DiGrasse's Rapier Fencing Manual

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Safety means:

1) Being more skilled, trained, in better physical condition than your opponent.

2) Doing nothing that may yield a double kill. (If the chance of a double kill is 10%, yo

a 45% chance of surviving against an equal opponent.)

3) Having a readiness to win - to kill; confident aggression.

DiGrasse and his peers advocated a style of fencing that emphasized the thrust with ligh

point weapons and high speed movement. This style rendered obsolete the earlier form

backsword play which relied on the cut.

It is interesting to note that Saviolo writing in English freely uses Italian terminology su

imbrocatta, squalanbrato, etc., while di Grasse's translator was careful to use only comm

terms. George Silver, a contemporary champion of the good old fashioned English way

mocks both the Italian words and the very concept of rapier play. However, even he use

Italian jargon by the time of his second work, and certainly the use of Italian was comm

fashionable by 1600. Shakespeare uses fencing terms such as "stocatta" in Romeo and J

other plays. Undoubtedly this was due to some extent to the credit of Saviolio himself,

teacher of defense for the cream of English society.

This new fashion was in turn superseded by a fundamental change in fencing technolog

fashion around 1660. "Small sword" techniques, dominated by the French School, repla

techniques, which had been dominated by Italian masters such as diGrasse and Saviolio

consequence is that modern fencing jargon is based largely on 1660 French language. I

terminology of one generation earlier is, as is rapier play itself, now archaic and disused

the realm of theater and reenactment.

As a translator/interpreter I took many liberties with translator IG's words to be true to spirit. Pleas

when you wish to quote DiGrasse. The 1694 manuscript is available from Syke's Sutlering (Falcon

edition).

A partial online version of IG's 1694 diGrasse transcribed by Steve Hick is at: http://www.cs.unc.e

/digrassi/

The original Italian manuscript in facsimile is available from William Wilson at : http://www.cs.u

/~hudson/digrassi/

Comments or questions? I'll be happy to hear from you: Rick Orli

diGrasse's Rapier Fencing Manual, Video Version


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what I do most often. Theatrical 'combat' is a dance, where you and your partner adhere

plan and know the rhythm by heart. In contrast, non-theatrical real Combat means you k

plans a strict secret from your enemy, and if you detect a rhythm in her moves, you use

knowledge to, figuratively speaking, stomp hard with the big boot. In theatrical fencingmaintaining eye contact to pick up subtle cues, designing phrases to consist of cue-actio

maintaining a measure 'out of distance', mis-directed blows, etc. all play a part in makin

effective and safe presentation. These issues are not discussed here.

Nor is the subject competitive sport fencing or using pseudo-rapiers. As I discuss below

modern sport of epee is competitive fencing using pseudo-smallswords, which started o

true dueling simulation but grew to be false to the spirit of combat or dueling (even whi

lot of fun and good sport). Any well-intentioned effort to do the same with pseudo-rapidoomed to the same end for the same reasons.

The subject here is the methods, technique and mindset for training for combat or dueli

diGrasse intended, (or as best as we can research and as near as we can guess). This is a

study exercise, and from this base you can go where you will.

In discussion I assume knowledge of fencing. Here is a test for you. Do you know the d

among a prise de fer (beat parry with the foible/weak/tip part of blade), a 'regular parry

forte/strong part of blade) and a glasse or bind (exclusion made with constant blade conas in a time thrust)? And I don't mean theoretical... I mean, viscerally do you know the

what it feels like to do each of these correctly, because you have done each many times

not, then you do not have the intermediate level (2nd year) of training necessary to kno

am talking about in this tutorial, nor do you have the background necessary to study on

By the way, I'm not prejudiced solely in favor of modern western fencing. If you had st

Kendo or Philippine stick fighting for a good solid year or two, I bet you would know e

I was talking about above even if you had never heard of a 'prise de fer' (you can alwayup...(ah, might be like the kaeshi waza...)) and you would be ready also.

Nor can I say in words the correct 'feel' for executing a parry - how to make it snappy y

how not to either over or under parry, or how to make a thrust fast yet smooth. These ar

learned only by hands-on practice, with the assistance of an instructor. DiGrasse believ

man might be self-taught... that may have been true then because it would have been po

observe, in daily life, good swordsmen in practice and bouting, and chances were your

sparring buddies would have included someone who had had basic training. Today, thanot the case. The visual image of rapier play you may be straining under might have co

'bish-bash-bam' Errol Flyn movies, or from the comic-fantastical combat in the Highlan

or even Star Wars. Please believe me when I say that that type of 'movie knowledge' is

total ignorance (although check out Kurasawa's 'Roshamon' for a thoughtful film comm

fantasy versus 'real' dueling).


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I am not even going to argue that it's all transferable knowledge. As a matter of fact any

interested in becoming a first rate sport fencer should notlearn rapier. Basic things like

footwork and even the timing is all different. It can even hurt a bit if your objective is Ronly... If I am in a competitive situation where I want to hit my opponent, I turn into a c

modern fencer with a rapier in my hand - I can't help myself, I was too well trained for

years, er, decades. Also, to be frank, some of the rapier moves just don't seem that great

been up against the US national champion and Olympic medallists, and if I imagine stic

rapier into their hands, can I see getting away with a 'traverse' against them? NO WAY!

core of it all, is how to move with a sword in hand - and to learn that you have to spend

time moving with a sword in your hand.

This material should not be considered as a 'how to' manual for beginners, but as a reso

experienced fencers who want to find out a bit about the rapier and 17th C. fencing tech

OK, so your taking up sport fencing, what kind? Of the modern fencing weapons, Foil

learn for similarity to real combat fencing. Why? Because foil was invented as training

dueling with the small sword, around 1670-1680. People nowadays dismiss it and dis it

is lightweight, but mostly because of all the 'rules'. They say, real fightn' ain't got no rul

True it is lightweight, but it is only a tad lighter than the small-sword it is trying to simuI'm here to tell you that there are only two rules in foil, and they are not made up BS jus

your style, but real good advice designed to save your hide in a duel:

Rule 1) Don't waste time trying to hit where you can't kill (e.g., chest yes, ankle no).

Rule 2) Never do anything that will result in your own death. (e.g. suicide is bad)

The foil 'rules' were devised by 17th Century fencing experts (who had fought in and su

duels) as a means to teach their sons, cousins, and friends how to conduct themselves inthat they might win. So for example, the rule about avoiding death is expanded to say s

like... 'if your opponent is stabbing at your heart with a sharp thing, better run, dodge, o

before you even think about doing anything else'. The foil fencing rule book had to say

several pages, and used several dozen pages to explain exactly what constitutes an attac

and so on. Rules that codify what is and is not 'good' are necessary when people are pla

safety gear, since without the negative reinforcement of dying as a consequence of erro

easily degenerates into simultaneous whacking nonsense with people arguing about wh

first or who hit harder. Since the deadly use of the rapier is not as common today as it win the province of Grasse, a student's casual observations and guesses cannot be trusted

a 'reality check'.

Once people found that this swordplay stuff was a lot of fun to do, it became a sport an

book quadrupled in size again to include sportsmanship and scorekeeping guidance. As


diG ' R i F i M l Vid V i


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eliminating "right of way" rules and allowing the whole body to be a target. However, o

original mechanisms designed to force realism... single hit elimination, and simultaneou

double elimination, was quickly tossed aside to allow prominence to the sporting aspec

duel simulation perspective the result was total disaster, teaching mastery of weird suicattitudes and dangerous moves. Epeeists specialize in calculations such as: this move re

simultaneous hit 50% of the time, 23% I win a clean hit, 12% my opponent gets a clean

15% no hit.... I should do it all the time. (Rephrased: A move that would result in my de

the time is great!) This bogus calculation also affects foil multi-point bouts, but at least

individual phrase in a bout is tested against a style template to maintain some degree of

sound dueling technique, if not necessarily attitude.

