Spada Guide

A Guide to Longsword Combat in the Style of Fiore dei Liberi

For Students of

Les Maîtres d’Armes

By Jason Smith

For internal use only

© 2011 Les Maîtres D‟armes

Spada Guide

By Jason Smith

Copyright © 2008 by Jason Smith

No part of this work, in whole or in part may

be reproduced without the express permission

of the copyright holder.

Neither the Author nor the Publisher assumes

responsibility for the use or misuse of the

information contained in this volume.

www.maitresarmes.com

Enquiries : info@maitresarmes.com

CHAPTER ONE

Introduction to the Sword

Conventions used in the text

or the sake of simplicity and clarity, we use the masculine throughout this work. Feel free to substitute

the feminine wherever necessary. Also for the sake of clarity and simplicity, we assume a right-handed

practitioner. Left-handedness requires adaptations to the techniques, but the principles apply regardless

of “handedness.”

Dei Liberi divides his manuscript into illustrations depicting distinct techniques and follow-up techniques or

counters all referred to as “plays” (It. zhogi). The characters illustrated in the plays are known as Players (It.

zugadore), and are depicted in the form of the Masters1, Scholars, Remedy Masters, Counter Remedy Masters

and so forth. For the sake of this work, we will use the terms Player and Companion in order to denote the

person demonstrating the technique described and the person subjected to the technique, respectively.

Dei Liberi‟s manuscript is replete with technical terms and names of guards, etc. There was no consistent use of

spelling, however, throughout the manuscript. Dente di cinghiale is variously spelled as zenchiar, cinghialeo,

cinghiale, etc. We have chosen to remain with one spelling throughout in order to avoid confusing the reader. It

is noteworthy, however, that other works may not adhere to this method, and so the student should make note

of the disparate spellings found throughout the corpus of works.

Disclaimer

The practise of any martial art is a serious endeavour, not to be undertaken lightly. Since injuries may occur, all

due diligence must be taken to ensure the safety and health of those practising this art. In light of this, we cannot

be responsible for the actions and interpretations of those using this text outside of the confines of our Salle

d‟Armes, and therefore urge caution when applying any portion of this work. The techniques described herein

are designed to seriously injure an opponent when applied with speed and force – we therefore reiterate the

need to use due diligence when applying any of these techniques.

Safety and Drilling

While training, it is of the utmost importance that the student considers his training partner as such – a partner

and not an adversary. The Companion‟s role is to aid the practitioner in understanding and applying principles

and techniques. When introducing a new technique for practice, training partners must begin at a slow pace in

order to ensure respect of the mechanics of the technique.

Slowly increase speed and resistance as proficiency increases to a point where techniques are done near full

speed. Note here that control is of the utmost importance when drilling and in free play. There are no such

things as accidents; there exists only lack of attention or lack of control that may lead to serious injury. Winning

or losing a drill during practice is anathema to good training, and avoid the “but what if I do this to counter…?”

scenario. This scenario does nothing to further understanding of the technique at hand, and is actually

detrimental to the training regimen as a whole. If the training partner is resisting, or in some way rendering the

exercise more difficult than prescribed, the student is encouraged to remind him that it is not a competition and

that your training, his training, and possibly the safety of both partners are compromised. Promptly alert the

instructors present if any situations arise with which the student is uncomfortable.

1 It. Magistri

F

Introduction

his guide is the third in a series of guides intended to help the student of Les Maîtres D‟armes learn the

concepts and techniques required for the successful passing of the Companion examination. Many of the

fundamentals (i.e. footwork) have already been covered in these guides. As such, the student is

encouraged to refer to the accompanying guides for information not contained herein.

Spada

The sword is the iconic weapon of the middle Ages. Its cruciform shape is instantly recognisable by citizens of

Western culture. It has been at the center of legends, poems, stories, books and movies. It is the epitome of

what a knight‟s weapon should look like, ingrained into our hearts and minds by the countless tales told about it,

and as martial artists, we use it to reconstruct the arts of a bygone age.

The longsword forms divide roughly into two main styles – unarmoured and armoured, although these are

modern distinctions that the medieval mind did not make. The unarmoured style is much less forgiving and

requires much more finesse and skill to perform adequately (in this author‟s humble opinion), but forms the

basis for the armoured style. Armoured fighting, apart from battlefield use, generally took place in the lists

during a „pas d‟armes,‟

tournament or in a judicial

duel situation where the

result could be death.

Armoured techniques used

the shortened sword or “half

sword” (holding the middle

of the sword blade with one hand) to gain leverage and increase penetration against plate armour, essentially

using the sword as a dagger or shortened spear. Indeed, many of the dagger defences apply to the half-sword as

well.

Furthermore, the sword is categorised according to length, although once again, this is largely a modern

distinction. The term “arming sword” usually applied to shorter, one-handed swords that were often used with a

buckler or shield. The earliest-known extant manuscript on the use of the

sword, the Royal Armouries MS I.33, or Lutegerus manuscript, shows

the use of the arming sword used in conjunction with a buckler (a small,

handheld shield).

By the fourteenth century, due in large part to evolutions in armour, the

longsword came into use. It was nominally longer than the arming sword

and boasted a longer grip allowing its use with both hands, although the

design made one-handed use still viable. The longsword began the

evolution towards a thrust-oriented style of fighting, an evolution which

eventually led to the development of the rapier in the next centuries.

The history of the development and use of the sword is long and

involved. The sword‟s particularity as a weapon is in its design. It was

T

Figure 2 - MS Royal Armouries I.33

Figure 1 - A longsword.

developed exclusively as an implement for killing human beings. Very few other weapons share this distinction.

All other medieval weapons, the spear, the axe or the knife, all have utilitarian purposes other than that of war.

Many resources exist for the study of the history of the sword, so rather than rewrite what has been done

elsewhere with much scholarly diligence, we will refer the student to some printed resources as well as those

available on the World Wide Web.

An excellent source for all that is arms and armour is the MyArmoury.com website. Articles of particular

interest to sword enthusiasts can be found at:

http://myarmoury.com/feature_oakeshott.html

http://www.myarmoury.com/feature_properties.html

http://www.myarmoury.com/feature_anatomy.html

http://www.myarmoury.com/feature_swordintro1.html

The articles on this website are well researched and informative, and we encourage the student to explore them.

Many books are available on the subject, but one timeless reference is “Records of the Medieval Sword” by the

late Ewart Oakeshott2. It is a complete archaeological study of the history of the sword and its use, and we

highly recommend reading this for a more in-depth understanding of the sword‟s pedigree.

The Sword

Sword Terminology

This section relates to the nomenclature of the sword. Familiarity with the sword‟s parts and its properties is

essential to learning to fight with the longsword. We begin by naming the various parts, with a discussion of the

function of each part. Please refer to the image that follows.

Pommel

The pommel of the sword is generally a counterweight to the blade. It allows the sword to be balanced and

improves handling of the weapon. It can have many forms, from a brazil-nut pommel found on Viking-age

swords, to fishtail, scent-stopper and simple disc pommels found on later medieval swords. Its use is not only

restricted to balance, however, as there are instances in literature where it was sharpened, pointed, or even

unscrewed and thrown at the opponent. It can most certainly be used to strike someone in close-quarters by

reversing the sword. The term “pummelling” may actually derive from the act of “pommeling” someone.

Grip

2 For a listing of his works: http://en.wikipedia.org/wiki/Ewart_Oakeshott

The grip is the portion of the sword that one holds when using the weapon. It can be of varying lengths, but for a

longsword was generally of two-hand dimensions. It could be wrapped in leather, cord, wire, fabric or any

combination thereof to provide a better grip as well as act as

decorative elements.

Guard

The guard is a crosspiece designed to protect the hand and trap an

opposing blade in order to control it. Aside from its obvious

religious significance, it was highly functional, and much like the

pommel, was sometimes sharpened for use in combat.

Chappe

The Chappe was sometimes added to a blade to protect it from

rain when in the scabbard. It overlapped the scabbard mouth,

preventing water from leaking in.

Forte

The Strong of the blade, or forte, situated closer to the hilt, is the

place where mechanical advantage is best. Using the strong to set

aside the companion‟s sword offers the best leverage, while

attempting to do so with the tip of the sword would be most

difficult. It sometimes incorporated a ricasso (an unsharpened

portion of the blade near the hilt).

Fuller

The fuller is a groove in the blade that is designed to both lighten

and strengthen the blade, in much the same way corrugation

makes a cardboard box stronger. It is not a “blood groove” and no

literature supports this widespread myth.

Edge

The edge of the sword (or “filo”) is the cutting portion. It may have had varying degrees of sharpness, depending

on the edge geometry and intended usage. Longswords incorporate two edges, the true or “long” edge, and the

false or “short” edge. The true edge is the edge outward from oneself when cutting. The false edge (“falso filo”) is

the edge facing us when holding the sword in front with the edges aligned towards the Companion. Both edges

can be used to cut with; the falso filo is often used with rising cuts from below.

Debole

The debole, or “weak,” located towards the tip of the blade, is inherently weaker, given its longer lever arm

working against the Player. Any action done against the tip of the sword requires much less strength to move,

and is far more difficult to resist (even impossible) for the wielder.

Central Ridge

The central ridge or “spine” of the blade strengthens the blade in the same way the fuller does, without removing

material. It may or may not be present on a blade, depending on its geometry, but was often found on thrusting

blades as a reinforcing feature near the tip.

Point

The point or “punta” is used for thrusting. It was variously of different forms, depending on the design of the

blade, from round to acute, and even spatulate in nature. Longswords more often than not had a thrusting tip.

Hilt

The hilt of the weapon includes most everything that is not the blade. It comprises the pommel, grip, guard, and

chappe (if present.)

Blade

The blade of the weapon is its “business end.” It is used for cutting and thrusting in combat, and had various

properties that we will explore below.

Tutta Spada

Tutta Spada or “whole sword” is the portion of blade near the hilt. Dei Liberi identifies its use in the manuscript,

telling us that the blades may engage at either the tutta spada, mezza spada, or punta spada. The tutta spada

corresponds to an engagement at, or near the hilt. Various actions are available from this position, since it leaves

the “whole” blade free to work.

Mezza Spada

Mezza spada or “half sword” corresponds to the middle of the blade. Engagements (binds) should occur at this

point, since the tactical situation is neutral from the mezza spada engagement. Engaging the Companion too near

the point may enable him to slip his point out and thrust behind, while engaging at the tutta spada allows the

Companion to work behind the Player‟s blade and displace with strength.

Punta Spada

Punta spada or “tip of the blade” (debole) is the portion of blade near the tip. It is used for cutting and thrusting,

but engaging the point is dangerous – it may allow the Companion to slip his blade out, or if the Player is

engaged at the tip, may enable the Companion to displace the blade easily.

Blade properties

Geometry

Several factors determine a sword‟s geometry: profile taper, distal taper, and cross-section. Each is dependent

on the intended use of the weapon.

Profile Taper

Profile taper refers to the alignment of the sword‟s edges parallel to one another (width of the sword along its

length). An acute profile taper means the sword tapers acutely to a point, while a wide taper means it is larger as

it reaches the tip. Profile taper may also change along the length of the blade, and is not always uniform. The

taper of the blade depends on the use of the weapon; a narrower blade is used for thrusting, while a wider blade

is generally used for cutting.

Distal Taper

Distal taper refers to the thickness of the blade. Blades generally taper uniformly towards the tip, but as with all

things, this is not always the case. Tapering the blade in this fashion enhances the sword‟s “liveliness” and makes

its handling characteristics better.

Cross Section

Cross section is the shape of the blade as viewed if we cut the blade in two across the width and looked down the

blade. Many shapes exist, for many different uses, and a sword may incorporate more than one cross section

along its length, again depending on purpose.

Point of Balance

The point of balance or PoB is the sword‟s center of

gravity. Balancing the sword lengthwise along the finger

will indicate its location. The PoB varied greatly from

sword to sword and from period to period, and was a

function of the sword‟s intended use as well as the skill of

its maker. Some larger cutting swords have a PoB further

towards the point, while in other swords, the PoB is closer

to the cross. In fact, the PoB can be so far down as to be in

the grip. This, however, will likely result in a poorly

performing blade.

