilitarysources,andworkmainlywithTalhoffer,DeiLiberi,Durrer,Vadi,and Marozzosbooks,aswellastheanonymousSolthurnertext. Today,manyofthesemanuscriptsstillexist,andhavebeentranslatedsothatwemayunlocktheirsecrets,if wecanunderstandthemandwillpracticewhatisshown.Oneofthefirstkeyelementsyoufindinreadingthem isthattheycontainalargeamountofunarmedcombatmaterial- afactthatfewknow!AMedievalKnight,or Man-at-Arms,wouldbeexpectedtoknowunarmedcombatanddaggerfightinginadditiontotheswordand spearskillsweassociatewiththemtoday.Inthesurvivingcombatmanuals,mostcontainlongsectionson unarmedstrikingandgrappling,unarmeddefenseagainstthedagger,anddaggerfighting.Theyshow systematicjointlocks,breaks,throws,disarms,counters,groundgrappling,strikes,clinches,holdsandmore. Theunarmedsystemisalsofullyintegratedintotheswordandspearwork,withthemajorityofthetechniques showninvolvingsomedegreeof"closework.Youwillseeidenticaltechniques(particularlythrowsandarm locks)donewithallthedifferentweaponforms,showingtheintegratednatureofthissystem.

Onatechnicallevel,theMedievalcombattechniquesshowninthe1400saredirectandlethal,reflecting theirbattlefieldnature.Youkilledthemanquickly,stuckhimwithhisowndaggerifyouwereunarmed,broke hisarm,threwhimdown,ordrewyourownweapon.Primarilythiswasastandinggrapplingstyle,withafull complimentofstrikingtactics.Groundfightingwasusedmainlytoholdamandownwhileyoudrewyourown bladeandstabbedhim,orheldhimtobepinned byafewspearmenfromyourunit.Thenameforground fightingisliterallyUnterhalted(holdingdown).TheGermanmastersmadeaseparationbetweenmilitary Kampfringen(combatwrestling)andRingkunst(artofwrestling)whichwasforsport.Mostfolk-styleswere jacketwrestlingtraditions,emphasizingthestandingthrows,thoughtherewereaminorityofground-grappling stylesaswell.

Onlywhenshowingthetechniquesusedinjudicialcombatordueling,wherenoonewasgoingtointerfere withthefight,doyouseegrapplingholdsaswethinkofthemnow,beingapplied.Justliketheonesusedwhen standing,younowseechokes,armandneckbreaks,gouging,fish-hooking,andahostofothergutterfighting tacticswelove,beingappliedontheground.Thearmorwasusedtogrindintothefoeandtirehim,andoften weseemenpickingupweaponsthathavebeendropped,ordrawingadagger,whilerolling.Theduelswere bigshow,withelaboratepreparationsforthecombatants,involvingprayer,ritualbathing,andsoon.They wouldwalkontothefieldfromtheirpavilionsproudly,infrontoftheassembledcrowd,butthenoncethey steppedintothelist,therecouldbenoonetherebutthetwoofthem,themarshal,andGod.Manyimageswe haveofperiodgroundworkshowitunderthesesettings,inanoctagonring justlikeaMedievalUFC(no kidding).

ThissystemofunarmedcombatisofcompletelyWesternorigins,andisfarolderthancomparableAsian stylessuchasJuJitsu,Chin-Na,Aikido,orHapkido.Ifyouresearchmoststylesofmartialartstaughttoday,you willlearnthattheyarelessthan100yearsoldandmayormaynothaveanyrelationtolifeanddeathcombat mostdonot,andarepracticedtodayashealthormeditationsystems.WiththeMedievalfight-books,weare discussingtraditionsandspecifictechniquesthatareover500yearsold.Manywilltalkof"SamuraiHeritage" orthe"ShaolinSpirit"bywayofmakingtheirartsoundancient,butwhereisthetruehistoryforthespecificsof whattheyteach?Whatactuallinkisthereonatechnicallevel?Formanypractitioners,thereisnone,whatthey

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doismerely"inspiredby"someolderart,andalltheirwishingdoesn'tmakeitso.WiththeWesternHistorical CombatArtswehavetheverifiablelinktohistorybywayoftheMaster'swrittenworks.Ourwayofknowing thatthisiswhatwasused,forreal,onthebattlefieldandthestreet.

OntoPart2:TheRenaissanceDagger
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CircleofSteel
RenaissanceKnifeFighting
Inthesemoderntimes,manymenarewoundedfornothavingweaponsorknowledgeoftheiruse. -AchilleMarozzo,1536
DuringtheRenaissance,roughly16th-17thCentury,thereweremanychangesintheEuropeanstylesof

swordplay,andanewstyleevolved,basedontheearlierMedievalmethods.Overall,therewasashiftfrom swordplaybasedinmilitarycombat,tobeingmoreandmoredesignedforusebycivilians,andusedinsparring inanearlytraininghall environment,wherecommonpeoplewouldpaytotakelessons.Additionally,the inventionoftheprintingpressgaverisetomass-producedtrainingmanuals,manyofwhichweretranslatedinto otherlanguagesandsoldabroad.Beforethistime,thesebookswerethesecretsofprofessionalwarriorsandthe realkillingtechniquesandcounterswerecarefullyguarded,butthistraditionofsecrecychangedasteachers duringtheRenaissancesoughtacivilianaudiencewithmoneytospendlearningtheseformerlyclassified skills.

IntheRenaissance,withtheriseinurbanculture,thelighterrapiertrulybecamethepeoplesweapon,while themilitaryincreasinglyusedfirearmsandpikeformationstowagewar,lesseningtheimportanceofindividual combatants,andofthesword.Somemasters,particularlytheEnglish,preferredtheoldways,however,andone ofthefamousmasterGeorgeSilversbigcomplaintsaboutthenew rapierwasthatitwasofnouseintimesof war,andthatmenshouldfightwiththeolder,heavier,militarycuttingswordsinstead. ThisseparationbetweenmilitaryandcivilianswordswasevenparodiedinEnglandinthe1640s,inaplay entitledWorkforCutlers.Intheplay,twoactorsrepresentingthethrustingRapierandthecuttingSword arguebackandforthoverwhichofthemisthebetterweapon.Eachoneboastsofhisuniqueabilities,andwhy theotherisinferior.AthirdactorappearsasDagger,andtriestomakepeacebetweenthetwo.Eventually, DaggergetsSwordandRapiertobecomefriendsbydeclaringthatSwordisbestforthesoldier,andRapierbest forthecivilian.Dagger,forhispart,saysthatheworksequallywellwiththemBoth,andwillalwaysbethere tobackthemupinafight!Ahappyresolutionforall,andagreatinsightintohowthepeopleofthe Renaissanceviewedthesearms. ThefirstmanualtobemechanicallyreproducedforsalewasAchilleMarozzosOperaNova(TheNew Work)in1536,andWesternswordsmenhavealwaysconsidereditoneofthemostimportantfighting manuals.Marozzonotonlypublishedthisbook,buthealsotaughtmanyteachers,andbecamethefirstgreat Westernmastertobridgethegapbetweenthemilitary,thepolice,themartialartists,andtheinformed citizenry.Hisbookcoveredboththeoldermilitaryweapons,suchasthelongswordandspear,andthenew civilianweapons,suchasthelightercut-and-thrustswordsandrapiers,andthesmallbuckler.Healsoincluded alongsectiononunarmedcombatives,andinthisrespectwasthelasttodosoforover100years.Notuntilthe mid-1600swouldanythingclosetothisbeseeninEurope,intermsofthelevelofunarmedtechnique depicted.Twenty-twotechniquesinthissection,twoofthemshowknifeonknifefightingwhiletheother twentydepictvariousunarmedversusknifeencounters. Marozzo,then,isthelinkbetweentheMedievalstylesandthenewRenaissanceones.Whatheshowsisa condensedversionofthetypesofmovesusedintheearlierItaliansystems,suchasthatusedbyFioredeiLiberi anddocumentedinhis1410FlosDuellatorum(FlowerofBattle).DeiLiberishowedover100individual
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techniquesofwrestling,daggerfighting,andunarmeddefense,whichMarozzodistillsdownto22techniques. Oneimportantdifferencebetweenthem,however,iswhatMarozzoleavesoutofhisbook.WhileFioreshows multiplecounterstoallofhismoves,Marozzodoesnotevenmentionthemasapossibility.Inthissense, Marozzosworkisveryoptimistic aboutthetechniquesworkingasplannedandthecounterforcounter idea isnotexplored. ThisinnowayreducestheimportanceofMarozzoswork,however,andmanyscholarssincehavestudied andtaughthismethods,andmanyfencersdeclaredhimtheFatherofModernSwordsmanship andTheFirst ScientificTeacher.ThegreatswordsmanandhistorianAlfredHuttonwasafanofMarozzosunarmedversus daggermethods,andincluded14ofthe22techniquesintohis1889book,ColdSteel(nottobeconfusedwith JohnStyers1952workbythesamename).Huttonwasoneofthefathersofmodernresearchintothetrue ancientWesterncombatarts,andhisbooksColdSteelandOldSwordplayarestillexcellentstartingresources. In1999,asatributetobothHuttonandMarozzo,thisauthorwroteabookentitledHandsAgainsttheKnife, whichdescribesall22ofMarozzosunarmedversusdaggertechniques,explainstheirhiddeninter-connections, andgivestrainingmethodsfortheirpracticeinthemodernday,aswellashavingthefirstcompletetranslation ofthetextfromtheItalian.Manyexperts,suchasHockHochheim,JimKeating,andJohnClementshave foundthisbooktobeinsightfulintheirstudyofthesehistoricalmethods.