A NOTE ON KIDS AND LEARNING

I am often asked.... How old should one be to learn? Best is about age 7 or 8, second be

third best age 10... you get my drift. That is, modern fencing. I would not encourage lea

until the late teen years. If you are a kid, or are responsible for a kid, you should know

serious fencing school that wants to produce champions LOVES to give lessons to kids

Further Reading:

Joseph Swetnam, by William Wilson

Jakob Sutor, Knstliches Fechtbuch , , by Peter Valentine

Art of the Sword , by Rick Orli

Targeteer, by Rick Orli

William Hope, The Complete Fencing Master,by Rick Orli

Polish Sabre Fencing - 16th-18th C.

My 17th C. Polish Horse Artillery reenactment group

My Janissaryand Byzantinegroups

John Clement's "Historical Armed Combat Association"has a great collection of stuff and pointe

internet sources.

Szczepan Twardoch's Polish Language Historical Fencing www.fechtunek.republika.pl

Also:

http://www swordplay symposium com/Default htm


diGrasse's Rapier Fencing Manual Video Version


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Peter Valentine Peter Valentine - Provided scanned illustrations of Jakob Suter. All Suter im

copyright Peter Valentine.

Robert Gonia - Participated in and helped develop the many Rapier demonstrations.

Fred Schlop - Target and Pike demonstration.

Brian - Partisan and Muskette Butte demonstration.

William Wilson, - Provided scanned illustrations from the original Italian diGrasse. All Ita

diGrasse images are copyright William Wilson.

Basics Review: Movement, Measure, the Thrust, and the Cut.

Rapier Technique Demo

*


Basics Review


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1994, 2000

Richard J. Orli - Credits

Di Grasse - His true Art of Defense

Basics Review:

Movement, Measure, the Thrust, and the Cut.

BASICS

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diGrasse

illustrations show arather non-athletic

'stand-up' stance.

Stance

The period manuals describe a wide range of rapier stances. The figure illustrates this

extreme range, and I can point to examples of each, even what I call the 'tennis stance,'

in the period literature. The average seems to be similar to the 'rapier stance', with early

period rapier tending to the 'boxing stance', and later period (including di Grasse'srecommendation ca.1590) more to the 'foil stance'.

The following two stances show ways in which one might 'steal a pace.' The

Kendo-like stance is on the ball of the left foot. The third way, like that taught to epee

fencers today, is like the foil stance above, but feet close together.

The di Grasse illustration shows a 'stand-up' form, whereas Robert and I are much

lower, with knees more bent. This is a tricky point. A few years ago, I thought that the

di Grasse woodblock prints were just artistically wooden, and did not show the

athleticism of the form accurately. However I believe now that the diGrasse

illustrations are accurate, although they clearly do not show the necessary athleticism.

WARNINGSwordplay can

dangerous i

improperly pract

Routines shoul

practiced only u

the qualified

supervision o

fencing instructby an Americ

Society of Fig

Directors instruc

The video clips

staged (carefu

choreographed)

well-practiced m

done by experts.

sort of 'free' fenc

play demands th

of modern spofencing equipm

including facem

and

flexible/lightwi

swords (such as

or epees).

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Sprinter's 'Set'(fromMarco Steybe)

A pass as fleche

from Jakob Sutor

(all Sutor images are copyright

Peter Valentine)

'Magic Circle' footwork

pattern, after Girard

Thibault

'vertical'. I also researched the sprinter analogy, because it is surely the one athletic

stance designed for maximum forward acceleration. The modern sprinter's practice is,

according to Marco Steybe: "In a set position, the arms should be perpendicular to the

track, shoulders

directly above the hands, and the front and rear leg angles 90 and 120 degrees,respectively". (Close to the 110-130 degrees recommended leg angle for modern foil,

also about what is shown in the Jakob Suter illustrations, while the rear leg angle in

Kendo is about 155-165 degrees.) There may be something in the claim that there is

more immediate power in an only slightly bent leg, and perhaps it is sometimes more

important to travel 8 inches very fast than 18 inches fast.

A year ago I wrote:"Although I am not sure if I believe my Kendo master's assertion

that this is the 'best' form, for now I accept that claim at face value, at least when I

practice Kendo. I'll reassess this point as I gain more experience using a 'stand-up'

stance. It is nevertheless now easier for me to accept that diGrasse's illustrator showed

what diGrasse would have considered to be correct rapier form, and I will work on

adopting a slightly more 'stand-up' stance in my rapier practice."

After a year and a lot of practice, I understand the Kendo-style footwork better, and

where it is getting its energy from. It is only partially from the big leg muscles that

connect from the knee - it uses the calf muscles much more, but more importantly it

uses the hip. The hip movement lifts the lead knee while driving the groin down, so that

the extending leg and flexing calf drive the body forward rather than up. It has the

equivalent speed and range - maybe even slightly longer range - of a modern lunge. It

does not usually stop like a lunge, but rather, like a pass or fleche, tends to result in

closing with or running past the opponent; this might be a disadvantage, but the Kendo

folks don't think so. At any rate, it can be executed such that it stops cold. I also think

it has an advantage over the modern footwork style in conditions of uneven or slippery

footing. I am now convinced that diGrasse practiced footwork of this type. I will try to

replace the illustrations with better representations of deGrasse's footwork.

Movement

Advance, of three types

- Pass - pace such that back foot crosses in front of the lead foot, like walking. When

fast, equal to 'fleche', modern fencing running attack. Time the hit to land exactly when

the foot strikes the floor. (Some modern interperters say the pass should stop cold, like

a modern lunge; my reading is that that is sometimes the intent, but more often the pass

is intended to continue to close with or slip by the opponent)

- Increase of pace (Lunge) - driving body and lead foot forward by straightening the

rear leg.

- Half pace - rear foot moving forward, such as from rapier stance to tennis stance, or,

fencing step (like modern advance, front foot leads followed by back foot in a crab-like

step.)

Figure after Frederico Ghisliero, notice modern-fencing style foot alignment and

the lunge (Increase of Pace).

Retreat - movement backward, pass or half-pace.

Pass

Pass

Rapier2.a

(1010632

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Pass + Pass

Rapier2.a

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Increase of Pa

Rapier2.a(1010632

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Encroach Le

Encroach Le

Thwart

Rapier2.a(1010632

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Traverse

Rapier2 a

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Quatre = Demi

Volte

Exercise: Practice

these moves as

unarmed evasions,

against an armed

adversary doing a

simple straight

pass.

Note: Footworkshould be practiced

every day without

fail.

Demi Volte - movement to side or diagonal, spinning the body away while driving back

with the lead foot

Volte - Continuation of spinning motion to 180 degrees, usually as an attack developing

from a defense, or a surprise attack from what might have initially appeared to be a

Demi Volte.

Figure from Jacob Sutor

Perhaps, a Volte

When approaching your opponent, but just outside of measure, stride firmly with an

athletic posture, gut in, back straight, head up, with the knees at least slightly bent.

With few exceptions, all movement within distance must be crisp and forcible. To walk,

one uses just enough muscle power to move to the balance point, and then gravity takes

over. In contrast, a fencing lunge or fencing step uses vigorous muscle power to move

the entire distance - consider how in a modern fencing lunge the muscles straighten the

driving leg to propel the body forward. To execute a slip to evade your opponents

thrust you must drive your body to the side with the same speed and energy, using thesame movement principle.

Consider closely that the purpose is to first move your target area (torso/head) to safety,

not your leading foot. I emphasize this because in repetitive practice it is tempting to

rhythmically use smooth dance-like movements like: "first the lead foot goes, plant it,

then follow-up by moving the body." That is not the point! When you do a slip to avoid

a mortal attack, you do so abruptly, instantly, and with no warning to your opponent of

the direction in which you are moving. However, that does not mean that fencing

footwork is coarse or jerky; with practice, correct movements are done so smoothly that

they seem light and dance-like to an observer.