Center of Percussion

The CoP is also known as the Primary Node. The nodes of

a blade refer to the points along the blade where no

harmonic vibrations occur when the sword is struck. The CoP is one of those nodes, and it is the point where

the most force can be transferred to the target with the least amount of vibration transmitted to the wielder

along the blade, resulting in the most efficient cut possible. It is usually located towards the tip of the sword, and

is easily located by holding the sword up by the grip with one hand, and striking the flat of the blade with the

other hand. Observing the point where the blade does not vibrate yields the primary node, or CoP.

Choosing a Sword

Choosing a sword is a very personal thing. Aside from aesthetics, other factors come into play when choosing a

sword for oneself. We have seen some of these in the paragraphs above, but there are other things to consider

when choosing a sword.

Will the sword be used for training, or for cutting? This is an important question, as it will directly affect the

choice of weapon. Cutting swords are obviously unsuitable for training with a partner, since the sword possesses

a sharp edge. Training swords are blunted, and do not cut.

Likewise, if thrusts are to be employed, the punta cannot be too acute, and for best results in free play, the blade

should allow flex to prevent injury to the person being thrusted. Too much flex, and the sword‟s handling may

suffer.

Training swords also subtly alter the handling characteristics of the weapon due to the lack of an edge. A blunt

sword is generally heavier than a sharp sword, since it has more material along the edge for the sake of safety.

This may make the blade feel slightly more “dead” in the hand, but is unavoidable if we want to preserve our

training companions. Likewise, the point cannot be too acute, and should be rounded to a diameter no less than

that of a dime.

Finally, the length of the weapon must be considered. Fillipo Vadi, in his manuscript, tells us that the sword

must reach to under the arm, and in fact, longswords generally come to about the height of the sternum. The

grip is usually from seven to ten inches long, and the blade measures between 34 and 40 inches. Museum pieces

are rarely longer than 52 inches overall. Anything longer becomes a dedicated two-hand sword, and is outside of

the scope of dei Liberi‟s treatise and our training. We would advise the student to try different swords belonging

to people in the student‟s entourage or training salle, in the hopes of finding the properties required for them.

Various manufacturers are making training weapons at present, and the student will find a non-exhaustive list in

the indexes to this work. The official school training weapon is the Hanwei “Tinker” blunt longsword, which

provides excellent handling characteristics coupled with safety in the thrust.

Sword properties vary widely from sword to sword, and one must take the time to acquaint oneself with the

different properties in order to make an informed decision as to what is right for a particular purpose. We hope

the brief overview of the parts of a sword and their different properties given above will help the student make

an informed decision. Please consult the references listed previously for more information on the subject.

TThhee sswwoorrdd sshhoouulldd bbee ooff tthhee ccoorrrreecctt mmeeaassuurree wwiitthh tthhee ppoommmmeell jjuusstt uunnddeerr tthhee aarrmm ((ppiitt)),, aass hheerree iiss

wwrriitttteenn ttoo aavvooiidd aannyy hhiinnddrraannccee:: TThhee ppoommmmeell sshhoouulldd bbee rroouunndd ttoo ffiitt tthhee cclloosseedd hhaanndd,, ddoo tthhiiss aanndd yyoouu wwiillll

nnoott bbee iinn ttrroouubblleedd..

AAnndd kknnooww ffoorr ssuurree tthhaatt tthhee hhaannddllee sshhoouulldd bbee aa ssppaann lloonngg wwhhoo hhaass nnoott tthhiiss mmeeaassuurree wwiillll bbee

ccoonnffuusseedd ttoo pprreevveenntt yyoouurr mmiinndd ffrroomm bbeeiinngg ddeecceeiivveedd tthhee hhiilltt sshhoouulldd bbee aass lloonngg aass hhaannddllee aanndd ppoommmmeell

eennsseemmbbllee,, aanndd yyoouu wwiillll nnoott bbee eennddaannggeerreedd..

TThhee hhiilltt iiss ssqquuaarreedd aanndd ssttrroonngg aass nneeeeddeedd wwiitthh iirroonn bbrrooaadd aanndd ppooiinntteedd hhiiss dduuttyy bbeeiinngg ttoo wwoouunndd aanndd

ccuutt..

FFiilllliippoo VVaaddii

CHAPTER TWO

Fundamental Theory

Basic Fencing Theory

he theory related to time and distance has been covered in previous guides, as well as the types of

attacks and the methods of defence. In this section, we will examine basic fencing theory with respect

to the sword and the geometry inherent to its use, as well as basic tactical information that a student

should know in order to effectively conduct a fight.

The Openings

Inside and Outside

For a right-handed combatant, the inside opening is to the left of the sword, when held in posta longa. The

outside opening is to the right of the blade.

Upper and Lower

The upper openings extend generally from the top of the head to the natural waist, at about navel height. The

lower openings extend from the navel to the floor. It is an

extremely bad idea to attack the legs in longsword play, as the

geometrical advantage offered to the opponent is difficult to

overcome. In certain literature, the term “window” refers to

the upper opening, while the lower opening is a “door.”

Left and Right

Left and right also have their own nomenclature. Left is

variously referred to as “roverso,” “manroverso,” “stancha,” or

“senestra.” Synonyms for right include “dritto,” “mandritto,”

“destraza” and “dextra.”

Stepping in Attack and Defence

The tactical importance of footwork cannot be stressed

enough. This is why we have chosen to set aside a section

specifically relating to the tactical use of footwork. Essentially,

there are four main ways of stepping in attack and defence,

and we examine each in turn below.

Assuming a right stance, stepping offline to the right is the first and main method of stepping while attacking. It

positions the Player outside of the range of the Companion‟s weapon while closing distance for an attack.

Stepping offline forces the Companion to turn to meet the attack in order to close the line, and if done properly

it closes the line of attack whilst simultaneously offending the Companion.

T SSppaaddaa ssoonn ccoonnttrroo ooggnnii aarrmmaa mmoorrttaallee,, nnéé llaannzzaa nnéé aazzzzaa nnéé ddaaggaa ccoonnttrraa mmii vvaallee..

II aamm tthhee SSwwoorrdd aanndd II ccoouunntteerr eevveerryy mmoorrttaall wweeaappoonn,, nneeiitthheerr llaannccee nnoorr aaxxee nnoorr ddaaggggeerr iiss ooff wwoorrtthh

aaggaaiinnsstt mmee..

Geometrically speaking, range is limited on either side of the body, and is longest directly ahead of the Player. If

we draw a circle tracing the trajectory of an attack, we obtain an oblong circle, or ellipse, because of the

variations in reach described above. This ellipse applies as much to swords as it does to daggers or for that

matter, unarmed combat (i.e. punching) See the following figure.

If we then extend this line around opposing fencers, we end up with the figure below. The arrows indicate the

direction of travel of the weapon.

Both parties are clearly out of range of each other‟s attacks in the image above. If either Player steps directly

forward, both parties are within range, as illustrated further below.

Slope Step (Diagonal Passare)

Considering the problem described above, if the Player wishes to attack the Companion without endangering

himself, he must step in a manner that maximises his range

while simultaneously minimising his opponent‟s by

traversing, as illustrated. The red line represents the

Player‟s sword intersecting the incoming line3 of attack,

covering the Player and offending the Companion

simultaneously.

Clearly, blue can offend red without red being able to do

the same – at least not without tracking his opponent and

realigning his body in relation to the blue Player. In

3 See the section on line of attack later in this chapter

addition, if red‟s weapon is on his right side, Blue‟s step has effectively closed off Blue‟s centerline to attack.

The disadvantage of stepping in this manner is that the action itself is a slow one, requiring a long line of attack

while the defender needs only a short movement and pivot, thus defending along a shorter line.

Direct Stepping

It is sometimes advantageous to step directly towards the opponent. This may happen for any number of

reasons, not the least of which is acting when the Companion gives up a tempo4 in which one may act with

relative impunity. It is the most direct method of stepping,

and the quickest to close range, but does not have the

advantage of voiding through positioning. Use this kind of

step to attack the Companion when he “winds up” for an

attack, leaving a tempo into which you can act. It is useful

when the Player wishes to continue pressing with attacks

after an initial attack, but it is also a very committed step,

making it difficult to recover out of range should things go

awry. Use this form of stepping to close rapidly when deploying grappling techniques.

Stepping In (Fora di Strada)

Launching an attack by stepping towards the centerline and towards the Companion‟s weapon (to the left if a

right stance is assumed) “opens up” the Companion‟s

centre and stifles (breaks) his attack. Often, this is done

with an acressere in response to an attack to stifle the

attack or counter. This is a subtle action, usually only

stepping out a few inches at most. Dei Liberi demonstrates

this kind of stepping in the dagger plays as well as the

longsword section in defensive situations. It has the

advantage of robbing an incoming attack of its power and

changing the initiative of the fight. This is where a liberal

dose of dei Liberi‟s virtue of audatia is required, as stepping towards any kind of attack is intimidating at first.

Taking a slightly larger step forward puts the Player in range to apply a variety of zhogo stretto5 techniques and

possibly enter grappling range.

Stepping Back (Tornare, Discresse)

During an engagement, it may be necessary at some point to

step back to regain sword measure with the Companion,

adjusting distance or retreating in the face of a flurry of

attacks. All the previous discussion relating to footwork also

applies to retreating. The Player must retreat in a manner

that gives him an advantageous position vis-à-vis the attacker.

If the Player is retreating however, he is likely on the

4 See the section on time, later in this chapter for more details 5 “Narrow play” or close-quarters fighting

IIoo aaccrreessccoo lloo ppee'' cchh’’èè ddeennaannccii uunn

ppoocchhoo ffoorraa ddee ssttrraaddaa ee ccuumm lloo ssttaanncchhoo

iioo ppaassssoo aallaa ttrraavveerrssaa..

II iinnccrreeaassee tthhee ffoooott tthhaatt iiss iinn

ffrroonntt aa lliittttllee ooffff tthhee ppaatthh aanndd tthhee oonnee

bbeehhiinndd II ppaassss oonn tthhee ttrraavveerrssee..

defensive and needs to take action to regain the initiative.

Time

Time is relative – particularly as pertains to fencing. Time, in fencing terms, is not a fixed number of seconds,

minutes or any other unit of measure. When we refer to time, we mean the time it takes to complete one

action. It is probably best defined as the time between pauses in an action. That action may be a cut, a thrust, a

cover or any other action taken during the fight. For instance, raising the sword to strike takes one tempo, while

the time taken to strike is another tempo.

To better illustrate the concept, imagine a fendente6 blow made with a passare. Imagine then a thrust originating

from posta breve7 without stepping. Which is faster? If you said the thrust, you are correct, however both take

one fencing time, or tempo. If the thrust is made in response to the fendente cut, it is said to take place in mezzo

tempo, since it cuts off the attack and occurs in the middle of the other‟s tempo.

Dei Liberi is silent on the concept of time, preferring to illustrate its importance through certain plays such as

the counter to the punta corta which illustrates the tempo advantage of shorter movements.

Understanding tempo is also important in evaluating the tactical situation of any fight and assessing whether the

Player has time to attack in the given distance. The Player must attack the Companion when he gives the Player a

tempo in which to do so. This tempo may follow a missed attack, as the opponent cocks back to launch an

attack, or in any other situation where an opening is presented without first threatening the Player. This is the

reason any action should first threaten, forcing the Companion to defend, or be done out of measure –

preventing any action on the Companion‟s part.

Time can furthermore be broken down into tempos, or tempi. These tempi are dui tempi (two times), mezzo

tempo (half or middle time) and stesso tempo (in time). An explanation of each follows.

Dui Tempi

Dui tempi describes compound actions that require two fencing times. A parry and counterattack therefore occur

in dui tempi or two times. Two distinct actions happen: the parry and the counter cut or thrust. Single-hand

weapon styles often use this type of time because of their shorter length that does not allow a one-time cover

and counterattack. The usual solution is to parry an attack and then riposte (counterattack). The problem with

this approach is that it conceivably allows time for the Companion to recover.

Stesso Tempo

Stesso tempo (“in time”) would seem to be the solution to the two-time puzzle, and indeed, it is one of the

solutions adopted by the Liechtenauerian tradition with the meisterhauen (master strikes). Stesso tempo means “in

time” or simultaneous (Indes in German parlance), and is indeed a simultaneous attack which covers and counters

in one action. These actions sometimes tend to leave the Player unprotected if his timing is off, and can be

dangerous if not executed correctly. An example of a stesso tempo defence could be a cover versus a fendente

mandritto using posta di finestra to simultaneously protect the head and thrust to the Companion in one time.

