DEDICATION & ACKNOWLEDGEMENTS |i

Writing a book is no small feat. This, my first, has been a labour of several I must thank my excellent students, and models, who have brought the
years. It started as a 600 page magnum opus and then through good techniques described to their visual form: Adrian Jones, Matheus Olmedo,
advising and revision became the more succinct primer it is today. I have Audrey Hui, Aurelia Sedlmair, Greg Reimer, and Clinton Fernandes.
learned a tremendous amount about writing, about my art, and about Many others have played a role as editors, reviewers, and supporters,
myself through this process and I am grateful for all the help that I’ve had they include: Maestro Puck Curtis, Marco Quarta, Guy Windsor, Gary
along the way. Spechko, Selman Halabi, Roland Cooper, Dan Read, Andre Kostur, and Bernd
Thank you to Tom Leoni for his inspiration, access to excellent translations Petak. Thank you all for reading this book and giving me such earnest and
of works on fencing, and for his friendship. Thank you to Greg Mele for useful feedback.
helping me make the choice to cut the manuscript down significantly and
his encouragement to embark on many other publishing projects. Bonita,
my partner in life, cannot avoid mention for her encouragement, support,
and editing! And a big thank you to Greg Reimer who has been a true
partner in crime for the past several years as my stalwart assistant on both
sides of the camera, a brave challenger of my work, and an inspiration for
much of how I approached this material.
 FOREWORD | iii

It is rare to find good fencing in this world. It is a struggle to realize an In the years since, I have come to know the students of the Academie better
art which is both beautiful and terrible in its potential to kill. The beauty and their teacher, Maestro Devon Boorman. M. Boorman is a world class fencer
of good fencing is a living painting created through years of effort which who rose from the ranks of the Society for Creative Anachronism as one of the
vanishes within a fraction of a second and observers lucky enough to be bright lights of their rapier tradition both in skill and character. The school he
present may be the only ones to see the artist’s greatest work. To bring it founded is internationally renowned and he has traveled the world to teach,
into existence the artist must possess a special blend of athleticism, access fence, and lecture about the Italian tradition. One of the systems taught in the
to a well-organized system of combat, and dedication to practice and study school is Italian rapier from the early 1600s with some of the jargon and theory
both physical and mental. gently and lovingly polished for clarity. I find it most closely aligned with Capo
In my own pursuit I spent years training, studying, and finally enduring Ferro but easily part of the same family as Giganti and Fabris.
board examinations to ensure that I was qualified to teach. It was in this What will you find within the pages of this book? Imagine that Capo Ferro
skeptical place that I found myself when I first attended the Vancouver was able to write plainly to an audience in English and that he had clarified
International Swordplay Symposium in 2011 and from the salon above the ambiguities of his text. That he had further codified the system and
the fencing floor I observed the school’s fencers below. Their arms were provided flowcharts and additional detail of execution, tempo, and distance.
extending cleanly before the lunge and flowing smoothly forward into Beyond illustrating exemplar martial plays he also provides a strategic
attacks. Without taking my eyes from the floor I spoke to my colleague, M. structure for the tradition which guides the moment-to-moment tactics.
Eric Myers, and asked, “Do you see this?” He agreed; something special was The result would be something like what you hold in your hand today.
happening at the Academie Duello and it continues to this day. On a bookshelf with works by Agrippa, Viggiani, Fabris, Giganti, and Capo
One key to unlocking the fencing of any tradition is access to good Ferro there is room for at least one more work. M. Boorman’s new book
teaching. A good teacher with hundreds of hours of experience on the floor (and others written by his modern day peers) are this generation’s essential
sword-in-hand will sharpen the explanations of fine, nuanced, and difficult contribution to the family of Italian fencing.
topics. They learn different methods of presenting information and actions I think you will find it of considerable value as you train, struggle, and
which speak to different kinds of students. To teach fencing is to create finally create art within yourself.
artists and realize a new kind of art but the medium, the pieces, are human
beings improved by the process of guided training. They in turn manifest July, 21 2017
their own art in the world like ripples flowing outward from the school ~R. E. “Puck” Curtis III
affecting lives in ways little and large, simple and profound. Master at Arms,
San Jose Fencing Master’s Program
 CONTENTS |v

1. Introduction to the Rapier . . . . . . . . . . . . . . . . . . . . . . . . 1 3. Attack & Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

My Journey and Yours 2 Five Measures 32
History of the Rapier 4 Striking from Misura Strettissima 33
Wounding with the Rapier 6 Striking from Misura Stretta 33
A Unified Approach 7 Striking from Misura Larga 35
Structures of the Art 8 Mechanics and Tips 36
The Three Tenets 10 Striking from Misura Larghissima 38
Using this Book 11 Out of Measure 40
Mastering the Rapier 12 Lunging Measure Drill 41
Note on Left-Handed Fencing 14 Resistance Lunging 41
Equipment 15 Errors Explored Through Resistance Lunging 43
Protective Equipment 15
The Rapier 16 4. Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
The Right Rapier for You 18 Advancing and Retreating Steps 46
Sideways Steps 47
2. Posture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Common Footwork Errors 48
Natural, Comfortable, and Optimal 20 Passing Steps 49
Holding the Sword 21 Common Passing Step Errors 51
Positioning the Lower Body 23 Simple Movement Drill 52
The Defensive Posture 24 Mirror Movement Drill 53
The Offensive Posture 25 Tactical: The Measure Game 54
Off-hand Position 26
Alignment Advice 27
The Importance of Being Profiled 28
Target Management 29
Exercise: Postural Isolation 30
vi |
5. Gaining the Sword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 7. Recovering Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
The Problem of the Point 56 Cavazione Sotto 92
Lines of Attack 58 Cavazione Sopra 93
Crossing Swords 60 Volta Stabile 94
The Three Advantages 61 While the Opponent is Finding 95
The Advantage of the True Edge 62 Maintaining Control 96
Hand Positions 64 Tactical: Football 97
Why Is It Called Prima? 65 Tactical: The Gaining Game 98
Guards 66
The Advantage of Leverage 68 8. Defence and Counter-Offence . . . . . . . . . . . . . . . . . . 99
The Advantage of Crossing 70 Defence when Free 100
Gaining the Sword – Approaching 72 Defence Through Gaining 100
Finding the Sword 73 Defence of the Leg 102
Straight Lines and Oblique Lines 76 Defence from Control 103
Winning the Gaining Race 77 Defence when Found 104
Open, Closed, and Constrained Lines 78 Defence when Gained 107
Tactical: Gaining Choice Drill 79
Tactical: The Measure Game II 80

6. Approaching Different Guards . . . . . . . . . . . . . . . . . . 81

Stronger and Weaker Lines 82
Maintaining the Debole 83
Transports: Finding and Gaining the High Sword 85
Exercise: Resistance Testing 89
Tips on Gaining 90
9. Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 10. Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 | vii
Three Meanings for Tempo 112 Tactical Conditioning 138
Tempo as Rhythm 113 The True Fight 138
Exercise: Exchanging Full Tempi 114 Directions of Movement 140
Exercise: Exchanging Half Tempi 115 Understanding the Flow Chart 141
Exercise: Sharing Full Tempi 116 The True Fight Flow Chart 142
Tempo as Opportunity 117 Moving Between Measures 144
Primo Tempo 118 Maintaining Control 146
Tempo as Proportion 121 Exercise: Walking the True Fight 146
Due-tempi 122 Incorporating Line Change 150
Exercise: Parata-Risposta 123 Incorporating Pressure 152
Errors in Parata-Risposta 124 Recovering Control in the True Fight 153
Tactical: Primo Tempo vs Due-tempi 125
Contro-tempo 126 11. From Drill to Combat . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Contro-tempo Drill 126 Freeplay 156
Stringere: Strategic Constraint 127 Scaling Speed 158
Angulation and Penetration 130 The Anatomy of a Fight 158
Tactical: Contro-tempo vs Primo Tempo 133 Assess Your Opponent 159
Mezzo Tempo 134 Engagement and Control 162
Tempos in Summary 136 Control and Strike 164
Control and Choice 165
Making Your Own Tactical Exercises 168
The Learning Cycle 169

12. Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Notes on Historical Terms 174
Glossary 176

13. Endnotes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

 |1
Chapter One

Good king of cats, nothing but one of your nine lives;

that I mean to make bold withal, and as you shall use me
hereafter, drybeat the rest of the eight. Will you pluck your
sword out of his pitcher by the ears? Make haste, lest mine
be about your ears ere it be out.
—Mercutio to Tybalt, William Shakespeare, Romeo and Juliet, 1595