Measure (or "Distance")

'In distance' is the point where your opponent can strike you in a single move. In

Rapier, the range of a pass is 2.5-3 meters (9-12 feet), and with a step-pass about 4-5

meters. When you are within distance of a single pass, you must immediately either

strike or withdraw standing in place gives a great advantage to your opponent so is

DemiVolte

Rapier2.a

(1010632

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Volte

Rapier2.a(1010632

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Danger zones -

range from whic

fencer in the lo

left can strik

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Exercise: Practice

a distance 'key

drill'. Have your

partner measure

out a long attack on

the pass, and you

stand right where

the point ends. Thenas he advances or

retreats, or moves

to the side, you

keep the same

relative position,

retreating,

advancing and

traversing as

required, keeping in

good balance and

practicing the mosteffective movement

technique. Then

take a position at a

diagonal, and keep

that relative

position. This is

great exercise,

especially if you are

not the 'key'!

The figure illustrates the relative danger zones.

Measure is a fluid concept, as it depends on your opponents athletic abilities and reach,

as well as her current stance and the ground conditions. Consider that men who were

the Joe Montanas or Michael Jordans of the 17th Century, seeking a physical outlet fortheir talents, could have found more fame and fortune as fencers than in most any other

pursuit. A great athlete can strike in a blink from an amazing distance - like from the

far side of a large room.

The red zone is easy range for an increase of pace, yellow is range for a pass, and white

is range for a step-pass. The boundary of yellow to white is 'in distance' in rapier,

although any inattention in the white zone can spell instant disaster. The figure shows

the danger areas typical of facing only an average-height club-level fencer. Add 1/2

meter to the red, 1 meter to the yellow, and 1 1/2 meters to the white when facing a tall

superb athlete.

Notice that when closing with your opponent, you pass from the most dangerous area to

safer areas. Any closer than a few feet and a punch from your opponent's rapier guard

or pommel becomes a more dangerous threat than his rapier point. The area adjacent to

the back shoulder is a 'safe' area, for that instant, from any blow except from the elbow.

The point of many encroachment moves is to move into 'safe(er)' areas to your

opponents back or side, from which you may be psychologically more ready to strike

than your opponent. Some pass attacks should not stop if failed (which is at a point of

maximum danger) but continue in an accelerating run close past your opponent's

shoulder like the modernfleche.Alternatively, fall off from your opponent's flank with

a sort of a slip to the side (changing the axis of the engagement 90o). Alternatively,

crash into your opponent (especially if your opponent's left hand does not contain a

dagger).

Unfortunately, a taller opponent has a comfort zone where you are in his distance, while

he is outside of your range. This zone must be studiously avoided while taking your

opponent's measure, and on your attack must be crossed with aclarity.

Full Cut

Rapier2.a

(1010632

bytes)

Moulanie Cu

Rapier2.a

(1010632

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Scramacioni =

flicking cut to the

face

WARNING!

THIS IS NOT

INTENDED AS

SWORDPLAY

INSTRUCTION

FOR BEGINNERS.

****************

Rick's true confession.

As a fencing instructor

with a lot of experience

finding fault, I watch

these clips and say to

myself, "man, you

stink." Most of the clips

are, of course,

deliberately slow and

the moves large so that

the average reader can

see what is going on,

and I'm not talking

about that. N or am I

referring to the fact that

I look like a potato,

since the 1620 fashion is

supposed to make the

wearer look like a man

of substance (e.g, a

potato). The main thing

bad about my form is

my bad posture, and the

way my shoulders are

tight and my neck is

hunched down. If I

were coaching myselffrom the sidelines I

would not have put up

with that for a second.

That's a bad habit I had

when I was a young

competitive fencer that I

eventually overcame,

but I guess it crept back

in. The second thing is

After a few weeks or months of disciplined practice, reduce the length of the pause so

that it eventually ceases to exist, and your attack is smooth and fast yet always starts

with the extending arm.

Cut or Edgeblow

The cut is unlike the modern sport saber cut, which is executed by extending the arm

and cutting using the fingers. Or rather, I should specify that that sort of cut was ok as a

flicking cut to the face. However, a proper cut has to have the force of a baseball bat to

cut any target other than the face. (That is a challenge, since the lightweight rapier,

especially mid-17th C. rapiers, did not have sufficient mass to readily provide the

necessary momentum.) To properly execute a cut, the arms, shoulder, and feet have to

combine in one mighty movement not unlike a baseball bat swing (which maximizes

momentum; or alternatively, like cracking a whip, which maximizes blade speed). The

second choice is a 'moulanet' (windmill) where the arm extends straight, but using the

wrist the point drops down and swings around in an arc to give the blow momentum.

As diGrasse states, the rapier is simply not a cutting

weapon, and he and all period writers discussing rapier

discourage the use of the edgeblow except in moments of

special opportunity.

Proper Set-up for Cut,From Jacob Suter

Blocks or Wards

DiGrasse's section on Wards covers the starting 'on guard' positions. The photos

illustrate the basic 'blocks' (parry) positions. Rapier blocks are somewhat wider or

'bigger' than foil parries, and are exaggerated here. A fast, economical defense should

make an attack miss by an inch or two, not a foot.

Inside high line (Modern Parry Prime)

Inside lowline (Seven)

Inside High Line (Four)

Outside High Line (Three)

WARNING

Swordplay candangerous i

improperly pract

Routines shoul

practiced only u

the qualified

supervision o

fencing instruct

by an Americ

Society of Fig

Directors instruc

The video clips staged (carefu

choreographed)

well-practiced m

done by experts.

sort of 'free' fenc

play demands th

of modern spo

fencing equipm

including facem

and

flexible/lightwiswords (such as

or epees).

Basics Review


13/54

Head Block (Five) from right to left, may

also be from left to right.

Di Grasse - His True Art of Defense (Rapier Combat) - II. The Sword


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1994, 2000 Richard J. Orli -

Credits Di Grasse - His true Art of Defense

The First Part - The Basics

II

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Time of Advantage - a

moment of opportunity

during which a strike

may be safely delivered.

Foible (weak torque for

parry) - parts 4 and 3

Forte (strong) - parts 1

and 2

II. The Sword

.O f all weapons a man may use, none is more honorable,handy, useful or safe than the sword. The sword offers two

tools - edge and point. Weather you cut or thrust you must

observe the time of advantage- when your sword is more near

and more ready to strike than the enemy's.

This principle is easiest to apply against edgeblows (cuts). For

example, if your enemy is close and cuts widely (the pointdescribes a big circle as your opponent swings), you must not

defend, but close and strike with the point with all celerity. As

you hit home you will prevent the fall of the enemy's sword. If

forced to defend from any edgeblow, parry with the strong part

of the blade, close to the hand.

Thrusts are the most perilous blows. To be ready for a thrust,

stand at the ready, so as not to loose time in reaction or

preparation. If you stand awkwardly you will need to prepare

for a trust by drawing back the arm, shifting the feet, leaning

the body, or other dangerous motion which will invite an attack

as you prepare.

The blows of the sword are strongest the further from the hand,

much as the force at the rim of a wheel is stronger than at the

spokes. Dividing the blade into four parts, the two nearest the

point 4 and 3 are to be used for striking. 1 and 2 are to be used

for wards, since nearer the hand they are strong to resist any

violence. These divisions are illustrated in Figure 1.

This logic applies to the arms, and the wrist and elbow should

be used (adding to the circumference of the circle, they add

force to the blow). But, as they are strong, they are also slow

(as they perform the greater compass) Therefore, do not swing

from the shoulder, because you will give to much time to your

enemy, and the wrist and elbow give strength enough.

The Rapier is long

and lightweight ,

designed primarily to

thrust. In 1550, it was

a light and longbroadsword variation

that kept getting

lighter year by year.

By 1650 new rapiers

had become so light

that blades often

broke, leading soon to

blades forged with a

triangular cross-

section.