6 Diagonal downward cut 7 “Short guard” - A point-on guard held hands low with the point directed at the Companion

Mezzo Tempo

Mezzo tempo means “half time” or “middle time” since any actions done in mezzo tempo occur in the middle of an

action by the Companion, interrupting or pre-empting it. Actions occurring in mezzo tempo happen in reaction to

an attack, but complete before the attacker can complete his own action, thus the designation of “half time”. In

fact, the defence or counterattack out-times the attack. Mezzo tempo applies only to defensive actions, as no

offensive actions take place in half a fencing time. An example might be striking the Companion as he cocks back

his sword in preparation for a strike.

Phases of the Fight

Three phases of the fight correspond roughly to the distances at which the fight takes place. These phases are the

approach, the engagement and the withdrawal.

Fiore dei Liberi does not name nor detail these phases, but the nomenclature is useful for describing the tactical

phases of combat and the ensuing choices one must make. The Liechtenauerian tradition used the terms

zufechten, krieg and abzug for each of the phases, so there is precedent for these concepts being used in period.

We can make an assumption then, that dei Liberi was aware of the tactical considerations of each of these phases

and apply them to our curriculum. In fact, the argument can be made that the so-called “first masters”

representing the poste or guards, represent the approach phase of the fight, while the plays themselves represent

the withdrawal phase. It is not a far leap to postulate then that one should withdraw, since this is common to

every known sword art.

The Approach

The approach is when both players are out of distance, and closing to a distance from which attacks can take

place. During this phase of the fight, both players are making tactical and strategic decisions that will affect the

outcome of the engagement. The Player adopts guards in reaction to the Companion‟s guard to best position

himself in relation to the Companion, and vice-versa. Attacks and counter-attacks are then launched, bringing us

to the engagement phase of the fight.

The Engagement

The engagement may not necessarily be a long phase. Should the initial blow land, the Player may withdraw to a

safer distance to observe his handiwork. If such is not the case, compound blows may be exchanged, a bind will

likely occur, and the fight may even move into zhogo stretto (close-quarters fighting.) At this point, the Player

needs to make a tactical decision: to remain in the engagement or withdraw to surmise the situation and perhaps

adopt a new strategy. The engagement may take place at either middle or close distance and may include both

zhogo largo and stretto plays.

The Withdrawal

The withdrawal occurs when the parties come out of distance and return to a distance where neither can attack

without taking a step to close distance. One may withdraw for any number of reasons, not the least of which is

to remain in proper distance for the use of the sword. Getting in close negates the threat of the Companion‟s

sword, but dei Liberi warns us about the dangers of zhogo stretto – the closer one gets, the more dangerous the

fight becomes. Such an initiative is to be taken with great care and should only be done to exploit a weakness in

the Companion‟s defences, It is often preferable to retreat to a better position and use the length of the weapon

to its full potential. Returning to cover and retreating is the usual method of withdrawing.

Intention

Intention describes actions that have a specific purpose according to the attacker‟s tactical and strategic plan.

There are actions of first intent, second intent and sometimes (but rarely, insofar as longsword is concerned)

third intention. In practical terms, this means that if the intent of a strike is to cut the Companion, it is an action

of first intent. Conversely, should the intent of the action be to feint, thus provoking a reaction from the

Companion and creating an opportunity for a counter-attack, it would be termed a second-intention action.

In most cases, execute second-intention actions as though they were first-intention actions. If the Player feints

and the Companion does not react, the Player should use the tempo afforded him by the Companion to

complete his strike. Should the Companion defend, the Player has already assessed the situation and continues

with his intended second-intention action.

Initiative

Initiative is the concept of being in control – forcing the Companion to react. If the Companion attacks first, he

has gained the initiative and the Companion must react or die. If his reaction is a bad one, and he parries without

an offensive component, chances are the Player will continue to keep the initiative by attacking again.

If the Companion defends properly, the Player may be forced on the defensive. The Companion has thus

regained the initiative, forcing the Player to react to his actions.

This concept is important because the engagement phase is all about either winning the initiative or regaining it.

The German school of swordsmanship puts much emphasis on maintaining constant pressure and gaining the

initiative (being in the vor, or “before”) whereas dei Liberi seemingly emphasises, insofar as the plays are

concerned, regaining the initiative and countering a blow delivered by the Companion. Dei Liberi‟s art has

therefore earned the reputation of being defensive or reactive. On the contrary, one can make the argument that

the figures in the manuscript are shown both attacking and defending, and thus dei Liberi illustrates both offence

and defence.

Why is there so much emphasis put on initiative? It ties in closely with the notion of offence versus defence. The

combatant that has gained the initiative is on the offensive whereas the opposite holds true should the Player lose

the initiative. The Player cannot win a fight by simply defending, and eventually the Player‟s defences will fail.

In order to win a fight, the Player must offend the Companion in a manner that concludes the engagement.

Line

We examine lines of attack in the dagger guide, but will examine the concept more fully with the sword

material. Essentially, line of attack refers to the trajectory through which an attack travels on its way to the

target. A fendente (vertical or diagonal) attack generally follows a high line of attack, whereas a mezani

(horizontal) attack may have either a high or a low line, depending on its target. Line of attack is important for

two reasons: 1) it helps to choose a proper target; 2) it helps define where to defend from an attack.

Attacks never be made into a line that is closed by the Companion, but to one that is either open or opening.

Attacking a closed line means attacking an area that the Companion is defending, and so conversely closing a line

of attack means to cover that area from an incoming attack, or a possible incoming attack. This becomes

important when studying the guards.

Closing a line of attack means to position oneself in such a way as to make an attack unviable, thus defending an

intended or possible target. This can be done, and can be achieved in many ways, in either an active or a passive

fashion.

Controlling the Center

Intimately related to the concept of line of attack is that of controlling the centerline. This control of the

centerline is the basic premise for all of dei Liberi‟s plays. Dei Liberi‟s approach to controlling the center is by

stepping into the attack when countering (most actions in the manuscript are counters) rather than the more

intuitive method of moving off-line away from the attack. This is one of the defining characteristics of the system

as set forth by dei Liberi, and is the cornerstone for many of the plays. Dei Liberi‟s offline movement into the

attack (a traverse left) opens up the centerline, exposing the Companion to a counter attack and effectively

controls the center. When the Player has opened the centerline, he occupies it, and all he sees is the

Companion. The Companion‟s sword should be safely isolated to one side.

Controlling the center is not simply about footwork, but also about placing the your weapon on the

Companion‟s centerline while simultaneously keeping the Companion out of your center. This involves using

your weapon to preferably keep the Companion‟s weapon to your inside, where it can be controlled while

placing an attack. You may also move the weapon to the outside, but it is riskier as control of the weapon is

often lost, opening you to a counterattack. In essence, the sword is your shield, and you must remain behind it

at all times when attacking or defending.

In short, there are three main ways of controlling the center. 1) Move aggressively down the center and claim it.

2) Go around the center, creating a new center by passing right. 3) Change the center by attacking one line and

then changing lines to attack the line that opens when the Companion defends. This brings us full circle back to

the discussion on footwork earlier in this chapter.

CHAPTER THREE

Guards and Offence

Guards and Offence

Offence and Defence are one

efore delving into the question of offence versus defence, I must make the point that offence and defence

are often the same. While we have separated them here for pedagogical reasons, the student must never

dissociate the two. No attack may succeed without thinking first of defence, and no defence is

impregnable, and as such relying on simply defending is unrealistic at best. Never commit to an attack

without simultaneously defending by placing the weapon between yourself and the opponent‟s weapon. Any

defensive action should also have an offensive component in order to regain the initiative by forcing the attacker

to defend in turn. When attacking in this manner, the Player does not leave himself wide open for a counter,

and when defending this action changes the initiative of the encounter, placing the Companion on the defensive.

Stacking Defences

The discussion of attack and defence brings us naturally to the notion of stacking defences. We have already

discussed manners of stepping while attacking or defending, and if we couple this action with an action that

covers a line of attack, we have effectively “doubled up” our defences. It is a good idea never to rely on any one

thing in defence. A simple void may not quite move the Player out of range, thus closing the centerline is a good

idea. Conversely, simply covering without managing distance and placing the Player in an advantageous position

may be dangerous. Whenever possible, stacking defences is a good rule of thumb.

Caveats of Training

We feel some points deserve special mention when training with the longsword, or with any other weapon in

our historical arsenal. Since modern sensibilities have forced us to remove the threatening nature of what we do

by wearing protective equipment (masks, gloves, gambesons...), we tend to behave like indestructible warriors

unconcerned with our partner‟s weapon. This attitude leads to a number of deformations of technique, not the

least of which is ignoring a threat that might otherwise end our lives or seriously maim us. This problem may

lead to double-kills, and worse: “sword tag,” sparring that reduces the art to simply winning a touch. One

should always consider that the weapons were sharp, and treat them as such. The goal is not to hit or kill the

other person, it is to stay alive – thus covering oneself and closing possible angles of attack while attacking the

Companion is essential. This simple tenet is a cornerstone of properly learning the art.

Sword Poste

In modern parlance, we refer to the positions from which we fight as guards. Dei Liberi refers to them variously

as poste, coverta and guardia, depending on its application. In general, we may refer to these positions as poste,

leaving the other terms for specific situations. You will find the distinction for each variation of posta follows.

Posta – is a ready position in which one may wait and from which one may safely attack and defend. Its

plural is poste.

Guardia – is a guard, protecting from attack and generally closing a line of attack.

Coverta – is a cover, being a transitional position into which one moves in order to parry or deflect an

attack, gaining better position while closing a line. It is an active defence, while a guardia is more

passive.

B

Some guards can be all three of the above, while other guards may not. For instance, posta di donna is a posta, but

is not a coverta, as it cannot cover a line of attack. Posta longa, however can be all three as can posta breve.

Furthermore, dei Liberi gives us specific information concerning the poste. Among his comments are several

important principles.

Similar poste oppose one another. This simply means that posta di donna destra counters itself, as does tutta porta di

ferro, etc. The exception to this rule are poste that lie in point, i.e. posta longa, porta di ferro mezana, etc. For the

poste that lie in point, he tells us that the longer sword offends first, meaning that the person with the longer

reach has the advantage.

The poste are arranged in the manuscript such that the poste facing one another also counter one another.

The poste can do mezza volta and volta stabile, meaning that any guard can be back-weighted, and that they are

largely symmetrical. For instance, if he only demonstrates posta di donna on the right, it should be understood

that its mirror is found on the left. This principle applies to most guards with the exception of the low guards,

for which names are given to left and right variants of the poste. Doing volta stabile with a guard simply changes

measure and adjusts to a rear-weighted posta in the case of one that is front-weighed, or vice versa.

Pulsativa, Stabile, and Instabile

Dei Liberi classifies his poste into three distinct categories, named stabile, instabile and pulsativa. They each have

their particularities that we will address below. The poste follow in no particular order.

Pulsativa

Pulsativa guards are guards that are “charged” or wound up, ready to strike. Not offering the blade out for

engagement is a prominent trait of pulsativa guards that prevents the Companion from performing any actions on

the blade. They generally offer the most power, and act as starting positions for attacks, as well as being

excellent positions from which to make cover.

Stabile

Stabile guards more often than not are point-on guards, but do not offer the point out for engagement as is

evidenced with posta breve, dente di cinghiale, porta di ferro mezana and dente di cinghiale mezana. This makes them

strong, stable guards that are ready for follow-up actions such as a thrust or harassing cut. Since the positions are

weaker mechanically insofar as cuts are concerned, it makes them more suited as covering guards, or guards

from which covers are made. A notable exception to this rule is posta di coda longa, which has the point lying

behind. One possible reason for this is perhaps its relation with dente di cinghiale – if you begin in dente di

EE zzaasscchhuunnaa aallttrraa gguuaarrddiiaa iinn ll''aarrttee uunnaa ssiimmiillee ddee ll''aallttrraa ssii èè ccoonnttrraaiioo ssaallvvoo llee gguuaarrddiiee cchhee ssttaannoo iinn

ppuunnttaa zzooéé ppoossttaa lluunnggaa ee bbrreevvee ee mmeezzzzaa ppoorrttaa ddii ffeerrrroo cchhee ppuunnttaa ppeerr ppuunnttaa llaa ppiiùù lluunnggaa ffaa ooffffeessaa iinnaannççee..