INTRODUCTION TO THE RAPIER

Welcome to the first chapter in your journey to wielding the
Renaissance rapier. In these opening pages you will learn a little of my
history, the history of the rapier, how to approach this book, and the
fundamentals to getting started in your own learning. I recommend
reading the introduction thoroughly to get the most out of these
instructions and to best understand my approach.
I invite you now to turn the page and set off on your journey to learn
one of the most beautiful, efficient and deadly of martial arts.
2| My Journey and Yours The specifics for the actual historical rapier are rather hard to pin down.
The idea of classifying swords by their design into neat well titled categories
The rapier is a wonderfully iconic weapon. The favoured sword of the
— rapiers, court swords, smallswords, arming swords, sideswords, etc — is
Three Musketeers, Cyrano de Bergerac, and Hamlet. It was the sword
a product of Victorian curators eager to categorize their collections and
dashingly wielded by Errol Flynn and Basil Rathbone in classic movies like
simplify the evolution of weapons into something clean and orderly. Yet
Sea Hawk and Captain Blood. It was Romeo’s tool for vengeance against
even with this desire the qualities that they used to designate one sword
Tybalt and Paris in Shakespeare’s Romeo and Juliet. It appears at the side
as a member of one group versus another are often hard to identify. If you
of nobles and soldiers in portraits painted by the great baroque masters
wander through a museum you can see a great many weapons labeled
Rembrandt and Caravaggio. It resolved affairs of honour for notable figures
as rapiers, yet they can range from short, heavy, and broad bladed, to the
such as Shakespeare’s contemporary, Ben Jonson1, and was perhaps the tool
exceedingly long, thin, and without sharp edges. Written historical sources
responsible for severing Van Gogh’s ear2.
are not much further help. Nearly all historical texts from the Renaissance,
In the modern world, when many think of the rapier they think of the
whether fictional, biographical, or instructional, simply refer to the swords
Olympic fencer dressed in fencing whites and fighting on a long linear track.
within as just that: “swords”5.
Olympic fencing, however, has become quite distinct from its ancestor.
The term rapier in modern martial arts usage has come to refer to a
The weapons used in modern fencing bear little practical connection to
particular sword pictured and described in historical fencing manuals that
their historical counterparts. They are as little as a quarter the weight and
were published primarily in the 1500s and 1600s. The sword I am referring to
exceptionally flexible. The intricacy and strategy of the art is often reduced
is primarily a civilian sword that was worn on the city street and wielded in
to the application of a few simple movements performed with herculean
private duels rather than on the battlefield. It had a long and slender blade
strength and speed. The introduction of electronic scoring, initially in 19363
with a sharp point and the strategies for using it were oriented toward the
also changed the sport significantly as moves designed simply to press the
thrust as the primary method of wounding. Metal plates, sweeping bars and
button on the end of the sword became further emphasized over those that
intricate rings on the hilt extended out to protect the hand and shield the
could genuinely wound with a sharp blade.
body of the wielder, a significant innovation from most earlier swords that
For me the rapier was the weapon from the black and white reruns of
simply had a blade, grip, and crossbar.
Zorro4 (played by Tyrone Powers) that I watched as I grew up. It was the
sword wielded by the Man in Black and Inigo Montoya in The Princess Bride.
It was a weapon of grace, wit, and daring deed that embodied the dashing
qualities of these fictional characters. I was so enamoured with this deadly
tool that I used to dance about in the backyard of my childhood home
with a foil my parents had found in the attic, making up fencing moves and
imagining myself — as young boys do — as one of my favourite heroes.
 I had my first opportunity to wield a rapier (or at least a modern facsimile In 2004, I co-founded Academie Duello in Vancouver, BC, with Randy |3
of one) when some friends brought me to a Renaissance festival outside Packer, one of my senior students at the time. Although our full system
of Seattle, Washington, run by the Society for Creative Anachronism. There includes two-handed swords, one-handed cutting swords, pole weapons,
I had the chance to watch a re-creation of a rapier tournament and I was unarmed combat, and mounted combat, the rapier is an essential and
immediately enthralled. There was certainly a storybook quality to watching foundational part of our system.
people dressed up in historical clothing, but what grabbed me most was Many students, both at Academie Duello and other schools, begin with
the swordplay itself. It was fast, deft, calculated, intricate - everything I had the arming sword or sidesword, weapons used in one hand and based
wanted it to be. I saw that this was a weapon finely tuned for one on one around the arguably more intuitive cut, or the two-handed longsword, the
combat. Its length and speed emphasized the concepts of distance and mechanics of which are often seen as being easier to teach and learn. The
timing, and its subtle mix of caution, control, and commitment fit within system for Italian Rapier is more physically demanding than those of these
a strategic and tactical framework of move, counter-move, invitation and other weapons, and has a much broader and more rigorous theoretical
deception that blew me away. base. Because of its length and point oriented nature it is a superb teacher
When the fencing stopped, I got to meet one of the fencers who was an of range and timing. It teaches you about lines and angles and control and
instructor in my area and I was suddenly caught up in an impromptu lesson. constraint of the opponent through its strong emphasis on blade position
As soon as I had a sword in my hand, I was hooked. Twenty years later, I and interaction. Once you have gained proficiency with the rapier, the
continue to be enchanted with this weapon. Though I have studied many techniques and principles of the system can be applied to all of the other
different martial arts (both Eastern and Western), I feel that no weapon or weapons, giving one a significant advantage in further learning. When you
discipline has furthered me more as a martial artist than the rapier. To this progress to the sidesword and longsword you will already have the most
day, I am still finding new ways to improve and deepen my understanding of important combat fundamentals in place and can focus on cutting and
the art on a regular basis. crossing of lines, body position and the other skills needed to wield these
weapons. The rapier is to swordplay what the piano is to the study of music;
It is not an easy start, but investment in it will pay long-term dividends both
physically and mentally for any practitioner.
My goal with this book is to set out the fundamentals for my approach
to Italian Rapier. I think you will find that the system of the rapier I present,
though sophisticated, is easy to grasp, elegant and effective. Though duels
of honour are not common in our society, practice of this martial art will
help you become a more physically able, confident, and noble person.
These are truly the lasting ideals of martial arts training.
4| History of the Rapier Duelling over matters of honour, in Europe, had been well established
as part of the judiciary process since at least the 1400s8. This form of court
The rapier is a product of military evolution, social pressure, fashion, and
sanctioned conflict at arms followed the military fashion of the time and was
hot blooded conflict. To truly understand its origins we must start with the
typically performed in armour with lance and sword. Yet as fashion changed
changing face of warfare in the late 1400s and 1500s. Battles throughout
so did the conventions both of the duel and its weapons. The historian and
the late middle ages, in continental Europe, had long been the realm of
fencing master Pietro Monte in his 1509 fighting treatise speaks harshly
small group conflict. Regional militia with simple weaponry combined with
of the increasing number of duels being fought in shirtsleeves instead of
groups of highly trained mercenaries and noble soldiers. The weapons and
armour9. His comments tell us both of duelling’s chivalric origins and the
armour of the wealthy elite included the two-handed sword, polearm, full
evolution of its practice in the later Renaissance. These new duels were
suits of plate, and horses, used in skirmish oriented engagements with other
fought with civilian weapons over civilian causes. Duelling without armour
heavily armoured knights. These were highly experienced warriors who had
was seen as more equitable. It did not require military equipment or
the necessary time, money, and individual training that a noble could afford.
training, so your means were a much lesser factor in your ability to emerge
However in the 1400s military conflict was changing. Political and military
as victor10. It also occurred within a much more controlled environment than
powers were consolidating, particularly in Northern Italy and Germany.
a battlefield. Though many earlier authors on the art of arms had focused
More powerful fortifications were being built and military forces were
on a broader system of fencing, that could be applied both in duels and
moving away from smaller militias and mercenary bands to larger, well-
in more diverse encounters11, a new mode of fencing was emerging that
funded, standing armies. These larger armies, now in the thousands, instead
focused purely on the civilian encounter.
of the hundreds, were armed with increasingly reliable guns and artillery
“Because of the diabolical modern invention of artillery, all that remains
and employed significantly more advanced formations. Armoured cavalry,
to us of the good ancient ways of military honour is the duel”12 says
noble soldiers, and elite mercenaries, were becoming a thing of the past6.
Camillo Agrippa in the introduction to his 1556 fencing manual. Agrippa
Although the place for nobles was diminishing on the battlefield, the
was an engineer, architect, and fencer who lived in Rome. His Treatise on
pressure for them to show individual prowess at arms remained. Castiglione,
the Science of Arms was a revolution in fencing that leveraged a scientific
in his influential Book of the Courtier (1528) writes “The principal and true
approach while expressing the duel’s new sensibilities. It shed old modes
profession of the courtier ought to be that of arms.” He goes on to state
of thought in swordplay and paved the way for a new approach to fencing.
that a courtier is expected to be adept with the weapons normally used
Although Agrippa’s weapon largely resembled the battlefield weapon of
not only in war, where no great subtlety is needed, but also in the combat
his contemporaries, now typically called a sidesword13, his system of fencing
that frequents quarrels between gentlemen7. Fortunately, an institution
was the first designed around a more thrusting-centric approach, tuned to
had already been well established that embraced and legitimized these
the unarmoured conflict. This new type of fencing was even more attractive
gentlemanly conflicts, and gave an outlet for demonstrating military skill:
to the noble class. It was more scientific and allowed for nobles to both
the duel.
express and differentiate themselves through a knowledge of geometry Though not all rapiers were exceedingly long, a weapon with a more |5
and mathematics, while simultaneously showing their prowess in affairs of complex hilt and thrusting-oriented profile became the norm amongst
honour. This was seen as more dangerous, and thus more valorous, because fencing masters throughout Europe21. In a challenge with a single opponent,
it was done without armour and between exclusively noble parties. As this there was no need to have your weapon immediately free after an attack.
new type of fencing took hold, the weapons themselves evolved with it. The weapons and armour of your opponent were also more consistent,
The name “rapier” most likely comes from the Spanish term espada meaning the rapier could give up the versatility required of battlefield
ropera or “dress sword”, first encountered in 146814. It refers to a weapon weapons and become highly specialized.
that is worn in civilian contexts as opposed to those worn as part of military The rapier, as it emerged in this period, was one of Europe’s most deadly
dress. As noted before, it is rather hard to pin down an exact specification weapons in a one-on-one encounter. It was a weapon that developed out of
for what is referred to as a rapier in history. The rapier we’re dealing with in revolutions in military thought and scholastic advancement, and captured
this book is the rapier influenced by Agrippa’s new type of fencing at the the hearts and minds of a noble class obsessed with honor and valor.
peak of duelling in the late 1500s and early 1600s15.
Ridolfo Capoferro, in his 1610 fencing manual16, recommends that a rapier
be so long as to have its point rest on the ground, while the pommel rests in
the wielder’s armpit when standing erect. His sword could be as many as 12
to 20 inches longer than its predecessors. Swords of similar lengths appear
in other Italian manuals of the era, including those of Nicoletto Giganti17
(1606), Salvator Fabris18 (1606), and Francesco Alfieri19 (1640).
The length of the rapier allows the point itself to be used as a primary
mode of defence, simply through threat. These longer rapiers also
featured much more complex hilts than earlier swords with rings and bars
surrounding the hand of the wielder. The “swept” and “cup” hilts gave the
wielder greater protection in thrusting actions, especially those conducted
simultaneously as both defence and attack. This mode of combined offence
and defence became the norm in Italian fencing texts of the late 1500s
and throughout the 1600s and replaced an earlier preference for two-time
actions, where a defence would first be made and then followed by an Combined offence and defence. From the manual of Ridolfo Capoferro, 1610.