AfterMarozzo,themajorityofbookspublishedduringtheRenaissancewerepurelyonthecivilianaspectsof swordplay,thoughaslateas1594GiacomoDiGrasistillincludesthemilitarytwo-handsword,halberd,and spearinhisTrueArtofDefense.Withafewsuchnotableexceptions,themajorityofthemanualsonintothe 1600sfocusedontherapier,orrapierpairedwithadagger,buckler,cloak,orsecondrapier.Sadly,the techniquesofusingtheknifeordaggerasasoloweaponareignoredinthemajorityofmanualsfromthisera, andtechniquesforunarmedcombatarerelegatedtoafewsupporttechniques,referredtogenericallyasGrips (Grypes).Theyweremeanttobeusedwhenyouenduptooclosetotheenemytousetheswordeffectively, andwerenolongertaughtaspartofalargerspectrumofunarmedskillstheswordsmanshouldhave.The majorityoftheGripsusedinRenaissanceswordplaycouldbedescribedasHandSnakingorWrappingdisarms. Theyaregenerallydonewiththefreehandorwiththedagger,butaresometimesalsodonewiththesword,in whatmanymodernpractitionerswouldcallaVinedisarm,orWeaponSnake.

WhentheknifeismentionedasasoloweaponintheRenaissance,theclassicMedievaltacticofcuttingthe opponentsknifehandisfrequentlydescribed.Likeinallgreatknifetraditionsoftheworld,thissimple techniquewashighlyvaluedasaquickfight-ender.OtherbasicsthatwerecommonlytaughtintheRenaissance stylesincludedusinglowfakestoopenuphighattacks(andvice-versa),andfakestoonesidebeforelaunching therealattackontheotherside.Throwingtheknife,orevenjustfakingathrow,werealsosometimes mentioned.Onepreferredmethodofthrowingwastouseanunderhandswing,andtoreleaseastheknife comesonlinewiththeenemy,allowingtheknifetoflystraightintothetargetpointfirst,withnospin.

BytheendoftheRenaissance,thestylesofswordplaywouldagainchange,assmaller,evenlighter, thrusting-onlyswordscomeintofashion,andthedaggerwouldbedroppedfromuse.Thesesmall-swords becamethemarkofagentleman,andwereusedforduelsofhonor.Thetechniquesthatwereusedbecame moreandmorerefinedandabstractedfromtherealitiesoftheMedievalbattlefield,hundredsofyearsbefore. Theywerequick,light,athleticmovementsthatcouldbedeliveredinarapid-firemanner,witheachblockbeing answeredwithathrust.Thisgentlemansduelingstylewasalsofavoredwithmilitaryofficers,andbecame whatwewouldcallClassicalFencing today.Inturn,ClassicalFencingwouldchangeintotheathleticsport ofOlympicFencingwiththeadventofelectronicscoringinthe20thCentury.Today,moreandmorepeople areresearchingandtrainingintheMedievalandRenaissanceforms,however,andseekingareturntotheearlier combativerootsoftheWesterntradition. What'sNew - Timeline - Articles - Techniques - Catalog - Seminars - Links - ContactUs
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MedievalandRenaissanceKnifeFightingHistory
CopyrightPeteKautz2000 RenaissanceKnifeFightingfirstappearedinHockHochheim'sCQCMagazine

MedievalKnifeFighting
Thereisnomanatarmswhocanusecourtesyorkindnesstofacehisenemy - FioredeiLiberi,1410
DuringtheMiddleAges,roughlythe14th-15thCenturies,thewarriorsofEuropedevelopedapowerfulstyleofcombatthat provedequallyvictoriousonthebattlefieldintimesofwar,onthestreetforsuppressingriots,andinpersonaldefense.These menfoughtpersonalandjudicialduelstothedeath,aswellastakingpartinorganizedmelees,ortournaments.Thoughthe tournamentsmayhaveappearedcivil,andwerefoughtwithwoodenorbluntedswordsandreferees,theyoftenendedupwith crossbowmenbecominginvolvedinthefray,tryingtopreventtheirknightfrombeingbeaten,captured,andransomedback laterbyanotherknight!Forgetthechivalrousnotionsyoumayhavehadaboutthelivesthesemenlead theywerekillers,or theyweredead,plainandsimple.AsthewarsragedacrossEurope,fightingtechniquesweretemperedintheforgeofbattle, andtheswordsmenofeachcountryperfectedtheartwhichtheywouldpassontothenextgeneration. Thesetechniquesofkilling,knowntomenwhohadfoughtandsurvivedmanybattlesandchallenges,becamepartofan oralmilitarytradition,passedonfromonewarriortoanother.Then,startinginthelate1300s,booksthattaughtfighting techniquesweremadeinsmallnumbers,eachonecarefullyreproducedbyhand.Someofthesebookscontainedonlyafew dozenillustratedtechniques,butothers,suchtheworksbyFioredeiLiberiandHansTalhoffer,catalogliterallyhundredsof individualtechniquesandcounters.Bythe1400sthesemanuscriptswereproducedinaneverincreasingnumber,with severalauthorswritingmultiplebooksintheirlifetime.ThiscontinuedthroughouttheMiddleAgesandRenaissance,with booksbeingwritteninmanycountries,thoughthevastmajoritycamefromGermanyandItaly.The1400ssawtheheightof Medievalclosecombat,andthiswasthegoldeneraoftheFechtbuch orfight-book. ThoughduringtheRenaissance,roughly16th-17thCentury,thingswouldchangewiththeinventionofprintingandtherise ofteacherswhoacceptedciviliansasstudents,duringtheMiddleAgesthesebookswerekeptamongprofessionalwarriors, andtherealkillingtechniquesandcounterswereguardedsecrets.Inhis1410bookFlosDuelatorum(FlowerofBattle)the ItalianmasterFioredeiLiberistatesthatthesetechniquesshouldbekeptsecretFortheexpertsinswordsmanshipwhohelp themenatarmsduringwars,riots,andduels andshouldneverbecomeknowntothecommonpeoplewhoarecreatedby Godwithoutawitlikecowsthatarebornonlytocarryheavyloads.Fiorewouldnevershowhistechniquesinpublic,except asheusedtheminbattle,andhetaughtallhisstudentsbehindcloseddoors,swearingthemtosecrecyaboutwhatthey learned.Hewrotehisbookonlyasanoldman,longafterhehadneedofhisskills,andintheserviceofthemostIllustrious MesserNiccoloMarquessofFerrara,Modena,Parma,andReggio,whowouldusethisbooktotrainallhisknights.

Onatechnicallevel,oneofthefirstkeyelementsyoufindinreadingtheMedievalbooksisthattheycontainalargeamount ofunarmedcombatmaterial.AMedievalKnight,orMan-at-Arms,wouldbeexpectedtoknowunarmedcombatanddagger fightinginadditiontotheswordandspearskillsweassociatewiththemtoday.Inthesurvivingcombatmanuals,mostcontain longsectionsonunarmedstrikingandgrappling,unarmeddefenseagainstthedagger,anddaggerfighting.Unarmed techniquesagainstthesword,anddaggeragainstswordarealsoshown.Themanualsshowsystematicjointlocks,breaks, throws,disarms,counters,groundgrappling,strikes,clinches,holdsandmore.Theunarmedsystemisalsofullyintegrated intotheswordandspearwork,withthemajorityofthetechniquesshowninvolvingsomedegreeofclosework. Youwillseeidenticaltechniques(particularlythrowsandarmlocks)donewithallthedifferentweaponforms,showingthe integratednatureofthissystem.TheMedievalknighttrulyunderstoodhowtomaketheconnection betweentheessential techniquesincombat,regardlessofweapon.Primarilythiswasaweaponbasedstyle,thatusingstandinggrapplingandafull complimentofbasicpowerfulstrikingtactics.Inthisrespect,itismuchlikemilitarycombativestoday,usingeyegouges, chinjabs,kneestrikesandlowkicks.Groundfightingwasusedmainlytoholdamandownwhileyoudrewyourownblade andstabbedhim,orheldhimtobepinned byafewspearmenfromyourunit. http://www.alliancemartialarts.com/history.html

Onlywhenshowingthetechniquesusedinjudicialcombatordueling,wherenoonewasgoingtointerferewiththefight, doyouseegrapplingholdsaswethinkofthemnow,beingapplied.Justliketheonesusedwhenstanding,youfindchokes, armandneckbreaks,gouging,fish-hooking,andahostofothergutterfighting tacticsthatwelove,beingappliedonthe ground.Thearmorwasusedtogrindintothefoeandtirehim,andoftenweseemenpickingupweaponsthathavebeen dropped,ordrawingadagger,whilegrappling.Theduelsweregrandpublicspectacles,withelaboratepreparationsforthe combatantsinvolvingprayer,ritualbathing,andsoon.Theywouldwalkontothefieldfromtheirpavilionsproudly,infront oftheassembledcrowd,butthenoncetheysteppedintothelist,therecouldbenoonetherebutthetwoofthem,themarshal, andGod.Manyimageswehaveofperiodgroundworkshowitunderthesesettings,inatraditionaloctagonring justlikea MedievalUFC.