AAnndd iinn eeaacchh ootthheerr gguuaarrdd iinn tthhee aarrtt,, oonnee iiss ssiimmiillaarr ttoo tthhee ootthheerr aanndd iittss ccoonnttrraarryy eexxcceepptt tthhee gguuaarrddss

tthhaatt ssttaayy iinn ppooiinntt wwhhiicchh aarree PPoossttaa LLoonnggaa aanndd BBrreevvee aanndd MMeezzzzaa PPoorrttaa ddii FFeerrrroo,, wwhheerree ppooiinntt aaggaaiinnsstt

ppooiinntt tthhee lloonnggeesstt ooffffeennddss ffiirrsstt..

cinghiale and performs a volta stabile to stand facing the opposite direction, he is in posta di coda longa. In this

sense, it is a good guard for covering, and dei Liberi says it is good for coming into zhogo stretto. Taken in this

context, it is evident that it is a guard used for covering, since it invites the Companion in and gives an

impression of greater distance since there is no immediate threat present. The Companion will unconsciously

move forward to make up the distance, enabling the Player to cover and enter using posta frontale, or perform

another action.

Instabile

Instabile poste are transitional positions through which one moves. They are not static, waiting guards, are rather

weak, and are spent in terms of energy, requiring a move into some action. These guards are posta frontale, posta

bichorno, posta di finestra and posta longa. The last three offer the point out to the Companion, and enable the

Companion to make actions upon the blade. Unfortunately, these positions are mechanically weak and are easily

set aside, thus the Player must act immediately to recover his blade. Posta frontale, while not specifically offering

the point out for engagement, is a guard that is spent and has no immediate offensive capacity, therefore no

threat, and as such is not a guard one wishes to remain in for very long – usually only as long as required to clear

the Companion‟s blade and enter or perform some other action.

Posta di Donna (Pulsativa)

Dei Liberi‟s high guard, posta di donna is the primary guard from which fendente attacks are launched, apart from

porta di ferro. Dei Liberi‟s manuscript illustrates the guard both with the sword

well cocked back over the shoulder using a reverse stance (volta stabile) as well as

forward-weighted. The former guard form illustrates Dei Liberi‟s predilection

for the volta stabile in the attack and cover, and in the Segno, it is shown as

originating on both shoulders. Below it in the Segno is the guard that closes the

line of attack of the fendente: posta di finestra.

Assume posta di donna with the sword tip behind the head and with the cross

resting on the shoulder. It is the „cocked back‟ position from which the Player

may perform all cuts and dei Liberi tells us it can do all the covers.

It is important to note that the “type” of posta di donna that will be adopted

depends largely on the situation and the distance between antagonists. Used as a cover, it may be necessary for

the sword to be closer to the fore than if an attack is being initiated from this position, as it takes less time for

the sword to travel and close the line.

Tutta Porta di Ferro (Pulsativa)

There are two forms of porta di ferro

described by dei Liberi, and although

related, their use is entirely different.

Both guards assume a point-down

position, hands near the waist, with

tutta porta di ferro having the point

towards the right, forming a triangle

with the feet. The dritto filo is

LLaa pprriimmaa ssii èè ttuuttttaa ppoorrttaa ddii

ffeerrrroo cchhee ssttaa iinn ggrraannddee ffoorrtteezzzzaa ee ssii

èè bboonnaa ddii ''ssppeettaarr ooggnn’’aarrmmaa mmaannuuaallee

lloonnggaa ee ccuurrttaa

TThhee ffiirrsstt iiss TTuuttttaa PPoorrttaa ddii

FFeerrrroo tthhaatt ssttaannddss wwiitthh ggrreeaatt

ssttrreennggtthh aanndd iitt iiss aa ggoooodd aassppeecctt

aaggaaiinnsstt eevveerryy hhaanndd hheelldd wweeaappoonn

lloonngg aanndd sshhoorrtt

oriented down and angles slightly towards the Companion, as is clearly shown in the Getty manuscript. This

guard is often used to cover, to launch attacks from and can be used much like posta di donna. Dei Liberi often

thrusts from this guard, and uses it in the exchange of the thrust or scambiar di punta8. It is a good guard to wait

in, since it is a relatively relaxed posture.

Porta di Ferro Mezana (Stabile)

Assume porta di ferro mezana with the point forward in the middle of the body and

towards the ground, hands at or near the waist. Its use is as a position from which to

thrust, cover or cut under the hands. Posta frontale flows naturally from this guard.

Dente di Cinghiale (Stabile)

Dente di cinghiale or Boar‟s Tooth is similar to porta di ferro

mezana, but is held on the left side of the body with the hilt

tucked up high, held “charged” for an upward thrust (much like

a boar, hence the name) or for a cut beneath the hands. It is particularly effective when

used as a cover from which the Player can sweep aside (rebattere) the Companion‟s

fendente mandritto before returning with one of his own.

Posta Breve (Stabile)

Posta breve or “short guard” is a retracted version of posta longa, and is a

position from which many covers occur in the plays of the manuscript.

Indeed, the expression “cut to cover” often means a cut to the posta breve

position.

Hold posta breve in the center, with the point towards the throat or eyes of the opponent

to maintain a threat, or with the hilt to either side, using the point as a pivot. Think of

the sword as a pendulum in these point-on guards – the point remains stationary while

the hilt moves from side to side as inferred in the Segno.

Posta di Coda Longa (Stabile)

The “guard of the long tail” invites an attack by uncovering the Player with the sword

held behind on the right-hand side, point backwards with the hands near the waist.

From this position, the Player can quickly cover by moving into posta breve or

posta frontale and proceed to enter into zhogo stretto.

Launching attacks from this guard by bringing the sword around, being

careful not to do so in a wide arc, remains an option. Thrusts are also

8 “Exchange of thrusts,” a defensive technique against a thrust. See “Defence” in this chapter for more details.

deceivingly simple to perform from here by simply bringing the point to bear in line with the Companion in as

small an arc as possible.

Dente di Cinghiale Mezana (stabile)

Posta dente di cinghiale mezana is a variant of dente di cinghiale that allows the Player to fight both in front and

behind to one side and is formed by adopting posta dente di cinghiale and performing a volta stabile, but without

changing the direction of intent. The feet and body pivot, but the head continues to face forward. Its use is in the

same fashion as its namesake, and if the Player changes his direction of intent, it becomes posta di coda longa.

Posta di Finestra (instabile)

In the description of the poste in the longsword section of the manuscript, Fiore only illustrates posta di finestra on

the right, with crossed arms. Referring the student to the Segno, however, he

will find that it is in fact a symmetrical guard. Dei Liberi illustrates the use of

posta di finestra as a cover to close the line of a fendente in what would today be termed

a “counterthrust with opposition.” It can also be used as a deflection from the same side as

the cut. The usage of the word finestra is possibly derived from the term for the upper

opening, namely “window” which is coincidentally also the line it defends. The canonical

form of the guard has the cross approximately at ear level, quillions turned slightly to

cover the hand in the case of a cover, and the point directed towards the opponent‟s

throat or eyes. For a right-hander, the arms will be crossed on the right and uncrossed

on the left.

It is important to note that the position of posta di finestra is dynamic as are those of the other guards and is not a

fixed position. Holding the hilt somewhat higher, somewhat lower or farther out from the head, etc., as

circumstances dictate is acceptable insomuch as the position does not compromise the guard‟s protective cover

and remains mechanically strong.

Posta Longa (Instabile)

Posta longa, or “long guard,” is the furthest extension of the cut or thrust. It is mostly a transitional guard, but

one can sometimes use it to keep an opponent at bay. It is the furthest

extension of a cut or thrust, before recovering.

To frame posta longa correctly, the hilt is approximately at the level of the sternum,

point towards the Companion‟s throat or eyes, with the

shoulders relaxed. As circumstances dictate, framing posta

longa either in the center or with the hilt to the left or right

as shown in the Segno is acceptable, although the canonical

form is centered.

Posta Frontale (Instabile)

Posta frontale (also called posta di corona or crown guard) covers the head and/or sets aside

a thrust. It is shown in the manuscript with the point held high, angled slightly towards

the Companion, with the edge turned slightly into a cut or thrust in order to set it

aside. The sword‟s guard is at eye level, although dei Liberi states it can be used to set

aside a low thrust as well. Dei Liberi also demonstrates its use as an entering guard, controlling the Companion‟s

weapon as the Player prepares to enter into grappling distance in his manuscript. It is, however, a transient

position, and not one in which the you should remain for any extent of time.

Posta di Bichorno (Instabile)

Posta di bichorno, according to Fiore dei Liberi, “stays in the middle” and does what posta longa and posta di finestra

do. With this in mind, it then becomes a position from which you may thrust. Remembering that in medieval

artwork, the sword was never shown edge-on, we may conclude that it is thus held with the edges parallel to the

ground. This provides a strong platform for thrusting, reinforced by the strong muscles of the chest and back,

bracing the pommel against the inside of the arm and provides proper edge alignment to resist attempt to set it

aside.

Posta di bichorno begins then as a transition from posta di donna into a thrust. Once contact is made, it is a simple

matter to extend the thrust into posta longa.

Another, though less likely, form of posta di bichorno occurs after a cover in posta breve. Bringing the pommel up

changes the fulcrum of the sword, and makes it act like a couched lance. This is problematic in that dei Liberi

does not list posta breve as one of the guards that are similar in nature to posta di bichorno. Whether this was an

accidental omission, or whether there really is no semblance is still conjecture on our part, but the similar usage

of posta di finestra and posta breve as covers brings this possibility to mind.

Breaking the Poste

If the student will recall the section relating to poste, we discussed three main points about the poste, two of

which we will recall here: like poste oppose one another, and poste that face one another in the manuscript also

counter one another. This is the basis for what we call “breaking the poste.”

There are two principal methods for breaking the poste. The first one involves simply positioning, and is a passive

response to a guard. By simply adopting a posta that gives you a tactical advantage or makes the Companion feel

uncomfortable, forcing him to change position, you are “breaking” the posta.

The second method involves actively forcing the Companion to change poste by initiating an attack, forcing him

out of his guard and opening a line of attack. Posta longa is the outlier in this regard, since it is the only guard that

you must physically displace with your sword before entering.

In theory, breaking poste is a relatively simple matter, but it is usually more difficult to put into practice. For

instance, if the Companion adopts posta di donna, the most probable attack from this position is a colpi fendente.

Knowing this, the Player adopts a posta that is capable of countering this attack. The Companion may feel unsafe,

knowing the Player knows his plan, and adopt a different posta. The Player has thus “broken” the Companion‟s

guard. Such posturing may go on for some time while the antagonists “size up” one another, and is an important

facet in the tactics and strategy of the fight. This sort of strategic manoeuvring requires a knowledge of the

tactical applications of each posta and how they work in relation to one another. Assuming the canonical twelve

poste, this gives us a possibility of 144 different combinations, although in truth there are more, since many poste

are symmetrical in nature, doubling the number of combinations. These tactical considerations are beyond the

scope of this guide, however, and will not be covered here.

Geometry

Breaking the poste also has something to do with geometry. Geometry plays a key role in determining relative

timing and distance in the fighting arts – particularly with longer weapons. Dei Liberi specifically tells us a few

things with respect to geometry, but allows us the leisure of contemplating for ourselves other aspects of how it

pertains to the art. Something he does tell us is that a longer sword gains an advantage, particularly in the thrust.

This would seem self-evident, but one must also remember that he is speaking not only of the physical

dimensions of the sword, but of the relative length conferred by the adoption of a posta, foot placement, relative

position and other variables that can affect the effective length of the sword.

Dei Liberi also shows us the basics of Pythagoras‟

theorem in his manuscript – that of triangulation. He

explicitly tells us to cut no lower than the knee, and even

at this height, he admonishes us to do so with caution.

Given equal lengths of sword and the swordsmen‟s arms,

a low cut has less reach than a high cut. The Liechtenauer

tradition has a master strike devoted to this principle, the

scheitelhau9, whilst dei Liberi demonstrates the concept as

a play. Counter any strike made to the legs by “slipping”

the leg and striking to the head.