Di Grasse - His True Art of Defense (Rapier Combat) - II. The Sword


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Remember - the hit with the point is the straightest, shortest,

and fastest.

using the elbow to

cut.

Diagram illustrating

arc of blow from the

sholder (large circle),

elbow, and wrist.

DiGrasse, His True Art of Defense, Footwork


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III

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SeeBASICSfor videoclips of footwork.

In distance (within

measure) means thatyou can hit with one

movement, lunge or

pass; about 10 feet or

so.

Increase of Pace or

Lunge - forceful

advance, relying on

extension of the rear

leg to drive the body

forward. In di Grasse'spractice, this usually

included dragging the

hind leg forward

somewhat.

Half-pace or Fencing

step (the front foot

moves forward,

followed by the rear

foot the same distance)

Whole-pace or Pass -

the rear foot crosses

past the front foot - e.g.

a normal walking step

or fleche.

Slope-pace or crooked

III. Of Footwork

.F irm footwork is the font from which springs all offenseand defense. The body likewise should be firm and stable -

right shoulder turned towards the enemy.

If you can hit by extending the arm only, without even using

the feet, so much the better since the body should be always

ready and firm. This is far better than the snail-like wiggling

some fencers show, wresting themselves from side to side.

Each movement takes time, and if you can perform an action

not in two motions but in a half motion so much the faster and

better.

In footwork as well, by orderly, discreet, and controlled

motions, you will win. Proper size steps depends on the

individual's stature and frame, but each step can only be

straight or circular.

The right leg is the strength of the right hand, and the left leg is

the strength of the left hand. So, the right hand attack should beaccompanied by the right leg. Take care that the foot and arm

move together. Above all, do not skip or leap, but keep one

foot always firm and steadfast.

The blow of the point or thrust cannot be handled without

consideration of the feet and body, because the strong

delivering of a thrust consists in the apt and timely motion of

the arms, feet, and body. The object is to be able to deliver a

thrust from the ready position in as little time as possible.

Figure 3. Footwork Explanations

To lunge left, leading with your left foot (pass first if your left

Right shoulder to the

front, left hand forward,

the breast slightly

turned away.

Two-weapon methods

discussed below require

a more square stance.

The right foot leads,similar to a modern

guard position, The left

hand is in front of the

breast, and the body is

slightly bent forward

with greater weight on

the rear leg.

Think of two purposes

for motion:

Set-up - out of distance;

Attack or escape - in

distance.

Modern research is not

definitive about the

'half-pace.' If I took the

explanation and

ill i h

DiGrasse, His True Art of Defense, Footwork


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Quarte - changing

your orientation from

the original line to a

new line by moving a

foot (typically the hind

foot) in a semi-circle.

Lunge, or pass-lunge.

di Grasse uses the term

"increase the pace."

The idea is to drive

forward by dynamically

pushing with the rear

leg. In contrast, a

walking pace relies on

gravity to "fall"

forward at each step.

Stretch out far and low

in the attack. Finish in

many cases by dragging

up the rear foot

somewhat, as in a

modern lunge-recover-

forward.

Traverse Sideways

movement. (90 degree

angle)

Imbrocatta -An angled

attack.

finish by pulling up the hind (left) foot to an on guard stance.

Di Grasse uses the phrase, "increase of the right foot"

To lunge slope left, instead of lunging toward the back, your

leading left foot should land on a mark about 45 degrees to

your left. When lunging left, If your rapier is in your high

hand, a thrust will usually be delivered as a reverse. A reverse

blow is any that comes from your left side, often with the wrist

bent to angle the sword past the guard.

suitable for lateral

movement, but

unsuitable for attack or

retreat.

A possible interpretation

is that the half-pace is

intended to move into

the 'tennis stance' as a

momentary phase in a

continuous movement,

such that the forward

momentum is preserved,

allowing the attacker to

spring a-thwart

immediately either right

or left.

Perhaps a more likely

explanation is that the

half-pace moves from

the fairly square 'boxer

stance' left leading, to

the 'boxer stance' right

leading.

Di Grasse - His True Art of Defense (Rapier Combat) - IV Wards


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IV

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With the left foot

leading, the right hand

is near and above but

behind the cheek.

Puncta Reversa

(reverse thrust)- What

Saviolo calls a variation

of the low Ward. This

Ward is in many ways

IV. Of Wards

.T he first ward achieved on withdrawing the blade fromscabbard is the high ward - right hand above and in front of

the right cheek, and point angled toward the opponents face.

The obvious attack from here is a long thrust above hand.

If the point is too high, the enemy can close underneath, if too

low, the enemy can beat down your blade too easily.

The second ward is the broad or wide ward. The arm is

stretched back so widely,that it seems to leave your body open

- but in truth it does not. Although the hand is well away from

the body, the point is directly in line.

The Broad Ward

The low ward, base ward, or lockward is more strong, sure, and

commodious than any other ward, and

from which one may more easily

strike, ward and stand, and with less pain. The hand should be

near and outside the knee, and the point should be raised. The

blade should be carried crooked over somewhat to the left

side. This is superior to variations taught by other schools,

The high ward is

similar to the modern

Parry 5 or Prime, but

the point is angled

toward the opponent's

face.

Left arm always

forward! Chest to

opponent. Stance i s

more open and like a

boxer's stance than

modern (post 1660)

practice.

Broad Ward, Left

Lead. My stance is too

wide here.

Saviolo's open ward is

similar to the broad,

but with the chest

toward the opponent,

rather than twisted

away (closer to

modern guard in threewith the left arm

forward).



19/54

adversary. A variation

has the handle without

the knee.

The puncta reversa on

the defensive is

explained as follows: If

you are attacked first

with a thrust (stocatta),

don't try to parry (for

he may have the

advantage). Turn the

knuckle of your hand to

the right side chest level

and let your point be

right upon the belly of

your opponent with the

arm fully extended.

Shift the left foot back,

then move the right

foot, bend the left foot

such that the heel of the

left is in line with your

right instep, a half pace

back. In this way, you

may hit without

Danger.

------------------------

Silver's Four

Governors:

1. The first governor is

judgment which is to

know when your

adversary can reach

you, and when not, and

when you can do the

like to him, and to

know by the goodness

or badness of his lying,

what he can do, and

when and how he can

perform it.

2. The second governor

is measure. Measure is

the better to know how

to make your space true

to defend yourself, or to

offend your enemy.

3. 4. The third and

forth governors are a

twofold mind when you

i

Figure 6. The Low Ward

NEXT

Saviolo's favorite

Short or Close Ward is

somewhat different

from any of di

Grasse's: The on

guard position is with

the right foot leading,

the weapon's guard on

or near the hip, the

chest toward

adversary, and no

engagement of the

blades.

"In this ward you

must be sure not to

put yourself in

danger by carrying

your weapon long.

Your opponent can

strike upon your

weapon, and upon

you with great speed,

and master not only

your weapon but you.

To close near enough

to find your weapon,

he must come close

enough to risk being

hit."

Saviolo on the use of

the left hand: I advise

all to learn to break

trusts with the gloved

left hand. But even

without a glove, it is

better to hazard a little

hurt of the hand, and

master the enemy's

sword, than to give the

enemy the advantage

by parrying with your

sword.



20/54

This last item is very

similar to Mushai's no

conception, no design

philosophy.

diGrasse's True Art of Defense (Rapier Fencing) - The Manner of the Strik


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V

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Measure = the

distance between

combatants. "In

measure" (or in

distance) is the

distance at which you

can hit or be hit in

one move.

This includes

material from the

"Falsing" section.

See video clips of

edgeblows inBASICS

Di Grasse points out

in another section

that cuts to the face

need not have power

V. The Manner of the Strike

.T he Thrust

Without a doubt, the thrust is to be preferred over the edge blow.

Not only is it faster, but it can cause the greatest hurt. This I lay

down for a firm and certain rule.