offence20.
6| Wounding with the Rapier The rapier syllabus contains many cutting techniques as well and the
heavier and broader the sword you are using the more potent the cut. Cuts
The rapier wounds in two primary fashions: the thrust, and the cut.
with the rapier are delivered by first withdrawing the sword, to prepare it,
Most of the techniques for the rapier are optimized for aligning your
and then striking directly with the edge or by sending the end of the blade
body behind a thrust, and for defending you against the thrusts of your
through a circle. The path of the cut meets and passes through its target,
opponent.
striking with a section of blade approximately 6 inches from the point.
It only takes approximately 4 lbs (1.8 kilos) of pressure to push a sharp
At this place the weapon has enough substance to cleave or slice and is
sword through human skin22, and it takes not much more to go through
accelerating fast enough to impart significant damage.
most clothing, except thick hides and real armor. When you deliver a
thrust only a small amount of speed and intention is required to create the
necessary force, and the impact is essentially imperceptible to the wielder23.

The preparation of a cut. Note the cut’s eventual path.

A thrust. Note that the back foot, lead knee, and point align. The back leg and sword hand also align.
In all fencing and practice we strike with care and precision. Even though
the swords are blunted it is easy to accidentally hurt a friend through
careless or overly fast movement. Focus your practice on alignment,
intention, and timing. Bring speed into the equation only once you have
established a solid foundation in your skills.
A Unified Approach Every technique that you learn in this book is based not only within the | 7
Italian tradition but is also described from a fundamental understanding.
The system of rapier fencing that has developed at Academie Duello has
I do not teach any technique based on its placement in a historical text,
come from years of study, practical experimentation, and competition. Its
instead I teach it based on its mechanical efficacy, its tactical context, and
origins rest in the Italian systems of rapier taught and set down in manuals
its strategic effectiveness. Essentially if I can’t pull it off in combat, and teach
by historical masters, including Camillo Agrippa (1553), Salvator Fabris
others to consistently do the same, it’s not ready to be part of my system.
(1606), Nicoletto Giganti (1606), Ridolfo Capoferro (1610), and Francesco
In this way I believe I can teach you to be an owner of the techniques you
Alfieri (1640).
practice and give you a better chance of truly learning the art that lives
Academie Duello’s system is not a re-creation of any one particular
underneath them.
style, but instead follows the principles and strategies laid out by these
It is important that you understand that the pedagogical approach, some
masters and others who taught rapier in Italy at the height of its use
of the terms used here, as well as the use of some historical terms, are my
and development. There are many more commonalities between these
own. Language is a powerful tool and I have used it to the best of my ability
authors than there are differences, and it has proven to me to be a far more
to transmit this art; that has meant adding terms and, more specifically,
complete experience to present a unified approach to Italian fencing rather
applying new theoretical and pedagogical ideas where I felt they added
than trying to isolate one master’s particular expression.
clarity. To help readers understand these differences, and apply what they
As modern practitioners we start with a very different base of knowledge
learn here to their reading of historical sources, I have included a glossary
and approach to learning than our historical forbearers. This makes
of terms at the end that gives a comparison to historical usage. I have also
historical texts not as easily accessible or comprehensible as we would like,
provided endnotes regarding new terms and ideas, where appropriate,
especially for the first-time practitioner. My goal is to transmit the principles
throughout the text. It’s important to note that, especially when working
of Italian fencing to a modern reader in as efficient and effective a manner
with historical texts, the usage of terms varies broadly between authors.
as possible based on who we are as modern people. And like the fencing
masters of history, my goal is to give you an understanding of swordplay
itself, not a scholastic understanding of a particular historical system.
8| Structures of the Art Causes
If we were to imagine the art of swordplay as a metaphorical building it’s Causes are the ground upon which an art is built; it’s context, the reasons
structure would look something like this: for it to exist as it does. There are potentially dozens of types of causes but a
few include:
• Combative Goals. Is this an art designed to kill, win tournaments,
TECHNIQUES, TACTICS & STRATEGY
subdue opponents, avoid conflict, all of the above?
• Cultural Environment. Are there laws or rules that the art needs
to follow? Are there social pressures that define what is acceptable,
attractive, or valuable?
MEASURE