Attacking with the Sword

Dei Liberi‟s art has long been considered a reactive one, relying on counter-attacks and covers in response to

attacks to regain the initiative and win the fight. The manuscript almost makes it seem a disadvantage to attack

first. I think this is a misnomer, since the plays are present for when your initial attack fails, detailing follow-up

techniques. If all goes well, your initial attack succeeds, and you don‟t need the plays.

In reality, it is extremely difficult to attack successfully from out of measure, since it takes much longer for the

sword to arrive with the body in measure than it takes to defend by simply moving the sword into the line of

attack.

Any attack should therefore have the benefit of an inherent defence. This is an artefact of holding the weapon

with two hands, making it nigh impossible to use the offhand to wield a shield or otherwise deploy defences. The

Player‟s sword is his shield. When attacking, the Player should examine the line of his attack. Does it close a

line? Does it threaten sufficiently to force the Companion to defend? If the answer is no, the Player is likely

attacking improperly. Any attack, in order to be successful, must threaten the Companion and/or close a line of

attack – preferably both. We achieve this by stepping offline and by cutting to cover, or by threatening with the

point.

In most instances, the weapon must be the first thing to move, and must be in front of the Player when he comes

into measure, otherwise the Companion has ample opportunity to counter with impunity. Taking Hanko

Döbringer‟s advice in this matter (cut “as though a string were tied to the tip of the sword”) makes achieving this

9 “Scalp strike,” a high cut used to counter a low guard or strike

Figure 3 - Response to an attack to the legs

much simpler. If we follow his advice, and someone pulls on the string, the sword will move first, followed

closely by the hands and the body.

Gripping the Sword

Before examining the cuts of the system, we need to examine gripping the sword. Hold the sword using the

dominant hand near the guard. It should not be “jammed up” against the guard, but remain just below the guard,

enabling a relaxed cut. The other hand is held lower and near the pommel, if not actually “pommelling” the

sword (holding the pommel). The grip itself should be relaxed. Avoid holding the sword in a “death grip” but

allow it to turn in the hands, preventing the wrists from being hyper-extended in some of the poste – keep the

wrists aligned with the arms at all times. In other words, a very open, relaxed grip will enable the wielder to

turn it in his hands and execute techniques with more ease.

Cutting (Colpi)

Guard Transitions and Cutting

One of the basic premises of cutting is the notion of cutting from one posta to another. For example, when

cutting from posta di donna towards the Companion, the furthest extension of that cut is posta longa. Consider the

strike as being “spent” if the target is missed, as it lacks any real kinetic energy at this point, and must recover to

another posta. The posta adopted depends largely on the situation, but may be posta breve, porta di ferro, or dente di

cinghiale. A largely overcommitted cut that misses the mark will not end in posta longa, but may bury itself in the

dirt in porta di ferro mezana or in dente di cinghiale. Therefore, every cut – indeed every thrust – is a transition

from one posta to another. We can use this in defence as well, cutting to a covering posta in order to avoid a

blow or close a line of attack.

The notion of guards is fundamental to every martial art before or since dei Liberi, and it describes actions in a

clear, logical manner. Poste are thus not just starting positions, but transitional and ending positions for any

action as well.

Center of Percussion or Tip Cuts

Until recently, it was generally accepted that cuts should be executed using the primary node, or center of

percussion (CoP), of the sword. However, current research and thinking now tends to favour cutting with the

tip of the longsword, although this is still the subject of some debate.

The argument for CoP strikes is that they are more powerful and deliver less vibration to the hands, not to

mention there being more mass behind the stroke. This is indeed true, but it begs the question of just how hard

does one need to hit a soft target (which a human being most certainly is) in order to cause injury?

Tip cuts actually move faster, and thus possibly develop more kinetic energy, through velocity, than CoP cuts. It

also offers an increased range, albeit by only a couple of inches.

We have come to favour tip strikes in unarmed combat because one does not need to cleave the Companion to

deliver a debilitating blow. One does not need to sever a hand in order for a wrist strike to be effective – it

simply needs to penetrate skin and cut soft tissue. A solid strike to the head will most certainly give the

Companion a moment‟s pause, allowing for a follow-on technique or techniques, the combination of which will

determine the outcome of the fight. If the Player ends the engagement in one fell blow, he is either lucky or

highly outclasses the Companion. We do not feel, however, that most engagements were fought in this way, and

the historical record seems to concur. Records indicate combatants suffering multiple injuries and surviving

them in spite of medieval medicine. Against armour, most cuts are ineffectual and the half-sword becomes the

primary method of fighting, negating the need to strike with the CoP.

Colpi

The use of the term colpi, meaning “blows” largely explains the mechanics of the cuts used in dei Liberi‟s system.

These are not draw cuts (slicing cuts), as in modern Japanese Sword Arts (JSA). Rather, we find a “hewing” or

“cleaving” blow, where the inertia and mass of the sword cuts through an object, with a draw either being the

result of the return to a guard; the follow-on thrust, or a deliberate slice.

Full cuts and half cuts

Colpi can be further divided into half cuts and full cuts. Full cuts go from a high guard to a low guard, or vice-

versa, while half cuts end in a middle guard such as posta longa or posta breve. Full cuts are often used offensively,

while half cuts are often defensive in nature, although this is a broad generalisation.

Colpi Fendente

Dei Liberi instructs us that colpi fendente travel “between the teeth and the knees,” in his manuscript. This does

not necessarily depict the path of the

cut, or trajectory, but rather the

target zone. Dei Liberi also warns us

against going too low with the cut in

his verse: “we travel from the teeth to

the knees within reason.”

Colpi Mezani

Colpi mezani, or “middle blows” go between

the high cuts and the low cuts, according to

dei Liberi. This makes them almost horizontal

in trajectory, and as dei Liberi instructs –

their path is from the knees to the head,

which again indicates that the dictum “from

the teeth to the knees” is indicative of target

rather than trajectory.

When executing colpi mezani, begin the cut

just as a fendente, but transition into a mezano

as the sword comes forward. – this makes the

cut much harder to guess and thus counter,

and as such is much more efficient, tactically speaking, even though it won‟t develop as much power as the

“baseball bat” strike. Dei Liberi specifies that mezani dritto are done with the dritto filo, while mezani roverso are

executed with the falso filo.

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Colpi Sottani

Colpi Sottani travel along the same path as their counterparts the colpi fendente, and are often used as return cuts

after a having delivered a colpi fendente. They can be used either with the true edge, to cover using a guard such

as posta di finestra, or with the false edge on the return cut.

Used most often to deflect or cut into oncoming attacks or to attack the advance target (the hands) from below,

colpi sottani are less powerful than their fendente counterparts, but are useful nonetheless.

Disdained by some, the false-edge sottani actually has a significant reach and geometrical advantage over the true-

edge variant, since the cut travels through posta longa, rather than being shortened cuts between a low and high

posta.

Trajectory and Target

There is often much confusion regarding the cutting angle (trajectory) versus the target. Suffice to say that many

beginners target fendente cuts exclusively to the head, mezani cuts to the shoulder and sottani cuts to the hips or

torso. While these are the most likely, prime targets, they are by no means the only targets. Fendente cuts may

target the head, neck, shoulders, torso, hips, even the knees – though dei Liberi warns us about going so low.

Likewise, a mezani cut can target disparate areas of the body. It is no different for the sottani cuts in the system.

In the same vein, a thrust from a high line can target a low opening, and vice versa.

When attacking, simply choose a line of attack that is about to open, and do not neglect other targets in favour

of the most likely target. The Companion may find himself surprised by an unexpected line of attack.

Executing Cuts

Any cut is a compromise. A cut that reaches for maximum extension will be underpowered and likely uncovered

– in fact, if one examines the position at the midway point of the cut, the cut is spent as it reaches the target. A

cut that aims to cover (i.e. a transition into posta frontale) will lack extension, but covers a larger surface. Cutting

to the Companion while remaining under cover is a compromise between maximum extension and maximum

cover, while allowing the cut to have some travel left to it before being spent. One way of looking at this is the

Player is trying to cut through the Companion, and not to the Companion.

Remaining behind the sword is also key to surviving an encounter. In order to remain behind the sword, the

Player must lower his hands, keep his shoulders low (avoid bunching the shoulders), and push the point forward,

much like a jab. Lowering the hands at the beginning of the cut protects the hands as well as helps to get the tip

moving first. The Player must then bring the hilt across the body to remain behind the sword, and push the tip

forward. This is a safe method of cutting, and will protect the hands from being “sniped”, but is a compromise

between maximum distance and maximum cover.

With the above consideration, a simple principle remains – the shortest distance between two points is a straight

line. One must refrain from the temptation to “lift” the sword from the shoulder, resulting in a kind of wood-

chopping motion. Instead, one should concentrate on moving the hands forward, much like the „jab‟ described

previously. This is a mechanically sound way to cut with a longsword, not to mention the quickest way to cut.

Speed is an important factor when cutting, not only in developing power (Ek = ½ mv2) but also in deceiving the

Companion and employing initiative as a tactical advantage, thus preventing the Companion from countering

your blow.

If one were to describe the action in detail, it would resemble the following: the hands tighten their grip on the

sword, which begins the tip movement. Continuing this movement and bringing the hands down slightly to

protect the hands leads into the forward hand pushing in a jabbing motion towards its target with the lower hand

“following” since it rests on the same grip. When the right hand reaches its desired extension, the left hand pulls

back on the grip in a levering motion, snapping the sword towards its target. This has the effect of suddenly

accelerating the sword in space, creating the energy needed for the cut. The arms extend forward, but do not

lock.

Using this method of cutting with, for example, a head cut, will result in the hands being about chest level, the

sword angled upwards slightly in posta longa towards the target. If this is done at the proper striking distance, or

measure, the sword should be embedded in the Companion‟s skull. If the strike misses, it ends in posta longa

with the point extended towards the Companion, ready for a follow-up thrust. Only after a failed cut or thrust

should one recover to another guard, ready for the next action. Making this type of tactical decision requires but

an instant, and is wholly dependent on the situation (bind, displacement of the sword, etc.) The Player should

never cut from posta di donna to dente di cinghiale with full power. This action creates a tempo after the Player‟s

sword passes for an adversary to exploit before his sword can return to cover.

Execute colpi mezani in roughly the same manner, with the sword held at the shoulder. The cut begins much like

a fendente, but the trajectory changes to a more horizontal cut after the sword threatens the Companion in the

beginning of its movement. The advantages of this are twofold:

The Companion will have a much harder time discerning what is coming, making his counter possibly fail and it

leaves the Player with the tactical choice to change his cut until the last moment, continuing with a fendente

should the opportunity present itself.

Colpi mezani from the left are often done with the falso filo or false edge, and are thus harder to remain “behind”

but have the advantage of leading with the point, which point has a tendency to “wrap” around a Companion‟s

defence. Use colpi mezani sparingly as they are relatively easy to defend.

Colpi sottani are low-to-high cuts, often using the false edge when done from a low guard such as dente di

cinghiale. Once again, the hands lead the cut, and the rear hand „snaps‟ the point around in order to add speed to

the cut when bringing the point onto the target. False edge sottani may end in posta di donna, posta longa or even

posta frontale.

True edge sottani turn the sword‟s lead edge upwards to the target and end in posta di finestra. Powered by a

wider arc than the downward cuts, true-edge sottani cut shorter than their fendente counterparts, as well as the

false edge sottani. Practice both true and false edge sottani cuts to proficiency.

Edges and Types of Attack

Examining a longsword, one quickly notes the presence of two edges: the true edge (filo dritto) and the false

edge (falso filo). The true edge is the edge that the Player normally cuts with – the edge lined up with the

knuckles and facing the Companion when holding the sword in front of him. The false edge is the edge facing the

Player, and is oft-times used to cut on the return or using special techniques that we will see later.

There are also three types of attacks that the longsword is capable of doing: cuts or blows (colpi), slices (tagli),

and thrusts (punte). Any given attack type applies at any given time. For instance, a cut that is done out of

measure should line up the point with the Companion. A thrust may follow, but the thrust misses its‟ mark and

slices the partner in passing. The example given tries to make the best out of a bad situation, but the Player may

consciously choose to effect one of these three attacks should he so wish.

Sword Volte

Another method of attacking that is related, albeit obliquely, with the sword are the volte. As the student well

knows, the volte in footwork describe three turns – volta stabile, mezza volta and tutta volta. Dei Liberi tells us the

sword also has three turns. These turns, or volte are done from the bind.