Inadditiontotheuseofvariousotherweapons,suchasthemaceoraxe,theMedievalwarriorhadtolearntousethearmor heworeasaweapon.Fightinginrealarmorisquitedifferentthanfightingwithout,andtheGermanscoinedthephrases blousfechtenandharnisfechtentodescribefightinginregularclothingandfightinginarmor,respectively.Theplateandchain armorofthetimecouldrendermanyslicingandstabbingblowsuseless,enablingthewearertocloseinandfightwiththeir longswordinashortenedbayonet gripreferredtoashalbschwart,orhalf-sword techniques,designedtodelivermaximum powerthrustsatthegapsintheopponentsarmor.Additionally,thearmorwouldbeusedtogrindintotheopponentwhileon theground,andthepointedkneesandelbowscoulddeliverhorriblepressuretoanunarmoredfoe,inadditiontodelivering lethalstrikes.Eventheknightsshoescametopointsdesignedforkicking.ThesewerecalledsabatonsbytheFrench,and wouldbeusedwhenonhorsebacktokickpeopleinthefacewhogottooclosetoyou. Fightingfromhorsebackwasanotherimportantskilltheknighthadtoperfect.Thelongspear,orlance,wasusedfrom horseback,alongwiththemaceandsword.FioredeiLiberi,amongothers,alsoshowsmanywaystoapplygrappling techniquestounseatanotherriderwheninclose,sidebyside.Fightingfromastrideanarmoredwar-horse,theknightwasas animposingforceonthebattlefield,particularlywheninlargeunits.Ataround2000poundseach,andtravelingatupto35 milesanhourinacharge,themountedknightmusthaveinspiredtrueterrorinanyonefacingthemonfoot. ThiscompletelyWesternunarmedcombatartisfarolderthancomparableAsianstylessuchasJuJitsu,Chin-Na,Aikido,or Hapkido.Moststylesofmartialartstaughttoday,arelessthan100yearsoldandmayormaynothaveanyrelationtolifeand deathcombat.Manypracticedtodayaretaughtashealthormeditationsystems.WiththeMedievalfight-books,weare discussingtraditionsandspecifictechniquesthatareover500yearsold,anddesignedtokill.ManywilltalkofSamurai Heritage ortheShaolinSpirit bywayofmakingtheirartsoundancient,butwhereisthetruehistoryforthespecificsof whattheyteach?Isthereanactuallinkisthereonatechnicallevel,orisitmerelyinspiredby someolderart?Withthe WesternhistoricalcombatartswehavetheverifiablelinkbywayoftheMasterswrittenworksbywayofknowingthatthis wasused,forreal,onthebattlefieldandthestreet.

RenaissanceKnifeFighting
Inthesemoderntimes,manymenarewoundedfornothavingweaponsorknowledgeoftheiruse. -AchilleMarozzo,1536
DuringtheRenaissance,roughly16th-17thCentury,thereweremanychangesintheEuropeanstylesofswordplay,anda newstyleevolved,basedontheearlierMedievalmethods.Overall,therewasashiftfromswordplaybasedinmilitary combat,tobeingmoreandmoredesignedforusebycivilians,andusedinsparringinanearlytraininghall environment, wherecommonpeoplewouldpaytotakelessons.Additionally,theinventionoftheprintingpressgaverisetomass-produced trainingmanuals,manyofwhichweretranslatedintootherlanguagesandsoldabroad.Beforethistime,thesebookswerethe secretsofprofessionalwarriorsandtherealkillingtechniquesandcounterswerecarefullyguarded,butthistraditionof secrecychangedasteachersduringtheRenaissancesoughtacivilianaudiencewithmoneytospendlearningtheseformerly classifiedskills. IntheRenaissance,withtheriseinurbanculture,thelighterrapiertrulybecamethepeoplesweapon,whilethemilitary increasinglyusedfirearmsandpikeformationstowagewar,lesseningtheimportanceofindividualcombatants,andofthe sword.Somemasters,particularlytheEnglish,preferredtheoldways,however,andoneofthefamousmasterGeorge Silversbigcomplaintsaboutthenew rapierwasthatitwasofnouseintimesofwar,andthatmenshouldfightwiththe older,heavier,militarycuttingswordsinstead. ThisseparationbetweenmilitaryandcivilianswordswasevenparodiedinEnglandinthe1640s,inaplayentitledWork forCutlers.Intheplay,twoactorsrepresentingthethrustingRapierandthecuttingSwordarguebackandforthoverwhich ofthemisthebetterweapon.Eachoneboastsofhisuniqueabilities,andwhytheotherisinferior.Athirdactorappearsas http://www.alliancemartialarts.com/history.html

Dagger,andtriestomakepeacebetweenthetwo.Eventually,DaggergetsSwordandRapiertobecomefriendsbydeclaring thatSwordisbestforthesoldier,andRapierbestforthecivilian.Dagger,forhispart,saysthatheworksequallywellwith themBoth,andwillalwaysbetheretobackthemupinafight!Ahappyresolutionforall,andagreatinsightintohowthe peopleoftheRenaissanceviewedthesearms.

ThefirstmanualtobemechanicallyreproducedforsalewasAchilleMarozzosOperaNova(TheNewWork)in1536, andWesternswordsmenhavealwaysconsidereditoneofthemostimportantfightingmanuals.Marozzonotonlypublished thisbook,buthealsotaughtmanyteachers,andbecamethefirstgreatWesternmastertobridgethegapbetweenthemilitary, thepolice,themartialartists,andtheinformedcitizenry.Hisbookcoveredboththeoldermilitaryweapons,suchasthe longswordandspear,andthenewcivilianweapons,suchasthelightercut-and-thrustswordsandrapiers,andthesmall buckler.Healsoincludedalongsectiononunarmedcombatives,andinthisrespectwasthelasttodosoforover100years. Notuntilthemid-1600swouldanythingclosetothisbeseeninEurope,intermsofthelevelofunarmedtechniquedepicted. Twenty-twotechniquesinthissection,twoofthemshowknifeonknifefightingwhiletheothertwentydepictvarious unarmedversusknifeencounters.

Marozzo,then,isthelinkbetweentheMedievalstylesandthenewRenaissanceones.Whatheshowsisacondensed versionofthetypesofmovesusedintheearlierItaliansystems,suchasthatusedbyFioredeiLiberianddocumentedinhis 1410FlosDuellatorum(FlowerofBattle).DeiLiberishowedover100individualtechniquesofwrestling,daggerfighting, andunarmeddefense,whichMarozzodistillsdownto22techniques.Oneimportantdifferencebetweenthem,however,is whatMarozzoleavesoutofhisbook.WhileFioreshowsmultiplecounterstoallofhismoves,Marozzodoesnoteven mentionthemasapossibility.Inthissense,Marozzosworkisveryoptimistic aboutthetechniquesworkingasplannedand thecounterforcounter ideaisnotexplored.

ThisinnowayreducestheimportanceofMarozzoswork,however,andmanyscholarssincehavestudiedandtaughthis methods,andmanyfencersdeclaredhimtheFatherofModernSwordsmanship andTheFirstScientificTeacher.The greatswordsmanandhistorianAlfredHuttonwasafanofMarozzosunarmedversusdaggermethods,andincluded14ofthe 22techniquesintohis1889book,ColdSteel(nottobeconfusedwithJohnStyers1952workbythesamename).Huttonwas oneofthefathersofmodernresearchintothetrueancientWesterncombatarts,andhisbooksColdSteelandOldSwordplay arestillexcellentstartingresources.In1999,asatributetobothHuttonandMarozzo,thisauthorwroteabookentitledHands AgainsttheKnife,whichdescribesall22ofMarozzosunarmedversusdaggertechniques,explainstheirhiddeninterconnections,andgivestrainingmethodsfortheirpracticeinthemodernday,aswellashavingthefirstcompletetranslationof thetextfromtheItalian.Manyexperts,suchasHockHochheim,JimKeating,andJohnClementshavefoundthisbooktobe insightfulintheirstudyofthesehistoricalmethods. AfterMarozzo,themajorityofbookspublishedduringtheRenaissancewerepurelyonthecivilianaspectsofswordplay, thoughaslateas1594GiacomoDiGrasistillincludesthemilitarytwo-handsword,halberd,andspearinhisTrueArtof Defense.Withafewsuchnotableexceptions,themajorityofthemanualsonintothe1600sfocusedontherapier,orrapier pairedwithadagger,buckler,cloak,orsecondrapier.Sadly,thetechniquesofusingtheknifeordaggerasasoloweaponare ignoredinthemajorityofmanualsfromthisera,andtechniquesforunarmedcombatarerelegatedtoafewsupport techniques,referredtogenericallyasGrips(Grypes).Theyweremeanttobeusedwhenyouenduptooclosetotheenemyto usetheswordeffectively,andwerenolongertaughtaspartofalargerspectrumofunarmedskillstheswordsmanshould have.ThemajorityoftheGripsusedinRenaissanceswordplaycouldbedescribedasHandSnakingorWrappingdisarms. Theyaregenerallydonewiththefreehandorwiththedagger,butaresometimesalsodonewiththesword,inwhatmany modernpractitionerswouldcallaVinedisarm,orWeaponSnake.

WhentheknifeismentionedasasoloweaponintheRenaissance,theclassicMedievaltacticofcuttingtheopponents knifehandisfrequentlydescribed.Likeinallgreatknifetraditionsoftheworld,thissimpletechniquewashighlyvaluedasa quickfight-ender.OtherbasicsthatwerecommonlytaughtintheRenaissancestylesincludedusinglowfakestoopenuphigh attacks(andvice-versa),andfakestoonesidebeforelaunchingtherealattackontheotherside.Throwingtheknife,oreven justfakingathrow,werealsosometimesmentioned.Onepreferredmethodofthrowingwastouseanunderhandswing,and toreleaseastheknifecomesonlinewiththeenemy,allowingtheknifetoflystraightintothetargetpointfirst,withnospin. BytheendoftheRenaissance,thestylesofswordplaywouldagainchange,assmaller,evenlighter,thrusting-onlyswords comeintofashion,andthedaggerwouldbedroppedfromuse.Thesesmall-swords becamethemarkofagentleman,and wereusedforduelsofhonor.Thetechniquesthatwereusedbecamemoreandmorerefinedandabstractedfromtherealities oftheMedievalbattlefield,hundredsofyearsbefore.Theywerequick,light,athleticmovementsthatcouldbedeliveredina rapid-firemanner,witheachblockbeingansweredwithathrust.Thisgentlemansduelingstylewasalsofavoredwith http://www.alliancemartialarts.com/history.html

militaryofficers,andbecamewhatwewouldcallClassicalFencing today.Inturn,ClassicalFencingwouldchangeintothe athleticsportofOlympicFencingwiththeadventofelectronicscoringinthe20thCentury.Today,moreandmorepeopleare researchingandtrainingintheMedievalandRenaissanceforms,however,andseekingareturntotheearliercombativeroots oftheWesterntradition.

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19thCentury American Bayonet Fencing

DrillingwithrealEnfieldmusketsandlivesteelbayonets.