TEMPO
COVER

LINE
• Physical Environment. Where does the art need to be applied? Is it
used for self-defence on city streets, in multi-person melees, in one-on-
one duels, or in multiple types of environments, or just in one?
• Tools. What is the nature of the weapons? Are they sharp and hewing
or blunt and bludgeoning? Are they designed for scoring points or
POSTURE & MECHANICS taking lives? If you’re using a blunted edge weapon, is that the end of
the road or is it standing in as a training tool for its sharp counterpart?
CAUSES
Structures of the Art. It’s useful when looking at any art to understand where it comes from
and where it’s trying to take its practitioners. We call our foundational
causes the three tenets (more on them momentarily).
Posture and Mechanics Techniques, Tactics and Strategy |9
How you hold and move your body is the foundation of the art. How you Upon good mechanics, and through adherence to the principles of the
connect yourself with the ground, align your body and the weapon, and four pillars, we place the techniques, tactics, and strategy of the art.
move to create power and structural strength. It is only upon a solid physical This ground up structure is the approach that this book takes. We start
base that you can enact the combative principals of the art (the four pillars) with an orientation to the underlying causes and history of this art (chapter
and put into practice technique. 1). Then we explore the foundational mechanics for the rapier and the
As in any martial art, a big part of being successful requires strength, techniques surrounding the pillar of measure in the chapters on Posture
range of motion, and conditioning. If you can’t hold and move your body (chapter 2), Attack & Measure (chapter 3), and Movement (chapter 4). In the
effectively it’s difficult to implement combative strategies and accomplish chapters on Gaining the Sword (chapter 5), Approaching Different Guards
combative objectives. Don’t let that intimidate you. Anything athletic and (chapter 6), Recovering Control (chapter 7), and Defence (chapter 8), you
unfamiliar is difficult and awkward at the beginning. Posture and mechanics will learn the techniques of cover and line. The pillar of tempo is explored
is not only the place you start but a place you will return to refine as you in-depth in chapter 9 where the previous techniques are pulled together
improve. and placed into the right moments of combat. Finally we’ll dive into Strategy
(chapter 10) and how to take skills From Drill to Combat (chapter 11).
Measure, Cover, Line, and Tempo
The four pillars of fencing are the principals upon which all of the
techniques, tactics, and strategies of the art are based and must rely:
Measure - The judgment of distance between you and your opponent.
Cover - The management of safety from your opponent’s weapons.
Line - The identification and creation of openings for attack.
Tempo - The understanding of timing, rhythm, and speed, and their
relationship to distance.
Everything you try to do in fencing can be assessed through these pillars:
What range do I need to be at to do this (measure)? How does it make me
safe (cover)? How does it allow me to strike or setup a strike (line)? When is
the right time to do it (tempo)?
10 | The Three Tenets Proper Arms
At the founding of Academie Duello we asked ourselves whether our Always use the most accurate simulators of the weapons and armor for
goal in the practice and teaching of these martial arts was re-creation or the martial art you are practicing.
revival. The weapon is your first teacher. The techniques of the rapier are those
Re-creation is a historical and scholarly study whereby one attempts to that are optimal for the weight and balance of this particular weapon.
translate, interpret, and practice the exact system set down by a historical Do not be surprised to find that the techniques of the modern Olympic
master. In a re-creation environment great pains are taken to stay within the epee are not best for the rapier, or that the techniques practiced with the
interpretation of a particular historical master and system and should our bamboo shinai in Kendo are quite different from those practiced with the
knowledge of that system change so must our art. sharpened steel katana from which they were derived.
Revival also works with the teachings of historical masters but the focus is
Proper Respect
to use this knowledge to inform and develop a modern and evolving martial
art that has historical roots. As a revival school, which was the choice we Respect the deadliness of the weapons and the deadliness of an
made, the goal is to stand on the shoulders of those who came before. To be opponent using proper technique.
as their students and to practice the art both as it was and as it could be. Though we practice and compete with blunted blades and do body
The first challenge we faced was to create an environment that would to body work with control and care, it is important to always maintain
help preserve and encourage the martial and historic aspects of the art we awareness that the real weapon is sharp and contact with your opponent,
teach while allowing it room to grow. This led us to the establishment of or their weapon, potentially deadly. When you begin to see your weapon as
three guiding principles: the Tenets. Through adherence to these tenets a point scoring stick you will stop practicing a martial art and start playing a
we believe that a group of passionate sword fighters locked in a room for game.
20 years of regular sparring and practice, with no outside influence, would Proper Context
develop techniques similar, if not exactly like, those of the masters in the
Create combative environments and conditions that are as close to the
Renaissance. The Tenets are:
traditional environment as possible.
The rapier was born out of the duel and that is the environment we apply
it to in our practice. This is a space where a single decisive wound could
end the engagement and one’s life is truly on the line. There is no armor,
the terrain is generally open (though the surfaces may vary), and you are
generally facing a single opponent who is similarly, though not necessarily
uniformly, armed.
Using this Book Notes on Layout | 11
This book will help you build a general competency with the We have endeavored to make the lessons and exercises in the book as
fundamentals of the Italian Rapier. It’s difficult to do this alone, so I intuitive and easy to follow as possible. That being said, here are a few bits
recommend reading it along with a friend or group of practice partners. It of guidance to help you understand them better:
can be useful to read it first from cover to cover to familiarize yourself with Throughout the text we include in-line images, like the following.
my overall approach to this art. Then, to truly absorb the material, it will be u v
important to spend time on each section and the exercises therein.
Within each chapter the content is divided into theory, lessons, and
exercises, as well as tactical and strategic applications. I hope that, through
this multi-tiered approach, you can build an understanding, apply it with a
partner, exercise and drill the practice until it is in your motor-programming,
A view of the swords from your perspective. Your partner’s view of the swords.
and then use tactical and strategic exercises to put what you learn in
context, as soon as possible. You’ll note that these images contain a few guiding marks:
To truly understand the rapier you will need to realize these skills in Circled numbers ( u v ) that match the written steps in the exercise.
a combative environment. I recommend that you move toward tactical A indicates that this image is seen from the perspective of the main
exercises and slow free-sparring (safe combat with protective gear) as soon operator in the exercise (referred to in the text as “you”).
as you have the basics under your belt. If you are interested to learn more A indicates that this image is seen from the perspective of the
about combative rules and conventions, skip to the last chapter. partner in the exercise (referred to in the text as “partner” or “opponent”).
This book is a primer on the fundamentals of this system. There is When you see beside an exercise you’ll know to look to the bottom
much more depth and many more techniques that I will explore in two of the page to find a Timeline Sequence summary of that exercise, shown
forthcoming volumes. Look to those for advanced techniques, use of in profile. Exact steps are not specified but these sequences generally show
secondary weapons, and strategic approaches to diverse contexts and the entire exercise from the beginning to end with short captions. They’re a
opponents. good way to either preview or review a given technique.
Lastly, books are a great way to learn theory, but a dynamic art such as  First in sequence  Next in sequence  Last in sequence.
this benefits from an approach that includes text, video and, if possible,
hands-on instruction. My Introduction to Italian Rapier DVD and the
Duello.TV video website offer full-motion descriptions of every exercise
contained here (and many more) and are an ideal companion resource for
further comprehension. My school, Academie Duello, in Vancouver, Canada,
also offers workshops and intensive programs designed for visitors. We also Many images and diagrams also contain arrows to indicate movement,
send instructors abroad to help enthusiasts build their practice through highlight body alignment, or draw attention to specific elements. I hope
expert instruction. that these are self-explanatory.
12 | Mastering the Rapier Acquire accurate simulators
The journey of the rapier is long and rewarding and will provide even the The weapon is your first teacher. Make sure that you have a practice
most gifted with new epiphanies for years. rapier that is suited to your stature and accurately represents the real, and
The fundamental techniques of the rapier are relatively few and are deadly, weapon.
represented in a few simple postures and exercises. You can acquire these
Establish a Training Regimen
fundamentals quickly, at least superficially; however, developing a full
understanding of the art, and the ability to apply it in diverse situations, will Take part in a weekly study group or class and make time on your own
take you years of study. to practice regularly. Class time is where you learn new skills, mark their
To access all that this weapon has to offer you, and to maximize the progress, and identify flaws that need to be worked on. Training on your
effectiveness of your study, I recommend that you follow these guidelines: own is where you build muscle memory, and develop strong fundamental
movement through repetition and continuity. For serious study, practice
for at least two hours three times per week. On all other days, commit to
practice for at least five minutes. Short sessions are very easy to keep up
with, no matter how hectic your life. If you’ve forgotten during the day
five minutes before bed is easy enough to squeeze in. It also ensures that
you get the weapon into your hand each day and often breaks the inertia
between you and a more intense study session.
Practice with decent people who inspire and challenge you Teach | 13
Good practice partners make all the difference. Good partners—the ones Having to take something you are doing intuitively and present it in a
you should seek out—drill and fence to learn, to test themselves, and for form that others can acquire will challenge and deepen your understanding.
the joy inherent in those things. These people can challenge and inspire Most of my intermediate students have made their biggest strides toward
you. Bad partners drill and spar to win, to build their egos, and to prove deeper comprehension when they have begun teaching. However, as
something. Bad sparring partners can provide some small benefit when you Achille Marozzo in his 1530 Opera Nova warned, do not over-represent your
are highly skilled, as some of them can provide a competitive challenge; skills to yourself or your students and risk becoming an “Imperfect Master”.
however a complete lack of perspective beyond winning can suck the joy Wait until you have a firm grounding in the art before becoming a teacher.
out of sparring, and learning, and lead to potentially dangerous situations.
Work with sharp swords
Spar with intent and structure Obviously not on your fellow training partners—instead work with “live”
Don’t rush into sparring and don’t get over-focused on winning. It is blades in exercises against test cutting objects, or even well-dressed pieces
easy to develop poor habits and build techniques that only work against of meat such as pork or beef-sides. This will help you better understand
inexperienced sword fighters. I recommend sparring in a controlled what the rapier does well, and what it does poorly, as well as how to
environment with the objective of learning. Focus on applying given properly execute a technique to deadly effect.
techniques, be observant of your form, and attempt to fence beautifully.
Competition is fun and I encourage it; however, at the beginning you’ll find Seek out an instructor of competence and worth
it more useful to use competitive games, and other types of structured Though books like this are now readily available, as well as many
encounters, to allow you to build true proficiency with the fundamentals. historical treatises, truly excelling at an art is best done under the guidance
of an instructor who can assess and analyze your progress, point you in new
directions, and facilitate your learning.
14 | Note on Left-Handed Fencing If you or a training partner are left-handed, then train symmetrically at
first. Meaning, if you are using your left hand have your partner do the same
“For many reasons, it is most advisable to learn all sorts of weapon-play with
and then have both of you spend time on the right. Once you have gained
either hand, and to develop the ability to strike and parry with the right or the
proficiency with swordplay in a symmetrical environment you can start
left hand.” - Antonio Manciolino, Opera Nova, 1525.
exploring how you can adapt to asymmetrical situations, where one fencer
Every fencer should practice with both their dominant hand and their
is left-handed and the other right.
non-dominant hand. In fact the easiest time to develop your fencing
For clarity, in this book I present all of the exercises and images showing
ambidexterity is at the beginning, when both sides of your body are equally
right-handed fencers. I endeavour to use the term “sword-side” to refer
unconditioned. If you do not equally practice on both sides you will develop
to the dominant side and “off-hand side”, or “off-side,” to refer to the side
your body and mind unevenly.
where you are not holding a sword, as much as possible, to make things
Functionally and tactically it can be advantageous to develop martial arts
easier for left-handed fencers as much as right. There are, however, times
from both sides. Some studies have shown that symmetrically-developed
when simply right and left are best. Pay close attention to the pictures and
martial artists employ greater diversity in their combative approaches and
descriptions when translating a given technique from the right to the left
are more successful, in some competitive environments, because of this24.
hand.
Uneven body development can also lead to health problems, as the
one-sided development in the muscles of your shoulder and hips can bring
your bones out of alignment, pinch nerves, and cause other issues25. Uneven
mental development simply makes for a less competent sword fighter,
especially when you get to the point where you’re using two weapons
simultaneously. If you let one side gain significant endurance over the other
you will find that playing catch-up takes a lot of discipline; You will always
want to favor the hand that is easier and feels fresher. Balance the time you
spend between both hands at the beginning and you’ll be happier, and
more competent, in the long run.
Equipment Protective Equipment | 15
To practice the art correctly, you will need equipment that properly Pairs drilling is best done with, at least, the following protective
simulates the historical tools of the art. Fortunately, equipment is much equipment:
more readily accessible now than it was 10 or 15 years ago. Many choices • A “three-weapons” fencing mask
exist on the market for both armor and weapons. The gamut ranges from • A gorget/throat-protector, made of steel or rigid leather.
inexpensive and serviceable to high-quality and premium-priced.
• Comfortable footwear and workout clothing. A good running shoe
with a flexible bottom is important. Wrestling shoes, indoor running
shoes, fencing shoes (available online), and even Kendo shoes, offer the
RAPIER MASK
protection of footwear with the flexibility of a bare foot. If you have a
good and safe training floor, doing your drills barefoot is an excellent
JACKET way to strengthen your feet.
CHEST PROTECTOR
For sparring, I recommend the following additional equipment:
• A padded combat jacket made for rapier fencing.
• Gloves. At Duello we use motorcycle gloves as they provide good
GORGET durability, comfort, and a cuff that offers protection to the wrist.
ATHLETIC
PROTECTOR
GLOVES
Clockwise: A rapier, mask, chest protector, athletic protector, gloves, gorget, and jacket.
16 | The Rapier different masters advocated differing weights, lengths, and balances. The
swords shown in Agrippa’s 1553 manual are shorter in blade than those
Historical rapiers varied in dimension both throughout their evolution
of later authors, at about one and a half arm lengths (when compared to
from the early 1500s to the 1700s and within any given period, based
his models). In perhaps the peak of the Italian rapier era (the early 1600s),
on the usage and physical size of their wielders. As mentioned before,
Capo Ferro, Giganti, and Fabris show blades of at least two arm lengths.