Volta Stabile

We interpret volta stabile to be akin to the German tradition‟s winden am schwert10, where the Player‟s sword

remains in contact with the Companion‟s sword while the point is brought to bear on the Companion. The volta

uses the mechanical advantage (leverage) offered by moving the forte up towards the Companion‟s debole so as to

displace the Companion‟s sword in the volta.

Mezza Volta

Mezza volta with the sword is a technique where the player cuts behind the Companion‟s sword while remaining

in contact, akin to the German technique of duplieren. The sword seems to cut through the Companion‟s blade, a

phenomenon that can be somewhat disconcerting to the Companion. Moving from poste breve on the left to posta

breve on the right is an example of a mezza volta of the sword.

Tutta Volta

Tutta volta involves removing the sword entirely from the Companion‟s presence (usually due to strong pressure

on the part of the Companion) and changing sides in order to cut over to the opposite opening. The Player uses

the strength of the Companion‟s bind to whip the sword around and strike to an opening on the other side.

Alternatively, if the bind is done near the point, the Player may simply retrieve the point from the bind and

thrust or cut over to the opposite side of the blade.

Punte (Thrusts)

In his manuscript, dei Liberi describes five thrusts; two from above, two from below, and one through the

center. The two from above correspond to thrusts originating in posta di finestra. The two thrusts from below

correspond to thrusts from posta breve. The thrust through the center can be launched from porta di ferro mezana,

tutta porta di ferro, and dente di cinghiale and would seem to be rising thrusts through the center. All thrusts end in

posta longa when fully extended.

10 “Winding at the sword” – a technique whereby leverage is gained by moving the strong of the blade up to the

opponent‟s weak while keeping contact with the blade.

Thrusts resemble colpi in their execution. The basic principle to remember is to move the hands first, moving

the point towards the target before stepping, should such a step be necessary. The step is largely dependent on

the distance required to hit the Companion. If the Companion retreats when the thrust launches, the Player may

follow, extending his range. It should almost feel as though someone is pulling the sword towards the target.

Returning to our string analogy for the cuts describes well what occurs, mechanically speaking. If one were to

pull on the string attached to the point, the point would move first, followed by the hands, and eventually the

body and feet as they are pulled forward. A thrust should follow this principle, and in so doing, it creates a

threat before coming into range. Stepping before thrusting allows the Companion to counter, giving him a

tempo in which he can thrust the Player without danger to himself as the Player comes into range.

Thrusts from posta breve follow a straight line towards their target and end in posta longa. Thrusts from posta di

finestra require the hands to turn in order to maximise the range of the thrust. This phenomenon becomes more

pronounced when the thrust is performed from the right-hand side with the arms crossed. Extending into posta

longa not only maximises reach in this instance but also strengthens the thrust, making it easier to control.

Thrusts from a low guard require the point to align with the Companion as the thrust initiates. Otherwise,

execution is the same as a thrust from posta breve.

CHAPTER FOUR

Defence with the Sword

Defence with the Sword

The Cross

cross is a meeting of the swords in a crossed configuration (incrosada) usually resulting from a cover. A

cross occurring near the mezza spada in an “x” configuration is sometimes referred to as a “true cross.”

A cross at mezza spada is advantageous in that it allows the Player to feel the Companion‟s intent in the

bind. Too near the guard, and sensitivity is reduced. Too near the punta, sensitivity is heightened and

false because of the increased leverage on the blade.

Furthermore, a meeting of the blades can be either hard or fluid, and one can be soft, hard or neutral in the

bind. A bind can be fleeting or can last several seconds. For our purposes, a parry is any action in which the

sword is placed between the Player and Companion, closing the line of an attack and resulting in a bind.

A “hard” bind is one where the blades clash and “stick.” Depending on the angle of contact between the blades, it

can be a less desirable type of bind since the shock of impact is transmitted down the blade to the wielder, and

blade damage can be a result. A good example of this type of bind is what we refer to below as a “block” or a

neutral bind.

A fluid bind is one in which the blades encounter one another, but do not “stick.” Examples of this are

deflections and beats, as well as some instances of collections. This bind is only momentary, lasting a fraction of

a second before morphing into another action.

Being “hard in the bind,” “soft in the bind” or “neutral in the bind” refers to the results of the bind. If the

combatants come to a bind and the Player can move the Companion‟s blade aside, the Companion is said to be

“soft in the bind,” and you may displace or transport the blade.

If the Companion resists with strength, he is said to be “hard in the bind.” This type of bind should be met by

yielding while maintaining cover.

A neutral bind is one in which neither the Player nor the Companion has a clear advantage. You must secure the

initiative and move to win the bind.

One is said to have “won” a bind when initiative is gained or maintained, and usually denotes claiming the

centerline.

Lastly, a bind may occur at one of three points along the blade:

Punta spada – is a bind near the point. This is a weak bind as it is difficult to resist actions done near the point.

Conversely, it is relatively easy to “slip” the point out and change through to the other side of the blade. The

Player should try to work against the punta spada to gain leverage. Follow-up actions are limited to long-range

(zogho largo) attacks.

Mezza spada – is a bind at the middle of the blade. This bind is neutral in nature, and timing or initiative will

generally win this type of bind. This is the safest type of bind, with neither combatant having a clear mechanical

advantage and it allows one to feel the other‟s intention in the bind (sentimento di ferro). It has the most

versatility, permitting either close-quarters (zogho stretto) or longer-range (zogho largo) follow-up actions.

A

Tutta spada – is a bind at the cross, or “full blade.” This offers the greatest mechanical advantage, as well as

leaving the entire blade free for actions against the Companion. It also permits the Player to enter into close-

quarters actions (zogho stretto) against the Companion.

Finally, a bind is the opportunity for the Player to feel the intent of the Companion and act accordingly. In the

instant the blades cross, the Player should attempt to discern what action the Companion will attempt from the

bind and react to that action.

Actively and Passively Closing Lines

As discussed briefly in the chapter on basics, closing a line of attack incorporates an inherent defence. There are

several different methods of closing a line: passive and active.

An example of passively closing the line would be for the Player to assume posta breve with the sword on the left.

The simple act of standing in this guard closes the lower right (from the Companion‟s perspective) line of attack

to a possible attack, forcing the Companion to choose to attack elsewhere.

An example of actively closing a line of attack would be to move into posta breve from posta di donna in response

to the Companion‟s attack along the low line to the waist. This intercepts the Companion‟s sword and

effectively closes that line of attack, parrying the blow and resulting in a bind.

Dei Liberi is remarkably silent on the matter of parrying, but we can refer to the manuscript left us by Fillipo

Vadi in his late 15th century work. He tells us that when parrying mandritto attacks, the left foot must be

forward, and when parrying roverso attacks, the opposite is true. He also admonishes the reader not to be weak in

the bind, and to keep his point in line with the Companion at all times. This applies to most of the defences

outlined below.

Avoidance

Avoidance is the simplest form of defence – be where the sword is not. Insofar as the sword is concerned, one

can void by either increasing distance or decreasing distance.

A sword‟s maximum force is transmitted at the point of furthest extension. Increasing distance moves the Player

further down the arc of the sword‟s travel into the recovery phase, reducing power. Decreasing distance breaks

the attack, preventing the attack from developing its potential by intercepting it earlier in its arc.

Increasing distance is probably the most intuitive thing for the Player to do. Increasing distance can be done by

retreating with a tornare or by traversing out of the way of the attack.

Decreasing distance would seem to be dei Liberi‟s preferred method of voiding an attack, using a step fora di

strada or traversing into the attack in order to accomplish this.

Simply voiding an attack is not sufficient for defence. If the Player‟s timing is off or his distance is miscalculated,

he may be struck. Avoidance should be coupled with a cover whenever possible.

Types of Defence

We have already seen that defensive actions should incorporate both voiding and covering. Given this, we can

then categorise covers according to the mechanic employed, bearing in mind that a void is a defence in and of

itself.

Parries, or covers, can be divided into several sub-categories which are largely dependent on how contact with

the opposing blade is made.

Beat

The beat, or rebat is a forceful action designed to remove the blade from the defender‟s presence. Examples

include a sottani beneath in incoming fendente mandritto from dente di cinghiale and cutting fendente against an

incoming colpi mezani. While effective, there is a tendency to lose control of the opposing blade. When

performing a beat, there are two methods:

1. Attacking to the opponent, interposing your sword so that you remain covered, deflecting and attacking

the Companion almost simultaneously.

2. Attacking the blade, which can be dangerous as it leaves the defender open to a feint since he is not

threatening the attacker.

If the deflection does not succeed, the combatants will likely find themselves in a “hard” bind, a situation in

which the blades “stick.”

Collection

A collection – is an action whereby your blade is placed between yourself and the attacking weapon, effectively

absorbing the attack. This requires good positioning and skeletal alignment. It is thus controlled and “collected,”

often by the guard. Collections can be further subdivided into collections with or without opposition.

1. Without opposition – i.e. a hilt collection using poste frontale whereby there is no immediate threat to

the Companion.

2. With opposition – a collection usually associated with a counter-thrust, whereby the guard is used to set

aside the Companion‟s blade while the Player thrusts along it. An example of a collection with

opposition is the exchange of the points, scambiar di punta.

Furthermore, a collection can result in a displacement, a transport or a yield. A displacement sets aside the

opponent‟s blade, claiming the centreline and allows you to enter with a thrust or cut. A transport is when you

first collect the sword, then displace it forcefully – in contrast to a deflection wherein you forcefully strike the

incoming blade. Finally, a yield occurs in response to positive pressure by the Companion, so you yield to his

pressure and let the sword slip by under cover of your blade.

Counter Cut

A counter-cut is an action that simultaneously attacks and covers. While Fiore largely eschews these single-time

counters, preferring the safety of a cover, they are included here for completeness.

Advance Target

The length of the longsword makes it viable to void and attack the advance target. This advance target is almost

invariably the hand or wrist. By stepping offline, thus voiding with distance, and attacking the advance target,

you remain safe while inflicting injury to your opponent.

Specific Defensive Actions

The Apprentice curriculum aims to provide the student with basic fencing skills utilising principles that will then

be leveraged into Companion-level training. Among the objectives to be attained by the Apprentice for the rank

of Companion is the assimilation of a basic set of techniques against basic attacks. These defences are variations

on the types discussed previously, and will be explained in detail below.

Defending Fendente

Posta Frontale Collection

1. Player and Companion face one another from out of distance.

2. The Player may adopt almost any posta, but it is easiest to accomplish from posta di donna destra or either

of the porta di ferro poste.

3. The Companion cuts fendente mandritto to the Player‟s head.

4. The Player seeks the incrosada, achieving a bind using posta frontale. The Companion‟s sword should be

directed away from the Player and collected at the hilt.

5. Depending on the pressure exerted by the Companion, the Player may either perform a mezza volta

behind the blade to strike the Companion, a tutta volta to cut around the blade, he may displace the

Companion‟s blade and thrust, or he may perform a volta stabile into posta di finestra to regain leverage

and thrust at the Companion‟s face.

6. Return to cover.

7. This play can be accomplished from either side.

Posta Frontale Deflection

1. Player and Companion face one another from out of distance.

2. The Player may adopt almost any posta, but it is easiest to accomplish from posta di donna destra or either

of the porta di ferro poste.

3. The Companion cuts fendente mandritto to the Player‟s head.

4. The Player seeks the incrosada, but turns the blade to strike the Companion‟s incoming blade lightly

against the flat to deflect it away. It is best to strike to blade near the punta or mezza to deviate it from

its intended path.

5. The Player can complete his action by either thrusting or completing a cut to the Companion.

6. The Player returns to cover.

Fendente Deflection (against fendente)

Thus far, we have seen two types of defence – a collection and a beat. In this play, we visit the premise of using a

counter-cut to deflect an incoming blow. This is also a counter-attack if the distance is correct.

1. Player and Companion face one another from out of distance.

2. The Player may adopt almost any posta, but it is easiest to accomplish from posta di donna destra, tutta

porta di ferro or posta di finestra.

3. The Companion cuts fendente mandritto to the Player‟s head.

4. The Player attacks fendente mandritto with a passing step out and to the right. The Player should try to

time his cut so that he contacts the Companion‟s debole.

5. The Companion‟s blade is deflected outward while the Player‟s cut continues its trajectory, ending with

either a blow or thrust, depending on distance.