Assaultingwithwoodenrifles.Thepaddedtipsarecoveredinclothandheldinplacewithcord. Apaddedjacketandfencingmaskwouldbeadvisable(aswellasperiod) Butoftentroopsdidnothavesuchluxuries!

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BasicsoftheBayonet
3HighParries

St.George'sGuard

ParryofHighQuarteandParryofHighTierce

4BasicParriesandFightingStance

ParryofQuarteandParryofTierce

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BasicFightingStance

ParryofPrimeandParryofSeconde

3BasicAttacksWiththeBayonet
TheThrust TheThrustismadebyfullextensionoftheleftarm.Note: Todwasretractinghisarmsaftertheattackwhenthe photowastaken.

TheLunge TheLungeismadewithafullextensionoftherightarm,
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allowingthemuskettoslidethroughthelefthand.The rightknuckleswillenduptouchingtheleftpalmatthe fullextensionoftheLunge

TheLunge-Out(Laterknownas"Throw-Point") PerhapsthehardesttoshowinastillpictureistheLungeOutmaneuver,wheretherifleisthrustoutonehanded withabodypivotandsometimesapassingstepofthe rightfoot.DoingaLunge-Outwithaheavymusketlike theseEnfieldsandthenquicklyrecoveringtothemiddle guardisquiteatestofyourwriststrength!Thistechnique isanoldone,seenasfarbackasthemedievallongsword (DiGrassidescribesitquiteplainlyinhisTrue Art of Defense)

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AllianceMartialArts Circle of Steel

Presentsthe

Solthurner Fechtbuch
RareDaggerTechniquesfromanAnonymousManual
Copyright2001PeteKautz

WhatistheSolthurnerFechtbuch?
So-namedfortheArchiveinSolothurn,Switzerlandwhereitwasfound,thisbookisbelievedtobefromthe 15thcenturyanditsauthorisunknown.It'stechniquescloselyresembletheonesfromsomeofTalhoffer's Fechtbuchs.Thereareconflictingtheoriesaboutitsorigins,withguessesastothedateofpublicationfrom 1420-1490,butIbelievefromthecostumingofthepeopleandthetechnicalmaterialitisprobablyfromthe 1480'sandisinfactasemi-rip-offofTalhoffer. Thoughtheexactoriginofthebookisuncertain,itisphysicallysmallerthananyofTalhoffer'sworksand containsmuchlessmaterialoneachtopic.Therearetechniquesshownwithlongswords,duelingshields, duelingshieldandshortsword,wrestling,fightingonhorseback,fightinginarmor,andtheduelbetween husbandandwife;thoughmostoftheseareasonlycontainafewtechniques.Thelongestsectionsaredevoted tothelongsword,duelingshield,dagger,andwrestling(thoughonlythelongsworddepictsmorethanadozen movements.)

WhatDaggerTechniquesdoesitContain?
TheSolthurnerfechtbuchcontainsonly9platesshowingtheknifebeingused.Ofthese,7timesitispictured intheforwardgrip,and9timesitispicturedinthereversegrip.Thisisahigherproportionofforwardgripto reversegriptechniquesthanmostoftheotherMedievalmanuals,whichgreatlyfavorthereversegrip.This maybebydesign,orsimplybecauseofthebrevityoftheinstruction.IntheSolthurnertechniques,theforward gripisgenerallyusedforlongrangecuttingorthrustingagainsttheenemy,whilethereversegripisusedfor hooking,trapping,andstabbing. Overthenextfewmonthswewillbepresentingalltheseasphototechniques,aswellasgivingyousome otherideasonhowtotraintheseconcepts.

DaggerinUnarmoredCombat
Thereare7techniquesshownintheSolthurnerfechtbuchforunarmoredcombat.Thefirst3emphasizethe longrangeduelingaspectofdaggerwork.Thefirsttwotechniquesemphasizethelongrangecuttothe
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opponent'shandasadefenseagainstanattack,firstagainsttheforwardandthenagainstthereversegripstab. Thethirddefenseusesthealivehandtoparrytheattackandthenyoureturnastab. Thefourthtechniqueisanentryintograpplingfollowingtheopenhandparryandanarmhook/cutwiththe dagger.Fromherewegetcloser,andthefinalthreemovementsoftheunarmoredsectionareforgrappling. ThefifthtechniqueshowstheclassicScissorshold usingthedagger,andnumbers6and7arebothcounters tothis.Nextmonthwewillfeaturephotosoftechniques4-7,butfornow,enjoy!

SolthurnerFechtbuchDaggerTechniques1-3

UnarmoredTechnique1:

CuttheHand
Thistechniqueexemplifiesthelongrangeplay,asyoustayoutof range,andthemomentyoucanfirstcuthishandyoudosoright away.Practicedefendingthroughdifferentanglesusingslashesand hackstothefingers,hand,wrist,andforearm.Cuttingtheweapon handorarmisoneoftheoldestmilitarymethodsofbladecombatthat thereis,taughttotheRomanLegionsoftheancientworldand probablyevenearlier.Imaginethedefenderstriking,andpossibly cuttingoff,theattackersthumb.Tryandholdontothatdaggernow, Sparky!

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UnarmoredTechnique2:

CuttheHand
Inthisscenarioyouhavethesabergripandplaylongrangeasthe opponenttakesthereversegripandtriestocloseinwiththehigh stab.Thereversegripwillforcehimtoclose,becausehewillbe unabletomatchyoursuperiorrangeusingtheforwardgrip.Youtry tostayatlongrange,andlooktoevadeandslashorhackthe opponent'shandasheattacks.Againstthedownwardsstabpictured youslashacrossthehandwithabackhandmotion.Imaginethe defenderstriking,andpossiblycuttingoff,theattackerspinkie.

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UnarmoredTechnique3:

HackandStab
Theopponentstabsatyourbody.Usingyourlefthandyouparry/
hackitasidewithalowoutwardanddownwardblowand immediatelycounterwithyourownstab.Thisisaquickstaband counter,andmakesanexcellentbackandforthstyleflowdrill.Once youandyourpartnercanbothdoit,thentrytodoitin3or5step exchanges.Whenthisiseasy,experimentwithchangingangleson thereturnstabandhowthatthenchangesthefollowupsandforces differenttypesoffootworkandevasion. Thoughinstillpicturesitlookslikea1-2motion,infightingthe closeryoucandeliverthestabaftertheparrythebetter.Timingand rhythmcannotreallybeshowninthesekindsofpictures.Ifyouare tooslowandmakeita"1and2"kindofexchangeyouaregivingthe opponentawindowofopportunitytointerruptyourpatternand counteryouofthehalf-beat.(Ifyouthinkoftheparryas"1"andthe stabas"2"theopponentcountersyouonthe"and"between1"and"2.

ExtensionDrillfromTechnique3

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Intheextensionwejuststarttoworkstabbingfromdifferentangles,evadingandparryingwiththeempty handandstabbingbackquickly.Thrustalongall8anglesofthe segnoandtrytomaneuveraroundyour trainingpartner,soyoucanstabhimwherehecannotparry...forcehimtomoveorgethit.Everysooftenlet yourselfgethitalso...thenyouknowthatyourpartnerisnotjustplayingaprettygamewithyouandistrying to hit you.

ThisisNOTabouttryingtohurtyourpartner!Ifweseeyoutrytohurtsomeoneinourclassesyouwillget yourkickedoutonyourass...thereisnoplaceforthatkindofbehavior.However,youmustbewillingtoHIT yourpartnertohelpthemlearn.IfyouarenotaimingtohitwhendoingdrillsinyourschoolyouareRIPPING OFFyourtrainingpartner.Itisyourdutytohithim(orher)anditistheirdutytoblockornotbethere.Ifno onehasreallytriedtohityou,howcanyoubesureyourdefensereallyworks?Youcangoonforyearsbeing "helpedalong"byanicefriendlyukeinthemartialartsandhavefun,butforreal,youhavenothingforthetime spent...orworse,onlyanabilitytogivehurtandnoabilitytodefend...youcan"dishitoutbutyoucan'ttakeit"!

Thesekindsofthingsarewhatmakethedifference.Youmustlearnto"InvestinLoss"astheTaiChiChuan (GrandUltimateFist)peoplewouldsay.Youlosetolearn.Yourconditionsofwinningchange.You"loseto win".Youtry,andifyougethititislearningnotfailure.Painisfeedbackofbadperformance...thetrickisto learntoappreciatethefeedbackandbesensitivetochangewhatyouaredoing.Greaterawarenessleadsto deeperlearning.Thespeedandpoweroftheopponentcanliterallymakeyoumovefasterthanyoucouldifyou thoughtaboutit.Youmovefastersimplybecause you must!Thissoundscrazy,buttheexperiencedknowitis true!

Whentrainingthesetechniques,asafetrainingweaponandfacialprotectionquicklybecomeanecessity.A paddeddaggerandafencingmaskorhockeyhelmetwillsuffice,withsomekindofgloves(hockey,street hockey,lacrosse),forearmpads,elbowpads,etc.atyouroption.Iprefertouselessarmorandasaferweapon, sowillusedaggersmadeoffoldedcardboardforsomeofthefullspeeddrills.Thesestillhurtquiteabit(and couldbreakaribonathrust)andcanlastformanymonthsifmadecorrectly,yetwillbreakbeforeyour opponent'sbodydoesonadangerousthrust(certainlyfarsaferthanapvccoreorwoodinasimilar circumstance!)Whenmakingthese,fold(don'troll)themoutofcardboardandfoldWiththecorrugation.A pieceabout15x24willfoldintoanice15"dagger.Makethefoldneatandtighteverytimeandtapesecurely.

Oneotherthingwehavefoundisthatifyouarebreakingalotofthese,itislikelybecauseyouarehitting withtheflatofthedaggerandthatiscausingittobend(asitwouldwhenitfails).Ifthisisthecase,goback andworkyourbasiccuttinganglesofattack,focusingoncleanlycuttingwiththeedgeforeachone.