When moving in a circle, always be sure that the left (rear) foot

is always shifted so that there is always a straight line from

sword tip to hand to rear foot. In this way, the lunge attack with

thrust can be the strongest and longest. Further, as the lunge

completes, draw the hind foot forward a half-pace to ensure that

the blow is longer and stronger. The attack should be measured

to just reach, but not to overshoot, the mark. At the completion

of the attack, the rear shoulder and arm should be turned away

from the opponent, and so out of reach of a counter thrust. It is

not possible to frame a longer blow than this.

From the low ward, make a reasonable pace, bearing the hand

without the knee. Force on their thrust nimbly, throwing back the

rear arm. End in a lunge position, so as to increase the reach of

the thrust. If the lunge is too deep and far to be comfortable,

draw forward the back foot slightly as well.

This thrust must be jerked or sprung forth as straight as possible,

the arm fully extended. The body and feet move behind such that

the arms, shoulder, and feet are under one straight line. Thistechnique can deliver a very great thrust.

The high ward is awkward for a strong thrust, especially if the

right foot in the fore. Since this ward is used to attack rather than

defend, set up your lunge. Draw yourself up, feet close together,

leaning forward, arm high and straight, thrust accompanied with

a lunge powerful and long

The Edge

The edge is to be preferred over the point for only one reason -

when it saves time in the blow. This circumstance can happen

when the point is out of line with the opponent - for example

after warding a blow, or if your opponent beats your blade out of

line. In these cases, hitting with the point may take two moments

of time, where an edgeblow would take but one (as illustrated in

Figure 7).

Speed is of two types -

Natural speed is

reaction time - given by

nature, health, youth,

and muscle tone.

Technical speed is

earned by executing an

efficient movement

without any wastedmotion or excess

energy.

Drawing the rear foot

forward is natural

ONLY if the lunge is

very powerful and long.

Di Grasse takes for

granted that hisreaders understand the

explosive quality of

combat.

However, this also

commits everything to

the attack. Later

writers urged more

caution.

By 1692, Hope wassaying, do not drag the

rear foot behind.

HighLeftS.

(99532bytes)

"Extend the arm

FIRST!" is the most

often repeated refrain

of the modern fencing

coach. As a slight

exaggeration, this a

pedagogic technique.

Purpose - to keep the

student from 1) slowing

the (fast) arm to keep

pace with the (slow)

f d ( l ) b d



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Silver's Times

There are eight

times, whereof four

are true, and four are

false. The true times

are these.

hand

hand and body

hand,body and foot

hand, body and

feet.

The false times are

these:

foot

foot and body

foot body and hand

feet body and hand

Translation: extend

the arm first.

An occasion in which a cutting blow will take one moment oftime

I particularly advise cutting back immediately after receiving a

beat, for the opponent is often taken by surprise at its rapid

replacement, because of his preoccupation with his attack.*

NEXT

face of a clear attack

other than defense or

retreat would be

suicidal.

See Silver's "times".

*This argument is hard

to accept since a cut in

these circumstances

would have no power at

all. However, rapidly

replacing the point asillustrated would be

very effective.

Saviolo on picking the

moment to attack:

Don't rush headlong

into the first attack

without an advantage,

for you risk a counter

attack. Instead, if you

have the skill, gain theadvantage in time and

measure, and then

attack. Do not settle for

simultaneous hits. Hit

without being hit.



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V

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Measure = the

distance between

combatants. "In

measure" (or in

distance) is the

distance at which you

can hit or be hit in

one move.

This includes

material from the

"Falsing" section.

See video clips of

edgeblows inBASICS

Di Grasse points out

in another section

that cuts to the face

need not have power

V. The Manner of the Strike

.T he Thrust

Without a doubt, the thrust is to be preferred over the edge blow.

Not only is it faster, but it can cause the greatest hurt. This I lay

down for a firm and certain rule.

When moving in a circle, always be sure that the left (rear) foot

is always shifted so that there is always a straight line from

sword tip to hand to rear foot. In this way, the lunge attack with

thrust can be the strongest and longest. Further, as the lunge

completes, draw the hind foot forward a half-pace to ensure that

the blow is longer and stronger. The attack should be measured

to just reach, but not to overshoot, the mark. At the completion

of the attack, the rear shoulder and arm should be turned away

from the opponent, and so out of reach of a counter thrust. It is

not possible to frame a longer blow than this.

From the low ward, make a reasonable pace, bearing the hand

without the knee. Force on their thrust nimbly, throwing back the

rear arm. End in a lunge position, so as to increase the reach of

the thrust. If the lunge is too deep and far to be comfortable,

draw forward the back foot slightly as well.

This thrust must be jerked or sprung forth as straight as possible,

the arm fully extended. The body and feet move behind such that

the arms, shoulder, and feet are under one straight line. Thistechnique can deliver a very great thrust.

The high ward is awkward for a strong thrust, especially if the

right foot in the fore. Since this ward is used to attack rather than

defend, set up your lunge. Draw yourself up, feet close together,

leaning forward, arm high and straight, thrust accompanied with

a lunge powerful and long

The Edge

The edge is to be preferred over the point for only one reason -

when it saves time in the blow. This circumstance can happen

when the point is out of line with the opponent - for example

after warding a blow, or if your opponent beats your blade out of

line. In these cases, hitting with the point may take two moments

of time, where an edgeblow would take but one (as illustrated in

Figure 7).

Speed is of two types -

Natural speed is

reaction time - given by

nature, health, youth,

and muscle tone.

Technical speed is

earned by executing an

efficient movement

without any wastedmotion or excess

energy.

Drawing the rear foot

forward is natural

ONLY if the lunge is

very powerful and long.

Di Grasse takes for

granted that hisreaders understand the

explosive quality of

combat.

However, this also

commits everything to

the attack. Later

writers urged more

caution.

By 1692, Hope was

saying, do not drag the

rear foot behind.

HighLeftS.

(99532bytes)

"Extend the arm

FIRST!" is the most

often repeated refrain

of the modern fencing

coach. As a slight

exaggeration, this a

pedagogic technique.

Purpose - to keep the

student from 1) slowing

the (fast) arm to keep

pace with the (slow)

f d ( l ) b d



24/54

Silver's Times

There are eight

times, whereof four

are true, and four are

false. The true times

are these.

hand

hand and body

hand,body and foot

hand, body and

feet.

The false times are

these:

foot

foot and body

foot body and hand

feet body and hand

Translation: extend

the arm first.

An occasion in which a cutting blow will take one moment oftime

I particularly advise cutting back immediately after receiving a

beat, for the opponent is often taken by surprise at its rapid

replacement, because of his preoccupation with his attack.*

NEXT

face of a clear attack

other than defense or

retreat would be

suicidal.

See Silver's "times".

*This argument is hard

to accept since a cut in

these circumstances

would have no power at

all. However, rapidly

replacing the point asillustrated would be

very effective.

Saviolo on picking the

moment to attack:

Don't rush headlong

into the first attack

without an advantage,

for you risk a counter

attack. Instead, if you

have the skill, gain theadvantage in time and

measure, and then

attack. Do not settle for

simultaneous hits. Hit

without being hit.

Di Grasse - His True Art of Defense (Rapier Combat) - VI. Defending


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VI

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Parry - defensive use

of weapon to block

thrust or cut. Modern

term adopted from

the post 1660 French

school jargon. Di

Grasse's translatoruses "break",

"ward", "block",

"encounter" and

other words for

parry.

Block of attack to

outside high line

(back).

Seeother illustrations

of Blocks inBASICS.

Below, the thwart, or sloping step

forward.

DaggerTh

(89090bytes)

Stop thrust= attack

into an attack

VI. TheMeans of Defending

.T hree means defend against all attacks from either pointor edge. The first is the parry - your weapon opposes the

opponent's. The weapon you use can be a sword, dagger, a

stick, your hat, your hand - because a soldier and gentleman

must master defense, not just how to use a particular tool such

as a rapier. Besides, one can not always be armed as one wouldprefer.