6. Depending on the Companion‟s angle of attack or intent, a hard bind may occur. In this case, follow up

from the bind by employing a volta of the sword.

7. The Player returns to cover.

Stop Thrust (low)

A stop-thrust is a technique used to pre-empt an attack using a thrust to keep the Companion at bay.

1. Player and Companion face one another from out of distance.

2. The Player may adopt almost any posta, but it is easiest to accomplish from either porta di ferro or from

posta breve.

3. The Companion cuts fendente mandritto to the Player‟s head.

4. The Player steps offline to the right, thrusting the Companion in the chest or face.

5. The Player returns to cover.

6. This play is made infinitely easier if the Companion “charges” his attack.

Stop Thrust (high)

This play is largely the same as the aforementioned defence, with the exception of the orientation of the blade. It

utilises the principle of collection, and is also know as a counter-thrust with opposition.

1. Player and Companion face one another from out of distance.

2. The Player may adopt almost any posta, but it is easiest to accomplish from either porta di ferro, from

posta breve or from posta di finestra.

3. The Companion cuts fendente mandritto to the Player‟s head.

4. The Player steps offline to the right, adopting posta di finestra on the left to cover the head and hands and

thrusts the Companion in the chest or face.

5. The Player returns to cover.

6. Alternatively, the Player can traverse left into the Companion‟s attack, intercepting it under cover of

the sword while thrusting along the Companion‟s blade.

Beat from Below (rebatter)

This play has the Player beating aside the incoming blade from below. It is accomplished as follows:

1. Player and Companion face one another from out of distance.

2. The Player adopts dente di cinghiale.

3. The Companion cuts fendente mandritto to the Player‟s head.

4. The Player cuts into posta frontale with the falso filo, crossing the Companion‟s blade from below and

beating it upwards and to the right.

5. Follow up with a fendente mandritto tothe head or a fendente roverso to the Companion‟s hands.

6. Return to cover.

7. Alternatively, the Player may pass left while deflecting.

Counter-attack from below to the advance target

1. Player and Companion face one another from out of distance.

2. The Player adopts porta di ferro mezana or tutta porta di ferro.

3. The Companion cuts fendente mandritto to the Player‟s head.

4. The Player steps offline to the right, cutting sottano falso under the Companion‟s hands – it is important

to maintain distance with the Companion.

5. The Player may follow the aforementioned action with either a thrust or cut before returning to cover.

Counter-attack from above to the advance target

1. Player and Companion face one another from out of distance.

2. The Player adopts tutta porta di ferro or posta di coda longa.

3. The Companion cuts fendente mandritto to the Player‟s head.

4. Stepping offline to the right, the Player cuts over the Companion‟s hands.

5. Follow up this action with a thrust before returning to cover.

Defending the Leg

Player and Companion face one another from out of distance.

1. The Player adopts posta di donna destra.

2. The Companion cuts mezani mandritto to the Player‟s left knee.

3. The Player slips his left leg back while cutting to the Companion‟s head.

4. Return to cover.

Defending Mezani

Posta Breve Collection and Counter-thrust

1. Player and Companion face one another from out of distance.

2. The Player adopts posta di donna dextra.

3. The Companion cuts mezani mandritto to the Player‟s torso.

4. The Player cuts into posta breve, intercepting the Companion‟s blade and achieving a bind.

5. The Player thrusts to the Companion, keeping his blade between himself and the Companion (in

opposition).

Posta Longa Collection and Counter-thrust

1. Player and Companion face one another from out of distance.

2. The Player adopts posta di donna dextra.

3. The Companion cuts mezani mandritto to the Player‟s torso.

4. The Player cuts into a lateral posta longa, intercepting the Companion‟s blade and achieving a bind.

5. The Player thrusts to the Companion with a step, keeping his blade between himself and the

Companion (in opposition).

Posta di Finestra Collection and Counter-thrust

1. Player and Companion face one another from out of distance.

2. The Player adopts a porta di ferro posta.

3. The Companion cuts mezani mandritto to the Player‟s neck.

4. The Player cuts into posta di finestra sinestra, intercepting the Companion‟s blade and achieving a bind.

5. The Player thrusts to the Companion, keeping his blade between himself and the Companion (in

opposition).

Beat

A weakness of the colpi mezani is that it presents the blade‟s flat to the Player. The following play takes advantage

of this fact.

1. Player and Companion face one another from out of distance.

2. The Player adopts posta di donna dextra.

3. The Companion cuts mezani mandritto to the Player‟s neck.

4. Passing right, the Player cuts fendente mandritto to the flat of the Companion‟s blade, achieving an

incrosada and beating the blade down.

5. The Player must follow-up immediately with a sottani roverso to the head.

Defending Sottani

High Collection (finestra)

1. Player and Companion face one another from out of distance.

2. The Player adopts porta di ferro mezana.

3. The Companion cuts sottani mandritto to the Player‟s neck.

4. The Player rises into posta di finestra while stepping offline to the right, achieving the incrosada under

cover.

5. The Player thrusts into the Companion‟s face.

6. Return to cover.

Low Collection (breve)

1. Player and Companion face one another from out of distance.

2. The Player adopts posta di donna.

3. The Companion cuts sottani mandritto to the Player‟s torso.

4. Stepping offline to the right, the Player transitions, cutting into posta breve, achieving a bind on the left.

5. The Player thrusts to the Companion‟s face.

6. Return to cover.

Defending Thrusts

Defending thrusts is similar to defending against cuts, with several caveats. A thrust is much quicker than a cut,

as such it is often more difficult to defend against. Conversely, a thrust is far easier to set aside than a cut,

requiring the Player to simply move the point aside. This can be done in several ways, all of which coincide with

the methods for defending cuts, but with far less strength required. The Player may beat or deflect the point, or

he may collect the point and thrust along the blade. He may use posta frontale to set the thrust aside, left, right,

up or down – even catching an immobilized blade with his hand. The Player must practice different methods for

dealing with thrusts and keep himself in proper distance to avoid a quick punta. Thrusts do not generally form

part of the Apprentice syllabus, but are included here for completeness.

Posta frontale defence (high line thrust)

1. Player and Companion face one another.

2. The Player adopts tutta porta di ferro.

3. The Companion adopts posta breve.

4. The Companion thrusts to the Player‟s face

5. The Player rises into posta frontale while stepping offline to the right. It is of the utmost importance for

the Player to get his blade between himself and the Companion‟s blade as quickly as possible.

6. Continue the action by either thrusting or cutting fendente to the Companion.

7. Return to cover.

Exchanging the thrust (Scambiar di punta)

1. Player and Companion face one another.

2. The Player adopts tutta porta di ferro.

3. The Companion adopts posta breve.

4. The Companion thrusts at the Player‟s face.

5. The Player traverses left fora di strada claiming the centerline while adopting posta breve and collecting

the Companion‟s blade to the outside, keeping his hands low.

6. The Player thrusts along the blade to the Companion‟s face.

7. Return to cover.

Breaking the thrust (rompere di punta)

1. Player and Companion face one another.

2. The Player adopts tutta porta di ferro.

3. The Companion adopts posta breve.

4. The Companion thrusts at the Player‟s face.

5. The Player traverses left fora di strada claiming the centerline while rising into posta frontale and

collecting the Companion‟s blade to the outside with his guard.

6. The Player drives the Companion‟s sword into the ground with a mezza volta.

7. The Player returns with a falso sottani to the Companion‟s neck.

8. Return to cover.

Returning to Cover

Returning to cover is a basic tenet of swordsmanship, and is akin to the withdrawal phase of the fight. After

having completed any attack or set of attacks, the Player should move into a guard that will provide adequate

cover from a late counterattack by the Companion. A single successful attack may not disable the Companion,

thus returning to cover is not only a good idea, but also good swordsmanship.

We cannot stress enough how important this last point is, and in practice it should be drilled tirelessly along

with the corpus of techniques. Practice of techniques at the Salle uses set plays, ending with the conclusion of the

technique. This approach is good for learning technique, but is not optimal for learning how to fight. A fight

does not “reset” after a successful technique, and so after the students absorb the various techniques and plays,

one should incorporate drills using the action of retreating to cover. Students must learn to fence safely and with

regard for their lives, just as if the situation were real. Be aware that returning to cover does not necessarily

mean retreating – one can enter into zhogo stretto to grapple under cover, as long as the Player controls the

Companion‟s sword in a manner that negates the threat to the Player, concluding the engagement with a throw,

takedown, lock or other finishing technique.

Conclusion

The techniques and principles seen thus far in the section on the sword are applicable to a great variety of

weapons. Indeed, if the sword is seen as just a lever arm, we can see how the principles involved apply to the

sword in one hand, poleaxe, spear, staff, and all manner of weapons by simply accounting for measure and

timing.

The principles discussed in this portion are universal in application, and our aim is to give the student a solid

foundation in general fencing principles – indeed, in principles that govern a fight – so that he may continue his

study with an in-depth study of Fiore dei Liberi‟s manuscripts. In fact, the principles will apply to any art,

regardless of style. It is our hope that the student will have gained from our examination of the fundamentals of

the art.

Annex One

Drills and Exercises

Syllabus drills

yllabus drills are sequences of techniques designed to bridge the gap between simple set plays, whereby

one technique is practiced in isolation, and free-fencing, where chaining techniques is required. These

drills place emphasis on fluidity, timing, proper distance, use of footwork and bladework. Their

construction as antagonistic drills allows for two drills to be built into one, whereby the attacker performs

a certain sequence of actions and the defender another. Learning both “sides” of the drill means each drill is in

fact two drills. These should be performed as solo drills to begin, then as cooperative partner drills.

Furthermore, the drills are meant to be performed in stepped sequences, therefore step 1, step 1-2, step 1-2-3,

etc.

Drill 1 – Tempo and Volte

This drill showcases the sword volte and their use and timing aspects.

1. Player cuts fendente mandritto

2. Companion covers with the master of stretto and performs a volta stabile into posta di finestra.

3. The Player, sets aside this thrust with pressure.

4. The Companion reacts with a tutta volta of the sword, performing the colpi di villano to cut around to the

opposite side.

5. The Player out-times the tutta volta with a mezza volta of the sword, cutting to the hands.

6. Repeat from the left.

Drill 2 – largo

This drill is meant to practice the second master of largo and its derivatives.

1. Player begins in posta di donna, back weighted. Companion assumes posta di donna.

2. The Companion cuts fendente mandritto, which the Player covers at the mezza spada with a volta stabile of

the feet.

3. The Player steps offline, drops his blade to the hands and thrusts to the Companion.

4. The Companion defends this thrust by covering with posta frontale.

5. The Player performs a tutta volta and cuts to the opposite side.

6. The Companion covers with a rebatter using a falso sottani and cuts to the Player‟s hands.

Drill 3 - scambiar

This drill is meant to put together sequences involving thrusts and their defence, as well as showcase how the

pulsativa guards oppose one another.

1. Player begins in posta di donna destra, Companion assumes tutta porta di ferro.

2. The Player initiates the drill by attacking with a mid-line thrust.

3. The Companion sets aside the thrust with the scambiar di punta.

4. The Player deceives the counter by dropping the point under the Companion‟s sword and thrusting to

the other side.

5. The Companion reacts by deflecting the thrust with a falso deflection, and thrusts or cuts to the Player.

S

Drill 4 - rompere and stretto

1. The Player begins in porta di ferro mezana, the Companion in a pulsativa posta.

2. The Player thrusts to the Companion‟s sternum.

3. The Companion covers with a step fora di strada and transports the thrust to the ground.

4. The Companion cuts up sottani falso beneath the Player‟s chin.

5. The Player raises his hands, driving the pommel forward, simultaneously controlling the Companion‟s

hands to perform a pommel strike.

Drill 5 – rebat

1. The Player begins in posta di donna destra, the Companion assumes dente di cinghiale.

2. The Player throws a fendente mandritto to the Companion‟s head. This could also be a high-line thrust.

3. The Companion sets aside the cut with a sottani falso, cutting then fendente mandritto.

4. The Player sets this aside in turn with a rebat sottani falso, cutting fendente mandritto.

Step 4 may be replaced by having the Player volta stabile into posta di finestra destra, setting aside the Companion‟s

fendente and attacking behind the blade with a fendente mandritto.