NextMonth-UnarmoredDaggerTechniques4-7!
RESPECTISTHEBESTARMOR-TRAINHARD-TRAINSMART
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FioredeiLiberis 7 Rules of Wrestling

MedievalAttributesTrainingfromtheMaster
Copyright2001PeteKautz

Inhis1410bookFlos Duelatorum(TheFlowerofBattle)Fioretellsusthatinhistimehemet"1000men whowouldcallthemselvesmasters;thoughiftheirskillswerecombined,youwouldnothave4goodstudents, letaloneoneTrueMaster",andthathewrotehisbookattheendofhislifebecausetherewassimplynoone aroundwhowasasskilledashewas,orwhoknewsomanykindsoftechniques.Ifyouhavestudiedtheancient manuals,inmyopinion,youwillfindthathewasright.Noothermanualshowsthesameamountofclear techniqueswithsuchadiversityofweapons.IfyouputallofTalhoffer'smanualstogether,youmightgeta tomeequaltoFiore's,butnosinglemanuscriptcouldclaimtobeitsequal. FioretellsusthatSomepeoplewillthinkthatImixedupusefulandunusefultechniques,buthemakesa greatmistakeasIhaveonlydescribedtheonesIsaw,used,orcreated,andIomittedtheunsafeones.These werethesametechniquesheusedtokillmanymeninwar,andinanumberofpersonalcombatstothedeath, withoutsomeofthemore"speculative"techniquesoflatermanuals,wheretheauthorswereperhapsmore distantlyremovedfromthissortofbrutallife. Morethenmeretechniquesarecontainedinthismanual,however,andFioregivesinstructionontheproper mindsetandattributestrainingnecessarytobeeffectiveincombat.Thisaspectofhisworkhasnotbeen properlyexplained,Ifear,andmanypeopleonlylooktoFiore'smasterworkasasourceofindividual"tricks" which,withoutthepropermindsetandattributes,maybeunworkable.Inanefforttoshedlightonthese aspects,then,letuscoversomeofideasfromthetextofFlosDuelatorum. ThefirstthingIthinkimportanttogetisthe7RuleswhicharetaughttousaspartoftheArtoftheEmbrace (Wrestling).HetellsussimplythatWrestlingrequires7Rules.ThesearegivenasasetofKeyWordsStrength,FootandArmSpeed,Grabs,Breaks,Tyings,Hits,andWounds.Fioretellsustopracticethese techniquescarefullyinpracticebuttoholdnothingbackinarealfightforyourlife."Nomanmayfacehis enemywithkindness." OtherthanlistingtheKeyWords,Fioregivesusnoadviseonwhatthismeans,orhowtopracticethe7 Rules.Tothisend,IwillbreakdowneachRulesothatitmightbeclearer,andgivemoreofanideawhatto thinkaboutdoingtosupplementyourtraining.

Strength
Thoughitwouldseemobviousthatbeingstrongisagoodthingforacombatant,manyoverlookthisfactin theirtraining.Thereisanoldmyththatsizeandstrengthdon'tmatterifyouhavegoodtechnique andin weaponsthisis"somewhat"true,buttheflipsidetothatisthat"iftechniqueisnearequal,theoddsareonthe bigger,strongerperson."Tomakeafairexample,imaginehavingtofightyourself onlythisotherself has 20extrapoundsofmusclemassonyou.Stilldon'tthinkstrengthmatters?
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Enduranceisasecondcomponentofyourfightingstrength,forwithoutitwecannotkeepfighting.Thereis anoldsayingthatFatiguemakescowardsofusall.Wrestlingwillquicklydevelopwholebody endurance inawayunlikeotheraerobicactivities.

TheabilitytoGiveHurtisthethirdpartoftheStrengthequation.GiacomoDiGrassi,alaterItalianMaster, saidthatallcombatcamedowntoStrengthandJudgment.HedefinedStrengthastheabilityto"deliverhurt"to theenemy,andbottomlinethatisthekey.Itisimportanttoknowhowtohithard,fast,andinawayto maximizetheweapon.

FootandArmSpeed
Youmusthavegoodfootwork,balance,andagility.Youalsomusthavefasthandsandreactionsthat coordinatewiththewholebody.TheWesternartsgenerallyuseastructurewherethehandmovesbeforethe bodytofacilitatespeed,butwhenthestrikelandsthewholebodyisbehindit,throughcoordinateduseof footworkandtiming.Thereisalsoanemphasisonavoidancewiththebodytoallowforsingletimehitstobe delivered,withouttheneedforanactiveblockingdefense.

Grabs
Youmustbeabletograbtheenemyandcontrolhim.Beforeyoucanapplytechniquesoflocking,breaking orthrowing,youmustfirstcontacttheenemy.Inthisinitialworktocontrolhim,youmustknowwheretograb andhowtograbtogetmaximumeffect.Thereareanumberofspecificpointsonthebodythatwhenpushed, pulled,ortwistedcanmanipulatetheopponentandtakehimoffbalanceorthrowhim.Gripstrengthisanother important,andoftenoverlooked,area.

Breaks
Onceyouhavegrabbedtheopponent,youmaybreakhislimbsinanumberofways.Theseareinitially learnedasjointlockingtechniques,buttheyareappliedincombatasbreaksusingfullbodyforceagainstthe capturedjoint.Breaksforthefinger,wrist,elbow,shoulder,neck,andspineareshownaswellaskicksmeant tobreaktheknee,shin,ankle,orfootoftheopponent.

Tyings
Youmusthavetheabilitytotieuptheopponentshandsandarmssothatyoumayapplystrikes,throws, locks,ordisarms.Thisisknowsantrappinghands insomearts,andincludesarmdrags,wraps,hooksand othercloseintechniques.Thisisintegratedwiththestrikinganddisarmingskills,soastocontroltheopponent andsensehiscountersthroughtactilesensitivity.Tyingsalsoincludestheabilityto"untie"yourselfandescape fromholds.

Hits
Youmusthaveskillsinstrikingtoinjureyouropponent.Thisincludesfist,palm,forearmandelbowstrikes,
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headbutting,kneeing,lowkicking,aswellassuchtimeless techniquesaseyegouging,fish-hooking,andhair pulling.

Wounds
Youmustknowthevitaltargetsandtheappropriateweaponsofthebodytostrikethemwith.Theeyes,ears, nose,throat,collarbone,sternum,solarplexus,groin,knees,shins,andspinearesomeofthecommontargets.

InPartTwoofthisArticlewewillexamine Fiore'sFourMentalPreceptsfortheSwordsman Aswellasphotoillustratingsomedrills Forpracticingthe7Rules

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Spada&Daga TheRealItalianFencingArt
ByGrazianoGalvaniofNovaScrimia
(translatedbyG.ZaniniandA.Goi)
DearReaders, wearegoingtotellyouastoryofmenandarms,whichconnectstwodistantcountries.Thefirstone,whose landsariseoutoftheVisayanSea,liesintheEast;theother,apeninsulaontheMediterraneanSea,liesinthe West.Followusinthisadventurousjourney!

AnArchipelagodottedwithislands...
7107islands,onlyatenthofwhichareinhabited,formthearchipelagoofthePhilippines. Itisacharming'naturalagglomerate'inSouth-EasternAsia;theislandsofLundonandMindanaocovermore thanahalfofthewholesurfaceandarepopulatedbymorethanfiftymillionpeople(aboutthe60%ofthe overallpopulation)dividedinto111linguistic,culturalandracialgroups. TodaythePhilippinenationaltonguesareTagalog,EnglishandSpanish,aswellasabout70dialectsofMalayoPolynesianorigins. IfthischaracteristicisdeeplyrootedinthePhilippinepeople,thentheirbloodheritagealsocomesfrom Chinese,Indian,ArabianandSpanishsources.Allthisistheresultof4000yearsofpermanentandmigratory historyandofcolonisation.

RajahLapuLapuandCaptainFerdinandoMagellano
" movimentidimaniepiedi,oralenti,oraveloci,oraattaccando,oraritirandosi,oraincitando,oracontono pacifico,oraravvicinati,oradistanti" PartedelladescrizionediunadanzadiguerraAbakaba WhentheSpanishcameonthearchipelagowhichwasbaptized"Philippines"afterthenameofKingPhillipII, aroundthemiddleoftheXVIthcentury,theywereaimingattheconquestofthatpartoftheso-called "Silkroad".TheylandedonthebeachofSamarandfoundsomesmallsultanatesgovernedbyrajahs.Tradition hasitthatthesemonarchscamefromtheDatuandintegrated,towardstheearlyXIVthcentury,withthegroups oftradesmenwhowouldbringtheirMuslimcultureandreligionmostlytotheSuluarchipelagoandotherareas tothenorth.
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Themission,financedbytheCrownandentrustedtothePortugueseFernoMagalhnes(Ferdinando Magellano)andRuyFaleiro,setforthfromSevilleonthe10ofAugust1519withafleetoffiveships:the admiralTrinidadandfourthree-mastedsquare-sailedships,equippedwithbigholdstocarryspices: Sant'Antonio,Concepcion,VictoriaandSantiago.Thecrewwascomposedofabout300men(265/270 accordingtosomemorepreciseaccounts);amongthemtherewastheVicentinehistoriographerAntonio Pigafetta,whowroteajournalofthatdramaticexpedition:Relazionedelprimoviaggiointornoalmondo(A VoyagearoundtheWorld,1524);thejournalreportstheepisodesofMagellano'sdeathandthereturntoSpain ofonesingleshipwith22survivors(someaccountssay18)afterthreeyears. The27April1521,afterestablishinggoodrelationswiththerajahsofSamarandCebu,Magellanolandedwith someboatsofhiscrewontheislandofMactan.Inthisregard,itispropertoclarifyalegend:thebattletook placeduringthelanding,betweentheshallowandtheshore,whiletheboatswerestandingaground.