But the parry is not always the solution - especially as it is

often practiced and taught today. Particularly dangerous is the

habit of retreating while parrying - caused apparently by a lack

of confidence in the parry's ability to control the opponent's

attack. # Problems caused by withdrawing include:

The greater likelihood of your being hit by (or near) the point,

and so take a stronger, more dangerous, blow.

To strike you must first take a step back to where you were

before. This takes so much time that you risk counter attack

and give your opponent an opportunity to defend.

I advise stepping into a cut, with the left foot taking a sloping

step forward. Thereby, the attack's measure will be misjudged,

and the cut can be taken close to your opponent's hilt, where it

has less power. In addition, by stepping forward, you can strike

in the same instant. This manner of defense is so sure and

quick, I use it above all others. ##

The second way to defend is useful primarily against a cut with

a great compass (broad arc) - or when the cut is being prepared

with a pull back of the hand. This defense requires a sudden

thrust with the point, Most attackers will perceive the danger

and back off. If they choose to continue, you will henceforth

find that they weaken as opponents, by reason of the blood

which goeth from them. *

The third means of defense is the void, in which the body is

taken away from the line of the attack. This is seldom used

alone, but rather used with an opposition with the weapon as

described in the first means of defense, or as part of a timing

attack as described in the second means above. If used alone,

the idea is to move enough to let the opponent's weapon slip

past, while hitting simultaneously with your weapon.

# Post 1660 small sword

technique encourages

retreating while

parrying. The default

rapier technique is

stepping to the side.

A parry is not static, buta movement that first

defends then shifts to an

attack (riposte).

Beginning students are

taught "parry 4" as a

position, but the expert

understands that the

position is a transition

phase with the objective

of not just defense, but

control of theopponent's blade.

## The advice is sound,

but not for the timid.

*Attack into an action,

to forestall a weak or

indirect attack with a

strong direct thrust. In

modern jargon, this is

an attack into the

preparation or stop

thrust depending on

circumstances.

Di Grasse - His True Art of Defense (Rapier Combat) - VI. Defending


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extraordinarily

critical - the slightest

error is fatal.

The following

sections offer adviceon how to attack and

defend when either

you or your opponent

is a given position.

This is conceptually

not unlike a manual

of chess openings.

Moves from a set

position are

important, but arenot the entire picture.

The rhythm of the

exchange must be

mastered. The skill of

exploiting an

indecisive clash is a

significant mark of

mastery.

Zones

VII. Application ofMethod

.I n the sections to follow I will address the most practicaland useful attacks and defenses practical for each ward. Every

conceivable bad attack or weak defense is not discussed. These

techniques were selected largely based on two principles that

always hold true: 1) In the Attack: Trust to the Thrust. 2) In theDefense: Trust to the Thrust against the preparation or into a

wide cut

The End of the First Part

The Second Part - Attack and Defense Tactics

and Opening Moves from each Ward of the Several

Weapons

others on the face or

eyes. But if you fix your

eyes on anything other

than a man's heart your

spirit can become

confused. The gaze must

include perception

which is strong, and

sight which is weak;

perception includes the

enemy's spirit, the

terrain, changes in

advantages. In single

combat you must not fix

the eyes on details and

neglect important

things.

diGrasse's True Art of Defense (Rapier Fencing) - Single Rapier


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TheSecond Part - Attack and Defense Tactics and Opening

Moves from each Ward of the Several Weapons

VIII

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Steal a Pace - To draw

the left (rear) foot near

the right (front).

Void - not being where

the blow is aimed.

Stop thrust - attack with

point after the

opponent's attack

starts.

Reverse thrust - keep

the point in line orextending while your

body falls away.

All Italian edition diGrasse images

are copyright William Wilson.

Parry inward - the

modern Parry 4 (if high

line, or 7 if low line).

VIII. Single Rapier

T he high ward of the Single Rapier .

The truest and surest blow is the trust above hand. First draw

your left foot near your right foot, and lunge as forcibly as you

may, ending in the low ward. If your opponent dodges right,

immediately follow with a slash right to the head.

To defend against the same, stand in the low ward, encounter

the edge of the sword to push it right and step sloping forward

with the left to void to your opponent's Right. Keep the point

down toward the enemy so that he would impale himself if

careless.

To defend against a cut, I have spoken of the stop thrust.

Because I know that some timid souls out there might prefer to

defend themselves first, another way is to parry with the edge.

Then, thrust to the face while stepping with your left foot

circularly to your right. This places your body behind your

weapon and is secure because it attacks while it defends. This

move is also called a reverse thrust.

The broad ward of the Single Rapier

The most sure and principal blow from this ward is the thrust

underhand. Draw the left near the right foot, lunge, and settle in

the low ward.

To defend against the same, stand in the low ward, and do a

simple parry since the attack has no advantage to hit home first.

The low ward of the Single Rapier

Any move is possible from this ward, but there are no special

advantages in thrusts from here. The special tactic of this ward

is one of the defensive.

\

In modern fencing,

the default response

to an attack is a

retreat. In Rapier, it

is to move to the side

or sloping diagonally

forward or back.

Note also that by

pivoting the body as

part of a side ordiagonal movement,

the rapier can close

the line of the

original attack

without actually

having to move the

rapier arm. Indeed,

that would be

considered the best

type of parry.

The circular step

moves the body away

from the line of the

attack while

re-orienting the body

to the opponent's new

position. Also known

as a demi-volte or

quart. A volte

continues thecircular motion

toward the opponent

in an attack.

diGrasse's True Art of Defense (Rapier Fencing) - Single Rapier


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diGrasse's True Art of Defense (Rapier Fencing) - Rapier and Dagger


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X Rapier and Dagger

T he dagger is most convenient as a companion weapon tothe Rapier. The role of the dagger, by reason of its shortness, is

defending the left side down to the knee. In contrast, the rapier

can defend both the right and left, including below the knee.

The dagger can parry any cut if the parry is taken against the

rapier's 1st and 2nd parts (the half nearest the hilt). Do not

attempt to parry a cutting attack at the strongest part of the

blow (3rd and 4th), for the dagger is too weak. But if you

boldly encounter an attack toward the hand, you can stop not

only a rapier but any weapon, no matter how heavy, with only a

single dagger.

Parry ithdagger

Do not use both rapier and dagger together (as a cross), even

though this is often used by men who erroneously believe this

is secure. This method bonds both weapons, and two moments

of time are required to recover a weapon and strike. *

One advantage of the dagger is that an attack with the edge of

the rapier can be done more safely. The principle danger -

exposing yourself while the cut is in preparation - is moderated

by the defensive power of the dagger. However, I still counsel

no man to accustom himself to give blows with the edge. #

The dagger should be strong, easily drawn from the sheath, and

not excessively long. For best advantage hold it with the arm

stretched forward and pointing toward the enemy, so that you

will be able to find the enemy's sword a great deal before it hits

you. Either the edge or flat can be toward the enemy. If you

wish to benefit from a dagger with special blade-catching

guards, you must use the flat.

The left side, knee and above is the part which the dagger ought

d f d h h ki i d h l f

\The dagger was part

of everyman's every

day dress.

*Silver and Saviolio

allow the 'cross'.

#Dagger parries

work best as a bind

or slide rather than a

beat. The objective is

usually to gain a

measure of safety by

taking control of the

opponent's rapier for

an instant . Beats

may be more likely to

result in a double

kill.

Since a thrust high to

the face often opens

the defender as he

wards, you may have

an opportunity to

continue with a slope

pace to the left, and

reverse at the legs.

diGrasse's True Art of Defense (Rapier Fencing) - Rapier and Dagger


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riposte=attack,

following your

oppenent's attack and

your defense.

more distant, but has the advantage of lending the force of the

whole body behind the blow.

The basic attack from the first is the lunge with the thrust,

completing in the low ward. The basic attack from the second,

left leading, is a forcible thrust with the pass lunge. Restrain theurge to cut, since it is too easily parried with the dagger and

counter attacked.