Practice Drills

The drills outlined below are but a handful of the drills used in practice. I have included them here for reference

and as tools to help the student in his solo or paired practice outside of the salle. These drills are in no way

exhaustive, but should provide enough ideas for practice at home.

Solo Drills

Poste transition drill (aka poste dance)

a) Begin in tutta porta di ferro b) Volta stabile and raise into posta di donna la soprana, back weighted c) Bring sword over head to posta di finestra destra, back weighted d) Change direction of intent, transition into posta di donna la sinestra, back weighted e) Passare to posta longa f) Volta stabile to porta di ferro mezana g) Passare to posta breve destra h) Tornare to dente di cinghiale i) Volta stabile to posta di coda longa j) Passare and turn to posta di bichorno k) Raise to posta frontale l) Transition to dente di cinghiale mezana m) Volta stabile to tutta porta di ferro

Sword poste dance w./ armoured poste:

Same as above, add armoured guards to the end:

a) Posta breve la serpentine b) Posta de vera crose c) Serpentino la soprana d) Porta di ferro mezana

e) Posta sagittaria f) Croce bastarda

Cutting exercices

Cuts should at first be performed very slowly, checking for proper form and footwork. In keeping with the drill

progression outlined elsewhere, speed up the drills until done at full speed. Do both half and full cuts of all

types.

Fendente Cutting drill:

a) Assume posta di donna b) Without stepping, cut to posta longa c) Reset d) Progression: Cut colpi fendente using a traverse left, then right

e) Progression: Cut colpi fendente using volta stabile

f) Progression: Cut colpi fendente with a passare.

Note: when footwork is used, make to that there is agreement between hand and foot.

Compass Cutting

a) Stand in posta di donna

b) Cut fendente mandritto to posta longa with a passare.

c) Immediately cut another fendente mandritto from posta longa while traversing right, compassing the back

foot back to the right.

d) Return to posta di donna la senestra.

e) Repeat from the left.

This drill can be performed with a partner, who performs a cover on the first fendente.

Compound Cutting

a) As above, stand in posta di donna.

b) Cut fendente mandritto with a passare, ending in posta longa.

c) Immediately cut fendente roverso with a pass, ending in tutta porta di ferro.

d) From there, cut sottani falso to posta longa with a passare.

e) From posta longa, invert the sword to cut fendente mandritto with a moulinet, ending in dente di cinghialeo.

f) Repeat.

Cutting from poste

a) Player begins in posta di donna and cuts fendente with a step. b) Player recovers to posta di finestra and cuts fendente with a step. c) Repeat for all the right-hand poste: posta breve, tutta porta di ferro, posta di coda longa. d) Repeat on left side from posta di donna sinestra, posta di finestra sinestra, posta breve and dente di

cinghiale. Note: This drill can be repeated for all the cutting angles – sottani, mezani and punta.

Fluid cutting (from poste to poste)

a) Begin in posta di donna b) Cut fendente to dente di cinghiale c) Bring the sword around and cut fendente roverso to tutta porta di ferro d) Again bring the sword to bear, cutting mezani mandritto e) Cut mezani roverso f) From tutta porta di ferro, cut sottani to posta di finestra la sinestra g) Return to a low position and cut up sottani roverso to end in posta di finestra destra h) Return to posta di donna la destraza i) Repeat.

Paired Drills

Paired Compound Cutting drill

a) Player and Companion face one another, out of distance. b) The Player cuts a series of three cuts to the Companion (any three, ex.: fendente, sottani, mezani or

fendente mandritto, tutta volta to fendente roverso, sottani, etc.), which the Companion covers. In reality, the Companion is simply acting as a target, and covers using frontale.

c) After the third strike, reverse directions with the Companion becoming the attacker.

Paired cutting drill

a) Player and Companion face one another b) Assuming posta di donna destra, both Player and Companion cut fendente to one another using sloping

footwork. The blades should meet at mezza spada, although distance may vary from one drill to another, as long as it is maintained in any one instance of the drill.

c) Return to posta di donna senestra and cut fendente roverso. d) Repeat, maintaining distance.

Largo Cover drill

a) Player and Companion face each other in striking distance b) Companion strikes fendente at Player, Player slopes right to cover, maintaining distance.

Progression: Player follows-up with thrust to Companion.

Progression: After thrust, Companion covers thrust – Player must volta around sword to attack opening line.

Static Control Drill

a) Player and Companion face one another b) The Companion presents a target to the Player (in our case, the flat of the sword) c) The Player must strike full speed using proper footwork and lightly tap the target. d) This may be done as many times as deemed necessary.

Dynamic control drill:

a) Player and Companion face one another b) The Companion presents a moving target to the Player, who must strike it while maintaining control

(light tap) c) Any gross lack of control results in push-ups.

Be careful not to pull the blow too soon, and to strike with proper intent and extension.

Fendente cover drill

a) Player and Companion face each other in striking distance b) The Companion strikes fendente at the Player c) The Player covers statically (without footwork) d) Repeat a and b e) The Player covers with a slope step right f) Repeat a and b g) The Player covers with a traverse left. h) Repeat against fendente roverso

Paired sword grab drill

a) Player and Companion face one another b) The Companion cuts fendente mandritto to the Player c) The Player covers, grabbing the blade. d) Reset. Repeat. e) As a progression, the Player covers and grabs the blade, then ripostes with kick or cut.

Measure drill:

a) Player and Companion face one another b) The Companion attacks in succession, putting pressure on the Player. c) The Player must cover while the Companion advances, maintaining middle distance.

Cutting behind cover drill:

a) Player and Companion face one another b) The Player cuts fendente c) The Companion covers. In so doing, he may choose to attack hands or simply cover (opts for

suicide, double kill). d) Player must keep hands from being struck using proper cutting.

Protecting hands drill

a) Player and Companion face one another. Assume the postas as necessary, instructor may also choose to work particular positions.

b) The Player attacks fendente mandritto c) When the Player‟s attack launches, the Companion can either do nothing or counter to hands. d) Player must either complete attack or abort to protect hands. e) Repeat for mezani and sottani cuts.

NOTE: This drill requires hand protection.

True Time drill

a) Player and Companion face one another. b) The Companion stands on posta longa. c) The Player stands in posta di donna d) The Player must attempt to strike the Companion on the head with a colpi fendente using a slope step

right. e) As the Companion sees the Player begin his attack, he must thrust. f) If the Player is using true times and covering himself (closing the line) he will displace the thrust,

else he will be struck.

Decision making drill:

a) Player and Companion face one another b) The Player attacks, Companion covers. c) The Player must choose whether to slope right to new centreline, thrust or volta to opening

centerline depending on pressure. First progression: Blades must not clang together. If the Companion does not cover, first intention action must

succeed. If the Companion covers, change the line without contact.

Second progression: The Companion counters with a suicidal attack to hands of the Player.

Sentimento di ferro drill

a) Player and Companion face one another b) Both parties establish a bind in posta longa c) Both parties attempt to push the others‟ sword offline, keeping the point of their sword within the

outline of their partner‟s body. Use proper footwork. The partners should be maintaining distance using varied footwork, and using the tutta spada against the punta

spada to gain an advantage.

First progression: Both partners attempt to touch the other with a controlled thrust or slice to the upper or

lower openings. The hands and arms are off limits.

Second progression: Continue as above, but add the arms and hands as a target.

Third progression: Allow strikes to the previous targets, without leaving the sword.

Fourth Progression: Partners are now allowed to leave the bind to strike with either a thrust, slice or cut using a

tutta volta. The Player who is struck gets a free return shot, forcing the Player to attack from cover.

Fifth Progression: Player and Companion come to the bind from a strike or thrust.

Variant: Perform the basic drill with eyes closed.

Distance reaction exercise:

a) Player and Companion face one another, out of distance b) The Companion begins to walk into distance and attacks when in proper distance. c) The Player must counter when he feels the Companion is in distance.

Colpi di Villano flow drill

a) The Companion assumes posta di donna destra b) The Player assumes porta di ferro mezana, either foot forward c) The Companion cuts fendente mandritto to the Player‟s head d) The Player traverses left, moving into a lateral posta di finestra, point to the left, covering his

head with the blade and receiving the Companion‟s sword on his flat e) Using the impetus provided by the Companion‟s attack, the Player returns with a fendente roverso

to the Companion‟s head. f) The Companion traverses right, raising into a lateral posta di finestra, catching the Player‟s blade

on his flat. g) Repeat.

Falso deflection flow drill

a) The Companion assumes posta di donna destra b) The Player assumes dente di cinghiale c) The Companion strikes fendente mandritto d) The Player traverses left and cuts sottani roverso falso beneath the Companion‟s blade, repulsing it

to the right e) The Companion recovers to dente di zenghiar f) The Player continues his rising cut to posta di donna destra g) Reverse the roles and repeat, ensuring the fluidity of the exercise.

Finestra flow drill

a) Player begins in posta di finestra, Companion in posta longa. b) Player cuts fendente to Companion‟s upper opening, Companion covers in posta di finestra. c) Companion cuts fendente to Player‟s upper opening, Player covers in posta di finestra d) Continue back and forth in a fluid manner. e) Alternatively, this drill can be done from posta breve f) Advanced version: change through to opposite side on cue or at random and repeat drill.

The following drills are sourced from Fiore’s sword and dagger material, and have

been put together by noted instructor Guy Windsor. They form a part of his core syllabus. We thank him for making these publicly available.

First set play – largo to stretto

a) Companion stands in posta di donna destra b) Player assumes tutta porta di ferro c) Companion attacks fendente mandritto d) Player traverses left, crossing the Companion‟s blade and attacking the Companion‟s head e) Reset, assuming the start positions f) Repeat steps a-d g) From the bind, the Companion enters into measure by reversing the sword and presenting the

pommel, controlling the Player‟s elbow as he enters h) Reset, assume start positions i) From step g, the Player defends the pommel strike using the inside dagger defence, transitioning

into the ligadura mezana with a compass pace, striking the Companion with the pommel using the other hand

j) Repeat, reverse sides Note: any one of these variants can be drilled individually.

Second set play - stretto

This drill has the defender enter directly into zogho stretto, which is countered by a variation on the soprana

tor di spada, which is in turn countered by an elbow push.

a) Companion stands in posta di donna destra b) Player assumes tutta porta di ferro c) Companion attacks fendente mandritto d) The Player parries by passing forward, entering giocco stretto with posta frontale

e) Continuing his forward movement, the Player reaches for the Companion‟s grip or pommel, compassing back while bringing his point online, simultaneously disarming the Companion.

f) Reset, assuming start positions g) From step d, the Companion passes his left arm over the Player‟s arms, enveloping them h) The Companion compasses back, employing the arm wrap to throw the Player i) Reset j) From step g, the Player intercepts the arm wrap using an elbow push, compassing back and

bringing the point online for a thrust

Third set play – largo to stretto

a) Player and Companion face one another b) Companion adopts posta di donna destra c) Player adopts dente di zenghiar d) Companion attacks fendente mandritto e) Player raises into posta frontale, defelecting the Companion‟s blade and striking the Companion

on the head with a return cut. f) Reset g) From step e) the Companion steps in, covering his head with posta di finestra. h) The Companion controls the Player‟s arms by wrapping his left arm over both the Player‟s

arms. i) Continuing in, the Companion strikes the Player with his own pommel. j) Reset. k) From the attempt to wrap at step h) the Player reacts by stepping back and applying a ligadura

sottani to the Companion. l) Repeat.

Fourth set play – mezani to punta falsa

a) Player begins in tutta porta di ferro b) Companion begins in posta di donna destra c) Companion attacks colpi mezani d) The Player covers, entering and grabbing the pommel e) The Player brings his point online, compass paces back and menaces the Companion while

disarming the sword. f) Repeat steps a to d g) From the cover, the Companion executes the punta falsa, doing a tutta volta around the Player‟s

sword and thrusting in half-sword. h) Repeat, but from the punta falsa, execute the counter by stepping out to the left and bringing

the point online in half-sword.

Fifth set play – bicorno thrust

a) Player and Companion both adopt posta di donna destra. b) The Companion drops his point off his shoulder, thrusting from posta di bicorno into posta longa. c) The Player sets aside the thrust, exchanging it or deflecting it and countering with a cut. d) Repeat, but from c), when the Player attempts to cover, the Companion lowers his point

beneath the cover and continues to thrust to the other side. e) Repeat, but from d) when the Companion deceives the cover, cover to the opposite side and

counter.