POINT

FALSE EDGE
BLADE
QUILLON
HILT/GUARD DEBOLE
RICASSO
TRUE EDGE
GRIP
FORTE
POMMEL
RINGS/
KNUCKLE BOW SWEEPINGS
QUILLON
The parts of a 17th century rapier.
However, some contemporaries to these authors, such as Vincentio Saviolo | 17
(his manual published in 1595), show images with rapiers that are broader
bladed and potentially even longer. In museum collections relating to
rapiers of the early 1600s you can find examples that range in overall
length between 40" to 70". We also know that blade length restrictions
were brought into many European cities, most notably London in 1566
when a young Queen Elizabeth restricted the blade length of rapiers
to approximately 40" (one and one quarter yards).26 This was perhaps a
statement of support toward the shorter and more English broadsword
and backsword and against duelling, which was a more continental fashion A figure from the manual of Camillo Agrippa, 1553, holds a short and simple hilted rapier.
often done with rapiers.
In my experience, rapiers have a surprisingly broad range of weights
from as light as two pounds to as heavy as five and half. The weight can
be from the blade itself or based on the weight and complexity of the hilt
and pommel. In a study by Florian Fortner and Julian Schrattenecker that
compared 7 historical rapiers to modern reproduction swords, their studied
examples had a range in weight between 1130 g (2.5 lbs) and 1630 g (3.5
lbs) and thickness at the ricasso ranged between 8.3mm and 10.3mm and
width between 14.7 mm and 24.4 mm.27 Often what makes a blade feel
heavy or light is where on its length you find its center of balance (the point
where you can balance the rapier and it will hold an equilibrium between The rapiers in the manual of Salvator Fabris, 1606, are long and feature complex hilts.

its hilt and point). Rapiers in the study had balance points from 3.7" to 6.1"
from the hilt.
Careful examination of sword hilts in rapier manuals varies from simple
cross bars and rings around the fingers to much more complex hilts that
include sweeps and plates on both sides of the blade.

Ridolfo Capo Ferro in his 1610 manual advocated that a rapier’s length be from armpit to floor when
standing erect.
18 | The Right Rapier for You A good test for a rapier’s flexibility is to hold the sword by the grip and
place the sword against a home
An important thing emphasized both by historical masters and this
scale. Apply about two pounds of
author is that your rapier should suit your build and your capabilities.
pressure. The blade should bend off
Length certainly has the advantage of being able to reach farther but
the centerline between one and two
it can also be much more challenging to maneuver and presents a much
inches. Preferably this bend will
longer lever to your opponent. Though I work with rapiers as long as those
occur in the third of the blade closest
advocated by Capo Ferro, I think having a rapier whose quillons (crossbar)
to the point, which is the focal point
come up to your belly button, when the point is resting on the floor,
for striking with the weapon.
provides a good and manageable length for most practitioners (typically a
You can also get a feel for the
blade between 36" and 45").
blade by maneuvering it through the
The rapier system I present is best suited for more slender, thrusting
air or attempting to cause the blade
oriented, weapons that are between 2 and 4 lbs in overall weight with
to wobble. If the blade oscillates
complex hilts (sweepings or rings). I recommend that you have a balance
excessively or, when held straight
point along the blade of between 2 and 5 inches from the hilt. If the balance
with the flat towards the ground,
point is too far back into the handle your sword will be easily pushed around
bends more than a small degree Two inches of deflection from the centerline under
by your opponent. two pounds of pressure on a bathroom scale.
under the weight of its own point, it
Ensure that the blade is flexible enough not to hurt too much when you
is probably too flexible for effective use.
strike but firm enough not to wobble when you move it through the air or
At Academie Duello we use rebated rapier blades made by several
interact with another weapon.
different makers, notably: Cas Iberia/Hanwei, Darkwood Armory, Del Tin
Armi Antiche, and Marco Danelli. On the end of the rapier we affix an
archery blunt, which is a rubber stopper, you can typically find at archery
supply stores or order online.
Equipment, and its makers, change all the time. I recommend you take a
look at my website for an updated list of my recommendations for swords
and protective equipment as well as for discount starter kits for readers of
this book:
http://www.academieduello.com/equipment
 | 19
Chapter Two

Those who like the guards, and counterguards, and

constraining, here, there, above, and below, feints, and
counterfeints, slope paces, voids of the legs, and crossings,
must necessarily form and move their bodies in many
strange ways; which, as things done by chance and that
were founded without reasons that are sound and true, we
will leave to their authors.
—Ridolfo Capoferro, Gran Simulacro dell’Arte e dell’uso di Schermire, 1610