To defend while in high ward, take a slope pace to void the

body away from the line of attack while you parry. If you are

parrying with the dagger only, you must often lunge toward the

enemy, and as you find the enemy's sword strike with your

rapier underneath. If parrying with a rapier, slope pace away,

but as soon as the parry connects attack the forehead with the

dagger while maintaining control of the enemy's rapier with

your own.

If you do a slope step and cross parry, stay the enemy's rapier

with your dagger, and attack with your rapier underneath with a

lunge or pass.**

The Broad Ward of the Rapier and Dagger

The basic attack is again the thrust. Be sure, when possible, to

beat away the point of the enemy's sword with your dagger as

you attack.

In defense, again take the slope pace. When parrying with the

rapier only, riposte to the face, and follow the lunge with the

rear-foot to lengthen the thrust and to stay on balance.

The Low ward of the Rapier and Dagger

While it is always a disadvantage to strike with the edge, from

the low ward it is possible to make quick small cuts that are less

likely to open you to a dangerous counter attack. However, I

still advise against even this sort of edgeblow, resolve instead to

discharge thrust after thrust.

NEXT

This ward with the

right foot behind is

strongly defensive,

but less suited for the

attack. While a thrust

delivered with a full

pace (pass) ispowerful, it is a long

time in coming and

so can be easily

avoided or warded.

To attack, therefore,

place the right foot to

the fore. Thrust

either directly at the

face, or with a beat

followed by a thrust.


the face often opens

the defender as he

wards, you may have

an opportunity to


pace to the left, andreverse at the legs.

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Cloak - more general

term for outerware,

may be sleeved.

Cape - usually

sleeveless garment with

a hood (the 'cape'

itself).

Mantel - sleeveless

outerware without a

hood. Characteristically

worn over the left

shoulder.

X. Rapier and Cloak

The next most commonly available weapon a gentleman willhave at hand, after the dagger, is the cloak. Here I will discuss

it in straightforward use. I will complete my discussion of the

art of the cloak in the treatise on Deceit.

Handling the Cloak

The cloak's use is determined by its length, size, and

flexibility. Flexibility, and not strength, is indeed the hallmark

of the cloak. One trusting to the strength of a cloak by

wrapping it about the arm to absorb a strong right cut will

prove himself a fool. One must use the length and flexibility

of the cloak, and with that any blow can be warded.

Take the cloak by the collar or cape, and wrap it at most twice

about the arm. Make sure your left leg is not leading when

warding a hit, for the cloak will only absorb a blow if there is

distance - anything solid immediately behind it (like a leg) isin peril if you are trusting it to stop a blow.

Edgeblows delivered high should be warded with the sword,

since lifting the arm and a heavy cloak high is as violent as it

is perilous. This is so because the arm is exposed, and you risk

blinding yourself by your own cape.

There are two ways to wrap the cloak: by the collar or cape as

described above, or, as it often falls out in practice, by

grabbing one side as it is taken off the shoulder, and turning it

once or twice about the arm.

With the second method of folding, the cloak is usually longer.

Therefore, when striking, it is often best to take half-paces

(fencing steps), since with the whole pace (a pass, or walking

step) the risk of entangling the feet is great. Either way, the

danger of tripping yourself should be guarded against. This is

not a problem when warding however since your motion is

\At this period, capes

and mantels may be

short - to the waist - or

long to below the

knees, depending on

the season's fashion.

They were worn by all

classes, year round.

c

Cloak Parry

CapeParryS.a(67404

bytes)

\

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Full-pace - Pass

Void - evasive move of

the body away from the

line of attact

Steal a pace - slide

rear(left) foot close up

to the right.

Take another half pace -fencing step advance, or

lunge

Forcing action - thrust

maintaining blade

contact, such as a glide.

From the high ward, the edgeblow should be delivered without

any motion of the feet. The Reversa should be done with a full

pace. The enemy's parry should be followed with and stayed

by the cloak, while a thrust is delivered underneath.

In defense against the high, the thrust should be taken with a

void, left foot moving behind and to the right, while hitting the

face in a reverse thrust. If the enemy's sword is encountered

without, then step forward with the cloak and encounter the

enemy's sword with it. Thrust with a lunge underneath.

Parrying with the cloak while hitting, without a void, has little

certainty and great peril in it, and yet if well done is excellent.

Great acuity and deep judgement is needed, for as the enemy's

point approaches, you must wait until it is just within the

hand's reach, and then beat it down with the cloak while

delivering a blow yourself.

TeBroad Ward of the Rapier and Cloak

From the broad ward, I recommend the following sequence.

First thrust while sliding the rear foot in a circle to your right,

then cut, then thrust with a lunge. Attacks may often be

effectively stopped by a counter attack to the left thigh.

The Low Ward of the Rapier and Cloak

If the opponent is in the low ward, do not cut (since this may

be easily warded and counter attacked), but thrust only. Use

the cloak to occupy the enemy's sight while you steal a

half-pace on him. Then take another half-pace, and strike with

a forcing action on the sword.

NEXT


the face often opensthe defender as he

wards, you may have

an opportunity to


pace to the left, and

reverse at the legs.

Counter attack in this

case means a

stop-thrust

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Swashbuckling -

Allegedly, the term

came from the sound

of 'Prentices in

London sashing their

swordagainst their

buckler as they

walked. Or, it may just

come from the

meaning of "swash" :

to flourish.

XI. Sword and Buckler

T he buckler is often at hand (being easy to carry, andhaving service at night as a lantern carrier) and is commonly

used. The buckler is not only a weapon of warding - it can be

used to strike as well.

The Form of the Buckler.

The buckler is small and round, yet it must shield something

much bigger and differently shaped - the whole body. When

you understand how it can be used to accomplish this feat, you

will also better understand a key principle of all defensive

weapons.

The principle is one of geometry. Attacks start from a single

point - which may be the eye, the hand, or the tip of the sword.

From that single point, all potential lines of attack follow

roughly a cone. The smallest obstacle placed close enough to

that point of origination will foil the attack.

For example, imagine your little sister with garden hose, and

the water spraying out in a cone at you. If you hold a fairly

large umbrella right next to your body, perhaps much will be

protected, but perhaps your head and legs will still be sprayed.

If you hold the umbrella at arms-length, closer to the source,

you may totally protect yourself. If you were close enough to

the nozzle, even an object as small as your hand will deflectall the spray back.

If you imagine the sword to be the same as a stream of spray,

you will see that a small obstacle pressed close to your

opponent's hilt - such as a buckler - can block all direct

avenues of attack easily. The only way for your opponent to

t d i th t t hi b d t tt k f th id

Bucklers are the size

of a dinner plate,

usually metal,

sometimes made of

wood and leather.

BucklerPa

(85372

bytes)

(The original obscure

example seemed to

hinge on the scientific

fact as then

understood that vision

depended on "beams"emitted from the eyes).



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Steal a pace = Moving

the rear-foot close to

the front foot, to

deceive your opponent

about the distance.

Slip = move diagonally

away.

Pass lunge = full pace

Another useful optional feature is a spike of sorts that can

make the buckler a more potent offensive weapon.

Buckler Handling.

To effectively cover yourself, you must hold the buckler as far

off from the body as your arm can stretch. Always move your

arm and buckler together, as one entire and solid thing, never

bending, and always keeping the flat toward your opponent.

The first advantage of this is that your arm is always fully

covered, being always directly behind the buckler.

The second is that all cutting attacks will be encountered close

to your attacker's hilt (the first and second part), and so with

less force.

The third advantage is that all thrusts are more easily warded,

for the buckler will leave only slightly open the head and feet.

The head can be covered with the slightest upward motion of

the buckler. To bypass your buckler, your opponent will have

to move or contort to a disadvantageous position from which

to strike. I recommend that the sword, not the buckler, be used

to parry any attack directed against the feet.