Ononesidetherewere55menledbyMagellano,equippedwithsmallarmssuitableforscoutingsuchas:spada dalato(cut-and-thrustsword:atraditionalEuropeanweapon,steadyandefficient,whichcombinedtheefficacy ofbothcutandthrustblows);daga(kindofshortswordofabout40/50cminlength,withcharacteristics similartothecut-and-thrustsword);somemenalsohadadaghetta(ashorterdagger,whosemaximumlength couldreachupto40cm;itwasusedasasecondaryweaponorincombinationwiththedaggerforfightingin narrowspaces,eg.thickscrubs);asciadatoldaandspadadaarrembaggio(axesandsmallswordsoftenused bypiratesorduringexplorationsanddeforestation).Noneofthesemenworeafullarmour,whichwouldhave beenuselessandprobablycounter-productive:imaginehowyouwouldfeelifyouhadtowearaarmourof25 kg.andmoveamongshallows,sandsandpathsintheheartofthejungle,withatropicalclimate.Youcaneasily guessthatyourmovingwouldbemostdifficult;moreover,theinsideofthearmourwouldworkasaasortof sauna!Someofthegroupactuallyworeamorione(openhelm)andapettodacampoaperto(steelsingleplatedbreast)toprotectthemostvitalparts;anyway,mostmenweresimplyprovidedwiththeabovementionedsmallarms. OntheothersidetherewereseveralhundredsofaboriginalwarriorsledbytheDatuchiefLapuLapu:some accountsreportthattheywereeven2000,40"Moros"foreachsoldierofMagellano,aratioof40to1!They hadbowstoshoottheirbagayaks,evenfivearrowsatthesametimeandsomeshortjavelinswhichcouldbe shotwithsuchstrengththattheywouldpiercetheverythickwoodofthehullsoftheboats.Theyalsohad tabaksandkalasagscombinedwithbarongs,krissandkampilans. TheirarsenalandhistoricaldocumentsrevealthattheMorosweren'tanuncivilizedraceatallandtheydidn't lackanyknowledgeofwarfare.Asshownbefore(seep.1),whenMagellanolandedonthePhilippines,the biggeststockofthepeoplelivingonthecoastswastheresultofaseriesofancientmigrationsfromMalaysia, Indonesia,IndiaandinpartfromChina.Asaconsequence,theIndianandMalayo-Indonesiancultures(which attributegreatimportancetomilitaryskillandhavealongandsteadytraditioninthisfield)werewidelyspread amongthem. AttheBothoan(theancientMoroschool,whichconsistedofablendofIndian,Malaysian,Arabianand Indonesiannotions),thedisciplineswerearithmetic,religion,readingandwriting(Sanskrit),lubus(theartof usingandinterpretingtalismans).Moreover,thecodesofmilitaryartwerestudied.ThisartwascalledKalis (somevariationsasKali,Kalirogan,Kaliradman,Pagkalikali),awordofSanskritoriginwhichcanbe translatedas"knifewithasharpblade"orsimply"sharpblade". TheswordswerebuiltbythePandays,thesmithswhoreliedupontheancientMalaysianschooltoforgehigh qualityblades,whosequenchwasnotsecondtothatoftheswordsinWesternEurope.

AFighttotheDeath
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"Fecerocadereilcapitanoafacciaingieglibalzaronosopraconlancediferroebambeconcoltellifinoa quandononucciseroilnostrospecchio,lanostraluce,ilnostroconforto,laveraguida." AntonioPigafetta,Relazionedelprimoviaggiointornoalmondo,1524

ThebattlewascruelandfataltoMagellanoandhiscrew,whoweretakenbysurprisebytheMorosledbyRajah LapuLapu.Afterashowerofarrowsandjavelins,theywereoverwhelmedbythemassiveattackofthewarriors whosetontheirsmallgroup.Magellanofoughtverystronglytodefendhimself;althoughhewasusedto fightingandhadalreadybeenhitduringseveralotherbattlesinhisadventurouslife,hewasattackedfromtoo manysidesandfinallysurrendered:theyhithiminhislegswitharrowsandjavelins,whichmadehimbend forward,thengavehimthefatalblow.Traditionhasitthatthisblowwasactuallydeliveredwithakampilanby LapuLapu,whohasbeenregardedasanationalherosincethen. Noneofthemenwhohadlandedontheislandwasabletoescapebacktotheships.Thosewhohadstayedon thedecks,justbeforethecoralreef,hadnotimetoloadthecannonsandfire,theyjustcouldlookatthoserapid anddramaticevents(whichPigafettareportsinhisjournal).ThiswastheendofMagellano'slifeandthefirst, disastrousadventureoftheEuropeansinthePhilippines. Theroadhadbeentraced,though,andmanymoreexpeditionsandwarriorsweregoingtoarrivetotheVisayan inorderto'tame'thosefierypeople.

EspadayDaga

"TheFilipinoswereimpressedwiththeSpanishsword-and-daggersystemoffighting,imitateditandsoon foundtheweaknessesoftheSpanishstyle.Theirnewmethod,thatemployedalongandashortstick,eventually assumedtheSpanishnameofespadaydaga,meaningswordanddagger." DanInosanto,TheFilipinoMartialArts "Historicallyarnisincorporatedthreerelatedmethods:espadaydaga(swordanddagger),whichemploysa longbladeandashortdagger;solobaston(singlestick);andsinawali(toweave)" RemyPresas,ModernArnis

EspadaydagaistheexpressionusedinPhilippinemartialartstomeanasystemoffightingwherebothhands claspweaponsdifferentinformandlength.Nowadaystheyareoftenidentifiedwithastickandaknife.Thereis noneedtotranslateorexplaintheexpressionanylonger:thankstothespreadingofthePhilippinemethodsin AmericaandEurope,scholarsandpractitionersofmartialartsactuallyknowthatitmeansasystemoffighting derivingfromwesternswordsmanshipartswhichcamefromtheSpanishinvaders.Nevertheless,onlyafew knowthatitisthebestoutcomeofacentury-oldschool,whichhadworkeditoutonbattlefields,induelsand fightswithnorules:itsrootsdatebacktotheCelt,Greek,EtruscanandRomanfighting(gladiatura).This system,whichhadundergonedifferentnamesallthroughoutthecenturies(schirm,schirmian,scrima,scrimia), wasindeedthecoreoftheItalianmartialschool,thatis"l'artediripararsiebenrispondereaicolpiavversi." Asamatteroffact,mostofthetraditionaboutPhilippinemartialartscomesfromasortof'convenience marriage'betweentheancientMalaysio-IndonesianandtheItalian"dearmicar"school;thewordsArnisand EscrimaareshortformsofthewordsusedintheMiddleAgestodistinguishfightingwitharms("inarmis") fromfightingwithnoarms("sinearmis");asshownbefore,oneofthenamesstandingforArtofFencewas actuallyScrima.Moreover,whenlookingatsomePhilippinestylesoffighting(Abecedario,Etaliano,Precia Punialada,Abierta,Serada,Largomano,Numerado,Sumbrada,Retirada,ecc.),sometechniques(strikeand
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parry,alivehand,linearandcircularfootworkecc.)andmethodsevenwithbarehands(eg.hubud-higot: exercisestandingwiththearmsincontact,wichcomesfromthe'closecombat'datingbacktotheMedieval schoolofdagger),onecanrealizehowintenselyScrimahas'contaminated'thelocalfightingtradition(notonly forswordanddagger!).

Anyway,thetwoArtsmustnotberegardedeitherasreciprocal'by-products'ortoosimilar:Scrimia'sstructure iscompletelydifferentfromthePhilippine's.Forexampleitgivesimportancetofightingseenfirstasavital confrontationbetweentwopeople(withorwithoutarms),thenbetweenmanypeople(alsoprovidedwith differentkindsofweapons),aswellastotheconceptoffightingasawaytopreserveone'slifefromarmedor unarmedassaults.Inotherwords,the'core'oftheItalianschooloffencingistheveryscienceofthe confrontationbetweentwoopponentsorevenenemies;asaconsequenceitincludesthedevelopmentofabilities andskillslinkedtotheuseofhandsorarmsasweapons.It'squiteasimplephilosophy:"toccaresenzaessere toccati",theonlywayfor"schifarel'intentatamorte",asMaestroManciolino(XVIthcentury)usedtosay.

Schirm,Scrima,Scrimia,Scherma
"Dageometrialoscrimirsenasce, sottopostoalei,enonhafine, el'unoel'altroinfinitofasse." MaestroFilippoVadiDeArteGladiatoriaDimicandi,1482-87

Whenthinkingoffencing,oneoftenholdsinmindquiteamodernscene:twowhite-dressedswordsmentiedup toanextensibleelectricwire,whoaremovingonapisteandtryingtomakealuminoussigntoflashoutwith theirelectrified'arms'.Anylinkwithwhathasbeenwrittensofarabout"spada&daga"maysoundrather strained,particularlyifconcerningsinearmisfighting,stick-fencingorfightingwithadagger.

TheItalianScrimiaschoolhasindeedbeenconcernedwithallthisandevenmoreformanycenturies.Itsdeep principlesdatebacktotheXIIIthcenturyandweretaughtinseveralsocietates(or"congregazioni", "Fratellanze","scuoled'armi")locatedinasmanyItaliantowns.Inordertohaveanideaabouttheseprinciples, justleafthrough(butyouhadbetterreaditthrough!)theFlosDuellatorum,writtenbyMagistroFioredei LiberidaPremariaccoin1409: "Equellochecumbastonefaco/cumlaspadalofara/benchepifortizoghi/conquellatrovara." MagistroFiore,FlosDuellatorum,1409 Itcanbeinferedthatagoodscharrmitorhadtobegoodatfencingboth"inscaramuccia"and"insteccato"as wellasatfightingtodefendhimselffromassaultswhensimplywalkingonalane!Hewouldhavetoknowhow tousealltheweaponsathisdisposal:hisownhands,daggers,oneortwosticksastallasamanoraslongasan armorasshortasadagger;one-hand,bastardandtwo-handswords;spears,battleaxes;healsohadtobeableto fightbothonfootandonhorseback. TheItalianmercenarieswhoseexpeditionsstartedtoreachthePhilippinesfromthemiddleoftheXVIth century,actuallyhadtheirownartandscienceoffightingmixedwiththelocaltechniquesofwar.Everydetail aboutthis'school'canbefoundintheseriesoftreatiseswhichillustratethehistoryofmartialartsalloversix centuries.