POSTURE
Posture, and our physical structure, is the base upon which all good
martial art sits. To be effective your weapon needs to feel like an
extension of your body and your body an extension of the ground. In
this section you will learn how to hold the sword, properly place your
body for attack and defence, and move effectively between the core
postures.
20 | Natural, Comfortable, and Optimal Every position that you will learn in this book is natural in these ways and
is also optimal for the goals that you want to achieve when you have a rapier
When approaching rapier fencing, and many other martial arts, I have
in your hand.
often heard practitioners advise a new student to do whatever feels
An optimal rapier posture will:
“natural” to them. This idea then typically leads to a new student developing
a poor foundation for their long-term success. • Guard your safety by presenting a deadly threat to your opponent.
We often confuse the idea of what feels “comfortable” with what truly • Restrict the targets that your opponent can strike.
is natural. Comfort is the feeling we get from the long-term repetition of • Place your sword in its most tactically advantageous place.
a particular activity or posture. In time we can become comfortable with • Align your body for strength, stability, and speed.
nearly anything, whether it is good for our body’s health or not and whether
Developing a highly optimized posture will help you to achieve
it is in-line with our goals or counter to them. Think of the hunched posture
the highest level of rapier fencing and will expand your body’s natural
many of us develop from sitting at a desk for many hours at a time; it may
capabilities. Comfort will come in time through thoughtful and regular
feel comfortable but it’s certainly not natural.
practice.
For something to be “natural” it must be in alignment with nature, in this
case, that means the structure and composition of the human body. A natural
movement, or position, would be well supported by our skeletal structure,
in-line with the movement of our joints, work well with our muscles to create
grace and stability, and help our circulatory system do its job.
Holding the Sword Pay careful attention to how you hold your sword and revisit the ideas | 21
presented in this section frequently as you progress. To Hold Your Sword:
A firm and sensitive connection with your sword will allow you to:
1. Hold your rapier in your off-hand by its forte. Place it comfortably in front
• Apply the force of your whole body through the weapon.
of you, so you can easily access its handle with your sword-hand, with the
• Resist the force of your opponent’s sword. knuckle-bow toward the ground.
• Maneuver with precision and ease. 2. Place your sword-hand palm-down over the sword’s handle with your
• Maximize the endurance of your wrist and arm. index finger reaching past the quillon and your remaining fingers over
• Make optimal body and sword positions with comfort and ease. the handle. The handle of the rapier should run diagonally across your
palm with the pommel at the heel of your hand and the ricasso at the
If you have a weak or improper connection with the sword you will find
second knuckle of your index finger.
that your wrist or hand gets tired quickly (even after you’ve been practicing
with the rapier for several months), and that certain positions of the sword,
and arm, are challenging, or even painful, to form. You will also find that u v
your opponent can easily push your blade around and thus strike through
your defence.

Hold the rapier by its forte. Grasp the handle with your index finger past the
quillon.
22 | 3. Hook your index finger, at the farthest knuckle, around the ricasso. Have A correct grip:
the rest of your fingers comfortably grasp the handle. Place your thumb • Requires only the index finger and the pommel against the heel of your
on the opposite side of the ricasso, on the same side of the quillons as hand to keep it’s point up.
your finger tips. Point your thumb toward the tip of the rapier. • Aligns the bones of your arm with your true edge, allowing you to
apply a strong downward force using your entire body.
w x • Can resist a downward force from your opponent’s rapier.

The sword’s orientation across the palm, as shown Comfortably grasp the handle and ricasso.
from below.

4. Place the handle under your palm. The sword’s handle rests against The handle and pommel are Pressure against the back of the
the hand. The point is held up underneath the forearm. blade is taken into the hand.
through leverage.

Tips
• Always stay as relaxed as possible in your grip.
• Only use as much strength as is necessary to conduct a given action.
• Movement of your rapier’s blade and point should be conducted
through the manipulation of the fingers, and wrist, with the thumb
directing the point.
• Use as little upper arm motion as possible.
Positioning the Lower Body 3. Advance your sword-side foot, along the line of direction, two foot- | 23
lengths.
Imagine a straight line, that runs on the ground, between you and your
4. Bend your back leg, sliding your hips back, until your rear knee extends
opponent. This is the “line of direction”.
over your toes (but not past them). Take about 80% of your weight onto
1. With your feet form an L shape on the line of direction. Place your sword-
this leg.
side foot in front. Point it at your opponent. Place your off-side foot
5. Soften your front knee so it is not locked. Keep your weight over the balls
behind it with your heel on the line.
of your feet with your heels resting lightly.
2. Rest your shoulders so they are in-line with your hips and turn your head
to look along the line of direction. You will be presenting your sword-side
shoulder to your opponent.
w y

u v

Step two foot lengths along the line of direction. Take 80% of your weight over your back foot. Soft
front knee.

Form an “L” on the line of direction. Shoulders align to the line of direction.
24 | The Defensive Posture
There are two formations of the sword and upper body. The defensive
posture and offensive posture.28 For clarity, I will describe these for a fencer
holding their sword in their right hand.
To form the defensive posture:
1. Position your feet as described before.
2. Lean back slightly so that your head is drawn back over your left shoulder
and your left breast is above your left buttock. Keep your left buttock
over your left heel.
3. Place the forearm of your right arm, parallel with the floor, at the height
of your waist. Leave one hand-span of distance between your elbow and
your side.
4. Orient your true edge toward the ground and direct your sword’s point
toward the face of your opponent. The defensive posture: Head, chest, and leg are withdrawn.
5. Place your left hand (your off-hand) beside your left cheek with your
palm toward your face.
In the defensive posture your sword protects your flank with its hilt. Your
head and legs are protected by being withdrawn, thus further away, from
the opponent’s point.
The Offensive Posture | 25
The offensive posture is both a waiting position, that presents a higher
degree of threat, and a transition position, used when moving from the
defensive posture into an attack.
To form the offensive posture:
1. Form the defensive posture.
2. Extend your sword toward your opponent. Straighten your arm until your
hand is at the height of your shoulder.
3. Reach forward with your right shoulder so that your right breast is over
the middle of your right thigh. Keep your body profiled and your hips
back. You should maintain the 80/20 weight distribution between your
rear foot and front foot.
In this position your head and chest are protected by the hilt of your
sword while your lower body is protected through being withdrawn. Offensive posture. Weapon, arm, and shoulders are extended. Hips and leg are withdrawn.
The bent back leg, in both postures, helps you keep targets away from
your opponent and stores energy for an explosive attack.
26 | Off-hand Position By the Lead Arm (Closed Position)
The off-hand (the one that is not holding your sword) can be used to Extend the off-hand to touch the sword arm, as far forward as
defend yourself by pushing an opponent’s sword out of the way, especially comfortably possible without turning your shoulders.
when your sword has failed to do so. There are two useful ready positions In this position the hand can hide behind your sword hilt so it is not easily
for your hand in the defensive or offensive posture29. struck. Here, it is close to the action so it can make a quick defence and its
proximity to your sword-arm eliminates the ability of your opponent to
By the Face (Open Position) strike your body between the sword and the off-hand (the reason it is called
Place the hand beside your off-side cheekbone, with the fingers extended the “closed” position).
by your eyes.
This facilitates an easy defence for the face by simply passing the palm
across the face to the sword-side. It also sets up a defence for the upper torso
by passing the forearm in front of the body.

The closed position. The off-hand parries by pushing across the body
toward the off-hand side.
Tips Regarding Off-hand Position
• Keep your off-hand back or hidden behind your sword hilt. This will
prevent it from being easily struck.
The open position. The off-hand parries by pushing across the face or
body toward the sword-side. • Stay profiled, especially in the closed position. Reach forward with your
off-hand as far as you can without squaring your shoulders and making
your body a larger target.
• If you have a larger chest you may find it easier to place your arm over
your chest rather than under or beside. To do this: reach straight up,
then extend your arm forward and down, with a circular motion.

Placing the offhand over the chest to extend its reach.

Alignment Advice • Your rear toe should be oriented at 90-degrees to the front, or at a | 27
greater angle (for balance and knee alignment) up to 120 degrees.
• Keep your knees and toes oriented in the same direction.
• In the defensive posture keep your hips in-line with your chest and back
heel. Do not let the sword-side hip push forward toward your opponent.

Front toe and knee point in the same direction. Back toe and knee point in the same direction.

• When you straighten your arm or leg keep the joint slightly bent 90-degree relationship between 120-degree relationship between Note the left hip is over the left
the front and back foot. the front and back foot. foot.
(“soft”). Locking a joint can easily lead to hyper-extension.
• Keep your weight over the back leg as you move into the offensive posture.
• Keep your weight on the balls of your feet. This will help you stay balanced.
• Keep your front toe pointing at your opponent.

Keep your weight over the back leg. The front toe must point along the line of direction
to the opponent.
28 | The Importance of Being Profiled Another common error made when forming the offensive posture is
leaning the body to the left and off the line of direction. Instead, extend
along the line to keep the body profiled.

Look at the two fencers above. The fencer on the right is standing in
a very square fashion, with the hips open and both shoulders forward. Incorrect! The fencer is leaning off the line of Correct! The fencer is extending forward along the
direction. line of direction.
The fencer on the left is standing with their feet in an L shape, with their
shoulders and hips over the line of direction. Which fencer is presenting the To stay as profiled as possible, be sure to keep your shoulders, hips, and
smaller target? feet over the line of direction.
Hopefully, the answer to this is clear: the one on the left. This orientation of the body will feel difficult at first and certainly may
A large part of your defence relies on keeping your body behind your feel uncomfortable. Time invested now will help you develop an excellent
sword. By being well profiled you reduce the amount of movement required postural foundation for later sword-work. Be sure to use the exercises that
to keep your body safe. follow to develop the strength and ability to make the optimal, profiled,
posture.
Target Management In the defensive posture your flank is protected by your hilt. Your head and | 29
upper body are withdrawn to protect them through distance.
The hilt of your sword is its most defensive component. What is placed
behind the hilt is generally protected by its rings and the forte of your blade.
Though it may seem small, by pushing it toward the threat, it creates a much
larger protective area I call the “cone of protection”. This is similar to how a
small object can make a large shadow by being close to the light source.
Those things that are not behind the hilt need to be protected through
distance. The defensive and offensive postures are designed to use these two
principles to restrict your opponent’s ability to easily attack you.