The High Ward of Sword and Buckler

Defending against a cut is so easy with a buckler that I will

limit my discussion to the thrust.

When starting with the left (foot) leading, attack on the pass

(full pace) with as much force as can be mustered. Then, settle

into a low ward.

Attack from a right leading position by first stealing a

half-pace, and then lunge strongly. Finish in the low ward.

The low ward is well suited for defense against high thrusts. I

recommend lunging with the left foot, taking the opponent's

sword with the buckler or sword. If close enough, as is often

the case, you can deliver the "mustachio" - a blow to the face

with the buckler. Follow up with a lunge right and thrust

underneath.

The Broad Ward of Sword and Buckler

It is important to not cut from this position, because the sword

is far off from the body and the cut cannot be done with force

while retaining balance. Using the thrust, steal a half-pace and

lunge right. Recover in the broad ward.

To counter this, stay in the low ward, opposite the buckler.

Slip right and thrust (counter attack) along the line of attack



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Without = between the

adversary's rapier and

his back.

Attempt to hit while

parrying - one motion

(time thrust).

Within is likely Parry 4,

Without is likely Parry

3 .

avoid the opponent's blade, but to close with the buckler to

close off your opponent's line of attack. Finish with a pass

lunge right.

From within, use the same approach, but thrust still more

strongly with a lunge. Trap the opponent's sword betweenyour sword and buckler. Finish with a thrust.

To counter this attack, start at the low Ward. When attacked on

the pass (Right behind), slip and time thrust. Against the

lunge, whether from within or without, do a slope pace with

the left foot, and a high thrust, and your opponent's very

concentration on his attack will result in self-immolation on

your point.

NEX

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The word used at the

time for what

marksmen aim at is

"mark".

XII. Sword and Square Target

.T he target is a most ancient weapon used first only inwarfare, not for man-to-man fights. However, it has today

found a thousand uses. The square target is commodious and

profitable because its virtues include many shared by both the

buckler and round target.

Some are inclined to bear the target close to their breast, which

is an error. To take best advantage of the target's form and

function, adopt an open stance with your left foot to the fore.

Hold the target with your arm nearly fully stretched out,

somewhat open, at an angle such that the upper left point is at

face level, the lower right point is on line with your right hip.

You should be able to see your enemy on either side of the

high point. You should not carry the target too low, which will

slow you ability to defend against head attacks. The target held

in this way can, by the slightest motion, defend your entire

body above the knees. The rapier should be used to defend

against lower attacks.

Figure 11 The Sword and Square Target

The High Ward of the Square Target

To attack from the high ward, first steal a pace straight, and

then lunge left (with left foot, drawing the right foot behind).

Angle your sword over and down to bypass the defender's

target, finishing your thrust with a lunge right.

The best counter to this is to beat the point away strongly with

the target, then lunge left, then finish with a lunge right as you

deliver a thrust underneath. Generally, adopt a low ward when

warding a thrust above hand

\A target is usually

made of wood and

leather, but is

occasionally made of

metal.

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lunge right.

To best oppose these attacks, stand at the low ward. As the

opponent starts to attack, counter attack below both your and

the opponent's target, with a strong right lunge.

TheLow Ward of the Square Target

Attacking from the low ward is difficult, but there are two

strong possibilities. If your point is within (to the right of your

opponent's sword), with the right foot before, pass with your

left foot, try to pin your opponents sword between your target

and his, and thrust strongly at the thighs while lunging right. If

you start with your right in the hind, pass lunge in the sameway, but if you miss force your way and run by the enemy to

safety.

If without, beat your opponent's sword to the right with your

target while lunging left, then lunge with your right foot

directly at the opponent, thrusting at the face.

To counter, stand at the low ward. Counter attack with a thrust

while lunging left, try to pin your opponents sword between

the two targets, and strike home with a right lunge either above

or below.

NEX

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"Gathering" up to

measure in an offensive

posture is dangerous,

as retreat is difficult. It

creates a moment of

opportunity for the

defender to launch an

attack into your

preparation

XIII. Sword and Round Target

.P erfect because of its circular form, the round target is sosteeped in antiquity that I must restrain myself from

digressing into mathematics or historiography, and focus on

my purpose. The history of the target is so long, however, that

many means of using it have been practiced. One practice is

resting it on the thigh, as if in this art (in which only travailsand pains are available) a man should seek rest and quiet. Or,

holding it with the arms bent close, near the chest, as if one

were behind a safe wall of great size and strength.

Of the manner of how to hold the round target.

To hold the target so that it may cover the whole body without

hindering vision, bear it edge-first toward the enemy, arm

nearly straight. Holding the arm bent both tires the arm and

tends to obstruct sight. Do not keep the target close to yourbody; there the target only covers an area its own size, leaving

the head and belly open. In the way suggested, the left side is

already covered, and the least motion to the right with the

target will cover any blow above the knee.

Figure 12 Sword and Round Target

The High Ward of the Round Target.

The target is such great and sure defense, that no edgeblow

can be expected to penetrate without the help of your own

target. Thrusts are very uncertain as well. The best strategy is

to first steal a pace, gathering upon the enemy as near as

possible without danger. Thrust forcibly, and if you should

penetrate past the circumference of the target, pass left, crash

into the enemy's sword and target with your target, drive home

The round target is

about a yard in

diameter, usually

made of wood with a

leather cover, and

sometime out of metal.

It is also usually

concave, and has a

strap for the hand and

another just before or

after the elbow.

Target

Target Defending

Halbred

TargetHalb

(160502

bytes)

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The Broad Ward of the Round Target

It is difficult to hit from the broad without using your target to

beat away your opponent's sword. Therefore, be sure to do

that first, and follow with the general strategy described above

for the high ward.

To counter this, try first not to allow your sword to be beaten

off. Stay in the low ward.

The Low Ward of the Round Target

I strongly recommend finding the enemy's sword with your

own, to pin it between your sword and your target. Thrust

with great speed with a right lunge, driving in with the targetas well.

To counter, do not suffer your sword to be found by your

enemy's weapons. Further, respond to an attack by taking a

slope pace forward, and discharge a thrust underneath.

NEX

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Sl l t th l ft

XIV. Case of Swords or Rapiers

.N owadays the use of two swords or rapiers is common inthe schools and lists alike, although they are not used for war.

While dexterity in the left as well as the right is of use in all

weapons, it is crucial with the Case of Rapiers. Each rapier

ought to be handled equally and indifferently, each one as apt to

strike as defend. Do not profess this Art until you are much

practiced and exercised therein, or you will find yourself utterlydeceived.

How to handle two Rapiers

Both can strike at the same time but this dangerous technique

should not be used. Just as the single sword must strike and

defend, so too must the double swords in turn.

Figure 13 The Case of Rapiers

The High Ward at two Rapier

It does not matter which foot leads, but the hind rapier is aloft,

and the fore is below, (as a low ward is framed). At the two

rapiers the high ward is the most perfect and surest. Execute the

thrust with the pass lunge. Whenever possible find your

enemy's sword with the lead (low ward sword) with a beat or

bind as a precursor to the attack. As you finish the attack, the

attacking sword settles in the low ward, and the now hind sword

raises to the high position. If your opponent has retreated, it is

ideal to follow without hesitation with another attack, this time

with the arm now raised in the high ward.

To counter stay to your enemy's left (without) in low ward and

Thecase consisted of

two identical light

and short (30-34

inches) rapiers, kept

in a single double

scabbard.

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straight pass lunge.

The road Ward at the to apiers

The approach is similar to that of the High ward. First attempt

to engage or beat the opponent's fore rapier with your own, so

that it is momentarily controlled, and deliver a strong thrust to

the thigh off a slope pass lunge.

To defend, stand at the low ward, left leading. The right arm

and hind (right) foot should both be open and wide. When

attacked, take a slope pass step with your right foot (45 degr

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DiGrasse's Rapier Fencing Manual