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TheBologneseSchool
"Questosunabattimentomoltoperfettoperfareallecortellate,ciospadaetpugnalebolognese." MaestroAchilleMarozzo,OperaNova,1536 InItaly,FlorencewastheveryheartoftheRenaissanceasforartandculture;Bolognawasthesameasfor martialarts,particularlyforswords-fightingarts.Thereareundoubtedlylotsofverygood"Maestri"whose nameshavegonedowntohistory,someofthemalsocomingfromBologna,suchas:PietroMonti,Guido AntoniodeLuca(AchilleMarozzo'smaster),AntonioManciolino(histreatiseOperaNovawasreprintedin 1531,therearenodetailsabouttheprecisedatewhentheworkwascomposed),AchilleMarozzo(hisOpera Novadatesbackto1536;hewasthen52andhissonSebastianoeditedarevisedversionin1568),Camillo Agrippa(Milanese,Trattatodiscienzad'arme,1536),GiacomodiGrassi(fromModena,Ragionediadoprar sicuramentel'armesidaoffesacomedadifesa,1570),GiovanniDall'Agocchie(Dell'Artediscrimia,1572), AngeloViggianidalMontone(Loschermo,1575). TheearlyXVIthcenturySchoolfocusedtrainingmainlyonfightingwithaswordandabuckler,usuallyin combinationwitheitheratarga,arotella,acappa,alanternaorastabortwoswordsandpartigiana,picca, spiedo,ronca,alabardaorazzaforhand-to-handcombat.

AninterestingworkonthesesubjectsisMaestroManciolino'streatise:inBookFive("Giocodispadadafiloa filonelladestraeconilpugnalenellamanca").Hedealswithplaystobepractisedwithrightandfalsecutting aswellaswiththrust-blowstobedeliveredintwotimesand"intempo".Thisworkiscomposedofsixbooks dealingwithScrimiaindetails;particularlyremarkablearethepartsconcerning"giocodiduocontroduoconle spadedafiloetlecappeimbracciate"andcombat"inmischia",whichshowthatthisartisnotlimitedtofighting "induello"butincludeslotsofothersituations. AnothergreatMaestrowasAchilleMarozzo.Whatisknownabouthimisthathewastrainedbyaveryfamous master,GuidoAntoniodeLuca,whoissaidtohavetrainedmorewarriorsthanthosewhogotoutoftheTrojan horse!,amongthemCaptainGiovannidalleBandeNere.(JoannideMedici) " deglioccorrenticasinellesingularibattagliechegliarmigericavalierifaranno" AchilleMarozzo,OperaNova,1536,BookFive

Marozzohasleftaconsiderableheritage;hiswork,whichistheveryfirstwrittencodeofrulesforduels,canbe consideredasimportantasManciolino'sfortheprecisionandcompletenessofhismethods(theyillustratehow tousebothlongandshortweaponsandhowtodocombatwithoutweapons).

BookTwo("Nelqualesitrattadeabattimentidearmedafilo,variatel'unadal'altra")showsthespadae pugnaleallabolognesetechnique,whichmakesuseofacut-and-thrustswordandadaggeratthesametime. Thistechnique,the"abattimentomoltoperfettoperfareacortellate"isasrefinedandpreciseasManciolino's; infactboththeswordandthedaggeraredouble-edgedinordertocutandblockatthesametime.Moreover,the BologneseMaestroshowsdeepknowledgeof"ferrocorto"(short-bladedarms).Theabilityatusingswords, polearms,clubs,singlestabsorswordanddagger;theskillatbothgrapplingwrestlingofhalfswordand unarmed(hand-to-handcombat):thisiswhathascontributedtobuildupthefigureofthetypicalXVIth centuryswordsmanasatrulyredoubtableopponent. MaestroCamilloAgrippaleftatreatiseonfencingprovidedwithsomeusefuldrawings.Theyrevealascientific studyofthegeometryofthedefenceandattacklinesandabiomechanicalstudyoftherelationshipbetweenthe movementsofthebodyandthoseoftheswordandstabtheswordsmanisholding.Agrippa'sworkisalso
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importantbecauseitaffirmsthereductionofthenumberofguardsandextensivelyexplainstheireffects. Finally,thetrue'revolution'infencingcameonwithMaestriDiGrassiandDall'Agocchie(theformerwas Modenese,thelatterwasBologneseandbelongedtoMarozzo'sschool),thankstowhomthesingle-sword becamethemostimportantarmtolearn,graduallyassociatedtootherprotectionsorarms.

(TOBECONTINUED )
InthesecondpartofthisarticlesomemoredetailednewsonMaestroDiGrassi'sSchoolwillbegiven.Tohim weoweoneofthemasterpiecesoftheItalianfencingart,theveryartwhichthePhilippinewarriorshavecome intocontactwith!

PartII GiacomodiGrassischoolanddidactis The600'school TheItalianschoolthroughtheages Thetechnologycomesintoplay "todo"SpadaeDaga YesterdayandToday Transfercompetences Glossary

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ClickHeretoReadPartOne

Spada & Daga: the Real Italian Fencing Art PartII Giacomo Di Grassis School and Didactics
ByGrazianoGalvaniof NovaScrimia GiacomoDiGrassi'sSchoolandDidactics
GiacomodiGrassiissaidtohavebeenagreatMaestroofScrimiaaswellasatyrannicteacher.Hewouldnotlethis practitionersdrawbackbeforethepointofaswordandwouldmakethemwearheavyleadshoes.Moreoverhewouldask themtofightbarebreastedandwithspadenere(alsocalledspadedimarra):armsprovidedwithaspikedbutton! Thiswastheoriginofthefirst-bloodtradition,whichstaysonintheXXthcenturyduel,fencingwithspadeapuntazigrinata. Rumorhaditthatheevenusedtofiregunshotswhilehisstudentsweretraininginordertoincreasetheirstrainandtesttheir concentration.

DiGrassi'sworksareactuallythemosttranslated:theswordsmanBinetdeBordeauxwasoneofhisstudentsaswellasSainct Didierwhotranslatedhismaster'streatisefortheFrenchschoolin1573.JacquesdeZeterthenpublishedaFrenchandGerman translationin1619.Indeed,theFrenchSchoolowesitsprestigetoDiGrassi'sworkandMaestroAngeloTermamondode ContiMalevolti. AccordingtoDiGrassi'sownwords,spada&dagaistobetaughtbecause: " parecosaconvenevolevenendodalsemplicealcomposto,trattardiquellearmiprimachedallaspadainfuorisonoopi sempliciomenocomposite,etdiquelleprincipalmentechepioggidis'usanoenellequalipigliuominisiesercitano,le qualisonolaspadaaccompagnatadalpugnale,cheaccrescimentosiinoffesacomeindifesa.Ondedaavertirechesipuin questeesimiliarmeesercitarequeltantodesideratoeapprezzatomododischermire,chesidiceparareeferirinunostesso tempo.". (Itseemsconvenient,thatcomingfromthesimpletothecompound,Ihandletheseweaponsfirst,whichfromtheRapier forwardareeithermostsimpleorleastcompound:Andespeciallythosewhichnowadaysaremostused,andinwhichmen mostexercised,whichweaponsaretheRapieraccompaniedbytheDagger,andareagreatandfurtherancebothinattacking anddefending.Therefore,itistobeconsidered,thatwiththeseandalikeweapons,amanmaypractisethemostdesiredand renownedmannerofskirmishing,whichmeanstostrikeanddefensebothinthesametime.) Then,inthetreatisethereareaseriesofconsiderationsabouttheadvantagesthatcanbefoundbyusingbotharmsatthesame time.ThefirstconsiderationdealswithtimeandcanbedrawndirectlyfromDiGrassi'swords:theswordandthedagger drawntogetherallowustofightbydefendingandstrikingatthesametimebecausethetwoweaponscan"agiutare"(help) eachother. Anotherimportantremarkisabouttheroleandcompetenceofeacharm:sincetheseareofdifferentlength:"aciascunasi devedarquellapartedidifesaetoffesachepusopportare"(theyhavetobeallottedthepartofworktheyarebestableto support).

Thatis:thecontroloftheleftsideisassignedtothedagger,"dadiffenderefinoalginocchio",andtothesword"tuttala partedestraetladestraelasinistrainsieme."(Isassignedtherightsideandtheleftandrighttogether,thenboththeinward andoutwardparts.)" http://alliancemartialarts.com/spada&daga2.htm

Itcanbeinferredthatthedaggersomehowincreasesthepoweroftheswordbothfromtheinsideandoutside:thankstothe dagger,theScarmitor(oldItaliandefinitionforfighterwithorwithoutarms)actuallyexperiencesareductionofthetime. DiGrassialsostatesthatthedaggereasilysustains"ognigrancolpoditaglio"(anybigedgeblow),whenitmeetsthe swordonthefirstandsecondpartbutnotonthethirdorfourth"perchdigrantroppaforza"(becauseherethesword carriestoomuchstrength). Thisisconfirmedlateronwhenitissaidthatthedaggercansustaintheblowsofanyarm"siassicuradiandarliaincontrare versolamano"(providedthatitencountersthemnearthehand),thatistosayasnearestaspossibletothehilt.MoreoverDi Grassi'steachingdoesnotallowanydoubleparriesbecause"nonsipuoffendereseprimanonsiriscuotonlearmionde quisiconsumanodoitempi"(theseoneswouldnotpermitustostrikebeforeoneofthearmsisreplacedforward).So,hesets onearmforwardingblowsandtheothertobereadytostrike. Onthecontrary,DiGrassiallowsedgeblowsbecauseofthegreatprotectiongivenbythedaggeronthelineleftbythesword; buthewarnsthereaderatthisregard:" negiquestosiavezzosseatirarcolpiditaglio;percichesipusott'essi facilmenteferirdipunta"(tonotaccustomhimselftogiveblowswiththeedge:forthatunderthemhemaybeeasilystruck withathrust)."