Note how Right’s hilt pushes Left’s sword away from their body.

In the offensive posture the hilt and the threat of your point protect your
upper body. Your lower body is withdrawn to protect it through distance.

The offensive posture (left) and defensive posture (right).

30 | Exercise: Postural Isolation It is ideal, in this exercise, to have a partner observe you. You can also use
a video camera to observe yourself. Look for the following signs that you are
The following exercise will help you develop body awareness and the
performing optimally:
ability to coordinate each part of your body while maintaining proper
alignment of your shoulders and hips. • Crisp and distinct movement. For example, your hips will stay precisely
Throughout the exercise move only the body parts you are directed to in place while you reach forward with your shoulders.
move. Though later you will blend movements into a whole, at this point, • Complete each movement before the next movement begins. The
you want to practice distinct, crisp, and isolated movement. goal is to not blend movements unintentionally.
This exercise does not require a sword. • Shoulders over hips. Hips over feet. Watch for leaning and tilting of
1. Begin in the offensive posture, with your right side leading. Extend your the body.
left arm behind you, over the line of direction, and in-line with your right • Arms and shoulders parallel with the ground. Not higher or lower than
arm. Keep both arms parallel with the ground. the other.
2. Shift your hips forward, so your weight is over your right leg. Maintain the • Hips stay the same distance from the ground as you propel them
alignment of your arms throughout this shift. forward and backward. They do not rise or fall.
3. Shift your shoulders back, so your left shoulder is in-line with your left • Knees stay in alignment with toes. As you shift your weight forward the
foot. Maintain the position of your arms. knee should stay over the foot and not drift to the inside.
4. Shift your hips back so your weight is completely over the left leg.
Maintain your upper body and arm alignment.
5. Shift your shoulders forward, reaching with your right hand out in front
of your right side. Maintain your hips and weight over the left foot.
6. Repeat steps 2 to 5.

 Reach shoulders forward  Slide hips forward  Reach shoulders back  Slide hips back  Repeat.
 | 31
Chapter Three

Suppose two fencers meet – one very proficient in the

thrust, the other in the cut. Rest assured that the first fencer
would definitely come out the winner, even though the
second fencer was a more physically powerful person.
—Salvator Fabris, Lo Schermo, 1606

ATTACK & MEASURE

Late 16th century and early 17th century rapiers are excellent thrusting
weapons and can also create significant damage with a cut, if wielded
properly and with sufficient momentum and force.
In a duelling context the thrust is by far the superior form of attack,
because it strikes at the farthest distance with the lowest commitment.
It also keeps the hilt and blade of the weapon in front of you as you
attack, which will keep you safer.
The cut, though effective in many contexts, risks exposing your body as
it passes its target. It is also harder to strike an effective wounding blow
with a lighter-bladed weapon, such as the rapier.
In this section you’ll learn how to attack with the thrust and explore the
various ranges of attack, known as the five measures.
32 | Five Measures To help build up the fundamental body mechanics of thrusting, we’re
going to start from misura strettissima and work our way out. You can then
“Measure” or misura (Italian) is the distance between your point and your
re-explore the measures by starting, as you would in combat, from fuori
opponent’s body, and your opponent’s point and your body. Being able to
misura (out of measure) and working your way back in.
judge how far you are from your opponent is vital for choosing the correct
Note that the terms I use here, as well as those in various historical
technique to apply and understanding the level and type of threat that you
sources, differ from one another. Refer to the notes on historical usage and
are facing.
glossary in the appendix for more information.
There are five measures, each defined by the length and type of motion
required to strike the opponent’s body with a thrust. They are: A Note on Friendly Thrusting
1. Fuori Misura (Out of Measure). Beyond the distance from which you can
The goal with a sharp rapier is to put the point at least two inches into
strike or be struck in a single movement. the opponent to properly wound. In
2. Misura Larghissima (Widest Measure). The distance of your longest range some historical sources you’ll see
attack, the passing lunge, where your back foot must pass your front foot. images where the rapier goes as
3. Misura Larga (Wide Measure). The distance from which you can strike by much as one to two feet through a
moving only your front foot. target. So when assessing your
4. Misura Stretta (Narrow Measure). The distance from where you can strike measure in a true duelling situation
without moving your feet, simply by going into the offensive posture and you need to accommodate for the An image from the manual of Nicoletto Giganti
that shows an approximately 1 foot penetration
shifting your weight. penetration required to do the through the opponent’s chest.
5. Misura Strettissima (Narrowest Measure). The distance where you can strike damage you seek to do.
by moving sharply into the offensive posture. In a practice situation, however, you want to accommodate for the health
and safety of your training partners. Though modern practice rapiers are
flexible, being struck forcefully over and over again can really reduce your
desire to train in a prolonged fashion. In general practice, aim to the surface
of your partner’s skin instead of aiming through their body. Seek to strike in
a way that is firm but not hard or overly painful.

u v w x y

Fuori Misura. Misura Larghissima. Misura Larga. Misura Stretta. Misura Strettissima.
Striking from Misura Strettissima Striking from Misura Stretta | 33
At misura strettissima you can strike your opponent with no more than a At misura stretta you can strike your opponent by changing into the
straightening of your arm and extension from the defensive posture into the offensive posture and shifting your weight forward. This action is known as a
offensive posture. firm-footed lunge.

The Strettissima Thrust The Firm-Footed Lunge

1. Start in the defensive posture, directing your point at the target. 1. Start in the defensive posture, directing your point at the target.
2. Extend your sword arm. 2. Extend your sword and upper body into the offensive posture.
3. Sharply push your shoulders forward, bending at your flank, striking your 3. Sharply straighten your back leg. Shift your weight over your front foot
opponent as you extend into the offensive posture. and strike with the extended sword. Keep your hips level with the ground
throughout the movement, as if they were on a track. The knee of your
lead leg extends over your front toe and no further.
u v w

u v w

Defensive posture. Extend arm Push shoulders forward.

Be sure not to shift your weight forward from your back leg. This is a very Defensive posture. Offensive posture. Shift hips forward.
short range attack.
34 | To recover: The order of operation in this action is vital. By extending your sword
1. Return your knee to its original position to draw the hips back. Leave your
first you immediately present a threat to your opponent. This forces them to
deal with the threat before they can deal with you. Pushing the upper body
upper body in the offensive posture. Keep your head hidden behind the
forward into the offensive posture then creates alignment for a powerful
hilt of your sword.
attack and optimal protection (by placing your hilt in front of your head, and
2. Return the upper body to the defensive posture by withdrawing the
keeping your other vital targets away). Once you have created the offensive
shoulders and then the arm.
posture, and know that the way is safe, you then propel yourself forward
with the back leg.
u v The withdrawing order is just as important; you want to make sure that
your body stays aligned behind your sword and its most defensive parts, as
long as possible, until you can use distance to protect you.

Withdraw hips first. Withdraw shoulders and lower sword.

Striking from Misura Larga To recover: | 35
Misura larga is the distance where you need to advance your front foot to 1. Bend the back knee to draw the hips back. Leave your upper body in the
strike your opponent in the body with a thrust. This type of attack is known offensive posture. Keep your head hidden behind the hilt of your sword.
as a lunge. It is one of the most common forms of attack with the rapier. 2. Push off the ball of your front foot, and while your hips begin to shift, pull
the foot and hips back to their original position. Recover the off-hand into
The Lunge guard position.
1. Begin in the defensive posture, directing your point at the target. 3. Return the upper body to the defensive posture by withdrawing the
2. Extend your sword and upper body into the offensive posture. Be sure to shoulders and then the arm.
keep the hips retired and your weight over your back leg.
3. Sharply straighten your back leg, pushing forcefully against the ground
u w
with your whole foot. Step one foot-length forward with the front foot
and push your hips over your front leg. Extend the lead knee so it is over
the lead toe and no further. Be sure to keep the back foot flat on the
ground. Do not allow the heel to lift or the foot to slide.
4. Extend the off-hand behind you while making the step, and align
the shoulders and back arm over the line of direction. This provides a
counterbalance to the sword, maximizes reach, and reduces target area. Recover the hips and foot. Recover shoulders then arm.

u v x

Defensive posture. Offensive posture. Lunge.