Ofthewardsofswordanddagger
Thoughheadmitstherearedifferentwards,heassertsthatmanyofthemarenothelpful.Infact,hedoesnotconsiderany wardeffectivethatholdstheweaponsoutoftheirstrike-line,andsothewardsarereducedtothree.Thereasonofthischange isthatswordsaregettinglighter;thereforetheoffensivetracksandtheedgeblowstrengtharetobereadjusted.

Howtodefendwiththedagger
DiGrassiexplainsthatthedaggerhastobeheld"inanzico'lbracciodestesoetconlapuntacheguardil'inimico"(stretched forthwiththepointfacingtheenemy),whichalthoughitbefarfromtheenemy,giveshimoccasion"dapensare all'inimico"(tobethinkhimself).

DiGrassiallowstheScarmitorfreedomtoholdthedagger"co'ltaglio(pugnoinseconda),oconlafaccia(pugnointerza)cio sipurimetterealgiudiziodichil'adoprasecondochelitornapiavantagio."(Withedgeorflattowardstheenemy, accordingtotheScarmitor'swill) Thepracticalreasonsofbothposturesaresoonexplained.Thefirst(pugnoinseconda)couldbeusedtoparryandeasilydrive theenemy'sswordout,whereaswiththesecond(pugnointerza)youcouldtraptheenemy'sswordusingthequillonsofthe dagger.Menwhowereaccustomedtousingsuchaparryusedadagger"oltral'elseordinarie,hannoanchoraduealettedi ferrolunghequattrodittadirritteedistantidalpugnalelagrossezzadiunacordad'arco,nellaqualedistanzaquandoaviene, cheseglicaccilaspadainimicaessisubitovolgendolamanostringonolaspadafacendopresadiessa"(Whichbesidetheir ordinaryhilts,havealsotwolongstripsofiron,fourfingerslength,andaredistantfromthedaggerthethicknessofa bowstring,- thisisthedistancebetweenthecounterguardandtheblade- intowhichdistance,whenitchancestheenemy's swordtobedriven,theysuddenlystrainandholdfastthesword)

GiacomoDiGrassi,HistrueArteofDefence.
Anyhow,thisdoesnotconvinceDiGrassi,whothinksthatthetechniqueoftrappingaswordishardlyapplicableinthe fervoredell'arme(heatofafight)!

Bythewaywecansaythatalldependsonthelengthofthearmsoftheguard,theincliningandtheautomatismofthehand's motions.Allthatneedstobecarefullydeveloped,andyetwecannotforgetDiGrassiandhisstudentsreallyusedthisScherma doppiaforlife-or-deathstruggle,andnotus. Infact,nothingiseasytodoiftheduelistothedeath. Howver,thankstothedagger'sdesign,itstillremainspossibletodothis. http://alliancemartialarts.com/spada&daga2.htm

ThemostimportantandpracticalthingforDiGrassiistokeeptheparriesinorderandtodriveonthelefttheblowswarded withthedaggeranddriveontherighttheblowswardedwiththesword. Astothefashionofthe"Pugnale"(dagger),DiGrassijustsaidthatitmustbestronganditslengthdependentonthe convenienceofdrawingitquicklyoutofthesheath.

HighWard
Thefirstwardisdividedintwostances,onewithrightfootbeforeandtheotherwiththerightfootbehind. Hesaystodeliverathrustfromthefirstward"conlacresciutadelpiedinantifermandosiinguardiabassa."(withincreasing oftherightfoot,settlinghimselfintheLowward),thatisanAffondoeimbroccata.Thesecondguardconsentstodelivera thrustwiththeincreaseofstraightpace(passata),soendinginthesamelowward. DiGrassiadvisesthereadersagainsttheedgeblows,andcallsthemtofirstofalldeveloptheawareness"..d'avereinmano un'armadadifendersi"(ofhandlingaweapontodefendthemselves).

TheDefenceoftheHighWard
TheMaestroadvisesustousethelowwardwithrightfootinfronttoopposethehighward.Thentheenemy'sthrustmaybe wardedoffinthreeways:thefirstwiththedagger,thesecondwiththeswordandthethirdwiththeswordandthedagger joinedtogether.

Henotices: "crescereunpassoobligo(scanso,scartooinquarto)medianteilqualesivienearimuoveredallalinearettaquellapartedella vitanellaqualesivenivaaferire.Quandosiparerconilsolopugnalesicrescerilpassoetilbraccioinnanti(unasortadi affondocontenuto)etrovatalaspada(legamento,sforzooparata),siferirconlacrecsiutadelpassodirittodellapuntabassa preparata." ("toincreaseapacewherebythatpartofthebodywhichistobestruckisvoidedoutofthestraightline.Whenonewardswith hisdaggeronly,heshallincreaseapace,andbearhisarmforwards,andhavingfoundtheenemy'ssword,heshall(withthe increaseofastraightpace)strikehimwithathrustunderneath,thatisalreadyprepared".) Thisactioncanbeperformedasaparryandriposte,whereyoucanparrywithaforwardmovementandpavethewayfora thrustblowofstoccata. "Sesidifendeconlasolaspadadibisognonelfarailpassoobliquolevarelaspada,etportarladifuora,overocomesiha trovatalaspadainimicaferirconilpugnalenelletempie" ("Whenthestudentwardswithhisswordonly,itisrequisite,thatmakingaslopepace,heliftuphissword,andbearit outwards,orelse,assoonashehasfoundtheenemy'ssword,thatwithhisdaggerhestrikeatthetemplesofhisenemy's head") Thisactioncanbeexecutedwithaslopepaceontheleftparryingwiththesword(interza)andinthisposition(closerto enemythanbefore)stabthatsideoftheheadwithanimbroccata. Thereisanothersolution,whichprovidesthatafterparryofsword,insteadofstrikingwiththedagger,holdtheswordwiththe daggerandthenwithanotherpacestrikewiththefreesword.

Seicento'sSchool
"Etl'oggettodiquestascienzaaltrononcheilriparareeilferirelequalinonpotralcunosapereseprimanonhavrla cognizionedtempiedellemisure" MaestroNicolettoGigantiSCOLAOVEROTEATRO1606 http://alliancemartialarts.com/spada&daga2.htm

TheseicentoisaboundingreatMastersofScrimiaandtheygatheredtheheritageof16thcenturySchoolanddrovetheArt towardsnewtechnicalandstylisticconquests.RidolfoCapoferro,MarcoDocciolini,SalvatoreFabris,FrancescoAlfieri, BondidiMazo,MorsicatoPallavicini,aresomeofthegreatMastersoftheperiod. NicolettoGigantiisoneofthem:MasteroftheArtofScrimiaisthesuperbactoroftheRapierFencingwithCapoferro.This weaponcarriedthethrustblowstoprevailovertheedgeblows,eventhoughitmaintainedtheedgeblowabilityofstrikeand Defence.TheRapiersignedhistorywiththepracticeofduel,infactitwasbornnotforthewar,buttobecarriedduringthe civilianlife. TheRapier,accompaniedbytheManosinistra("left-hand"isthedagger'snameassumedinthisperiodjustforits specialization)representstheperfectmarriage,thesynthesisandtheHeightofthecreativeexpressionoftheScherma Accompagnata. GigantiisaRefinedMaster,whotrainedfor27yearsinthehardschoolofthetime,whichincludedboththeexercisesandthe inevitableduels.WecanseehismartialcompetenceandcleverneesfromwhatwastaughtinhistreatiseSCOLAOVERO TEATRO(1606),dedicatetoDonCosmodeMedici,PrinceofToscana.Thepreciseandtechnicalenunciationsareveryclear; hisschermaisstrict,essentialandstronglyself-preserving.

Gigantiteaches"stringerel'inimico"(closetheenemy)withtheindispensable"tofindthesword"ofamortalduel;hetakesthe enemytothe"obbedienza"(toforcesomeonetoparry)throughaplayoftocchi,cavazioniecontro-cavazioniandthenavoids theenemy'scontrariewithcontra-contrarie.Hisstoccatedicavazionedirectedtothefaceandeyes,astheoldBolognese schoolrecommended,arethesignoftherequiredmillimetriccontrolofthepoint. Intheexperimentationitisamazingtofindsomeconceptsofthemodernfencing,madeoffinte,paratedicontro,cavazionie colpiintempo. Thosewhostudythematterindepthwanttherapiertobeheldasaveryexpertgripsthedagger.Thehandeasilyholdsthe weaponinsuchawaythattheItalianschoolcalls"respirato"("wetcloth").Thankstothegripthehandtransmitstothe weapon(andconversely)thefinestofsensorialinformation.Aboutthisparticularwayof"tenere"(holding)thegrip, metaphoricallyitwasrecommendedtoholdthegripasyouwouldholdabird:nottootightifyouwantitaliveandnottoo widebecauseitwillescape. Thistactileschermaofsword&daggercanbeappreciatedonlythroughthepractice,whichdoesn'tallowanysketchiness. AdmirablyScienceandArtareblendedtogether,dramaticexpressionofpracticalefficiency. Wethinkthecrudehumannature(temper),thatoncewasdecisiveinaduel,isbalancedbyGigantiwithhisheartfelt reluctancetotakepartinduelswithoutrhymeorreason.Hewasavaliantandgallantman,temperedbytheworldofmortal duels.HelovedandhonoredtheArt,condemningthosewhocarriedtheswordjustfordueling. Hewarnsusagainstbeingaswho"comehannoacquistatoqualcheprincipiodiquesta,ponersilaspadaalato,eusarmille insolenzie,confarstar,conferireetalvoltaammazzarequalchemisero,credendosid'acquistarehonore,efama;etfanno male,percholtrechefannooltraggioallanobiltdiquesta,laqualenondeveesseremessainusosenonconragione, offendonoilgiustoIddioetsestessi".

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