36 | Mechanics and Tips Present the Threat First
The lunge is designed to be a safe HILT IN FRONT BACK SHOULDER Make sure not to lead an attack
OF LEAD SHOULDER HIDDEN BEHIND RIGHT
and fast method of attack. Proper with your face. Send the sword out
order of the lunge is essential, as well BUTTOCKS ARE ahead of your body by using proper
TUCKED IN
as strong alignment of the body. order in the lunge:
The goal is to keep your vital parts KNEE IN LINE
WITH FRONT TOE 1. Sword and arm
hidden behind your sword and your 2. Shoulders
Incorrect! Right did not present his sword first so he
muscles, and structure, aligned for 3. Hips and feet. was struck before his attack could land.
the strongest and most powerful A proper lunge as seen from the front.

attack. Keep the head safe throughout the recovery by following the opposite
order: hips and feet, then shoulders, then finally sword and arm.

HEAD BEHIND HILT

ARMS PARALLEL
WITH FLOOR

STRONG ALIGNMENT
KNEE OVER TO GROUND
ANKLE OR TOE,
NO FURTHER

A proper lunge as seen from the side.

Make a Short Crisp Step Strike with Your Body, Not Your Arm | 37
Keep your step short and sudden (one foot-length is a good balance Maintain the extension of the arm all the way through the lunge. Your
between quickness and reach). The longer the step the more risk to you. body is the driving force behind the thrust. Resist the urge to withdraw and
There is no way to retreat while your foot is in the air. then “pump” the arm while stepping. This might feel more forceful but
Keep the proper distance between your feet in your initial stance so that greater force is not required to be effective. Withdrawing the arm delays
a shorter stepping lunge still reaches a long way. your attack and reduces your safety.
Be sure not to drag your feet when lunging or recovering. This will slow
down both actions and potentially trip you up on rough terrain. Push off the
ball of the front foot when recovering to stop the heel from dragging.

Incorrect! Right withdrew his arm as he attacked Correct! Right has fully extended his arm and
exposing his head. shoulders before lunging.

Incorrect! Don’t allow the heel to drag. Correct! Pick up the whole foot as you recover.
38 | Striking from Misura Larghissima Sword Leading
Misura larghissima is the most extreme distance from which you can 1. Start in the defensive posture, directing your point at the target.
strike, using an attack called a passing lunge. 2. Extend your sword and upper body into the offensive posture.
There are two ways to conduct the passing lunge: 3. Shift your weight onto your lead foot.
1. Sword leading. The hips stay in their same orientation as you pass
forward. This keeps your right shoulder forward and your sword closer to u v w
the opponent.
2. Off-side leading. The hips turn, bringing the off-hand, and shoulder, closer
to the opponent.
Generally, when working with sword alone, it is best to favour the first
type of passing lunge which leaves the sword more dominantly in position
Defensive posture. Offensive posture. Shift weight forward.
to defend you. However, as you develop further in your skill you may find
times when bringing forward your off-hand or a secondary item, such as a 4. Step with the back foot past the lead and slightly to the left of the line of
dagger or shield, can be advantageous for your defence. direction (not directly in front of the foot). Maintain the orientation of the
feet and hips so (for a right handed fencer) your right foot continues to
point forward while your left foot continues to point out to your left
As you begin the step, extend the off-hand behind you and align the
shoulders and back arm over the line of direction.
5. Land on the foot with the knee bent and your body supported over
your new front leg. Your back leg (the right leg if your sword is in your
right hand) should be extended, with the ball of the foot resting on the
ground, with the heel lifted.

x y y

Begin the pass. Conclude the passing lunge. Note the foot orientation.
Off-side Leading 4. Turn on the ball of the lead foot (your right, if your sword is in your right | 39
1. Start in the defensive posture, directing your point at the target.
hand) so that it is 90 degrees to its original position. If your sword is in
your right hand, your right foot will now point to your right. The passing
2. Extend your sword and upper body into the offensive posture while
foot (your left, if your sword is in your right hand), should land, in front,
turning your sword-hand palm-down (this rotates your arm and shoulder
pointed toward the opponent along the line of direction.
into a more natural position for the next part of the movement). Reach
5. Your attack ends with your new front knee over your toes, your weight
forward with your off-hand placing it just below the elbow of your sword-
carried over the front leg, and your body turned so that your chest faces
arm. Let the reaching of your off-hand begin to turn your shoulders and
toward your sword side. Your body should be profiled behind your sword
hips.
with the off-side leading and your off-hand beneath your sword-arm. This
3. Shift your weight onto your lead foot, push off your back foot, and step
adds the protection of your off-hand to that of your sword.
your back foot past the lead foot. Continue the turning of your shoulders
and hips so that your off-side comes ahead of your sword-side as you step.
x y
u v w

Note foot orientation. Conclude the passing lunge.

Defensive posture. Bring offhand forward. Shift weight forward.
40 | Recovering from a Passing Lunge Out of Measure
There are two methods of recovery: It is from this safe place that a duel should begin. Here you are beyond
1. Continue the pass forward into a second, lead-leg, lunge. the reach of your opponent’s ability to strike you, even with their most
extreme attack. However, you are also beyond your own reasonable striking
distance.
This measure is particularly important not to misjudge. Here you can
safely analyze your opponent and make plans before you approach.

Bring the right foot forward past the left. Conclude with a lead-leg lunge, through the
opponent.

2. Pass backward and recover in good order: hips and feet, shoulders, and
then sword. FUORI MISURA
MISURA LARGHISSIMA
ATTACK MISURA LARGA
MISURA STRETTA
MISURA STRETTISSIMA

Pass the right leg back behind the left. Return to the offensive posture before going to the
defensive posture.
The five measures of attack.
Reorient the hips, if they are turned, as you pass forward into the new
lunge or recover back into the defensive posture.
Lunging Measure Drill Resistance Lunging | 41
You can develop your sense of measure by attacking targets at varying The thrusting techniques in this section rely on a strong alignment of
measures. As a solo drill, place a series of objects in-line with one another at the body behind the attack. This exercise will help you develop proper
different distances. This could be a series of tennis balls suspended from the structural and muscular alignment in all types of thrusts. It requires a partner
ceiling, or a series of targets on a tabletop placed at the various measures. but not a sword.
Practice striking the different targets using only the attack required for In the exercise you are going to conduct a lunge while your partner
the appropriate measure. If you make a lunge but discover you could have provides resistance through a connection with your sword arm. In this way
struck with a firm-footed lunge (larga vs stretta), attempt the exercise again you will be able to feel the connection from your weapon hand all the way
with a shorter attack. Each attack flows one into the other, so if you start to your back foot and into the ground. Through resistance you can discover
with a firm-footed lunge, you can transform it mid-motion into a full lunge. and correct weaknesses in your alignment.
Practice the same exercise again, approaching or retreating from each 1. Stand across from your partner and take the defensive posture. Place your
target in order to always be at a given measure. For example, always working sword arm and hand into its proper position and form a fist with your
to be in the perfect lunging distance of misura larga. sword-hand.
A partner can help you in this exercise by presenting a gloved hand as a 2. Have your partner stand in front of you and cup your sword-hand in
target. After you appropriately strike a target, your partner can then move both of their hands. They should prepare themselves to provide you
their hand to a closer or farther position. This will challenge you to rejudge with resistance by getting into a low and stable posture. Be sure to have
your measure and select the appropriate thrust. a flush alignment between the back of your hand and forearm. Your
The most important thing in these exercises is to make sure that your partner may need to support your hand and wrist to help you maintain
movements are crisp and well balanced. It is far better to fall short of a this alignment.
target, but be poised in a well structured lunge, than to fall all over yourself
overreaching for a target whose measure you misjudged.
v v

Cup the hand. Support the wrist.

Right strikes Left’s hand at misura stretta. Right strikes Left’s hand at misura larghissima.
42 | 3. With your partner providing medium resistance, extend your hand, 6. Bracing against the constant force of your partner, begin to recover from
pushing your partner back, so your hand aligns with your shoulders. your lunge. Recover the foot and hips first.
4. Push your shoulders and arm forward into the offensive posture. Your 7. Recover the shoulders.
partner will continue to resist through this stage and each subsequent 8. Recover the upper body and then the arm. Maintain a constant speed
stage. and strong resistance to your partner throughout the recovery.
5. Conduct a lunge into your partner, driving them back through the
connection of your arm, pushing off the ground behind you. Your partner
will move back as you push them forward, maintaining a constant
  
resistance.

w x y

Recover the hips. Recover the shoulders. Recover the arm.

Begin by practicing this exercise with a slow and constant push forward.
Once you have gained comfort and explored some of the errors presented
Extend the arm. Extend the shoulders. Push with the back leg. next, add an explosive element where you attempt to throw your partner
backward as you propel yourself forward in the lunge.
Errors Explored Through Resistance Lunging Shoulder Alignment | 43
What follows are descriptions of the most common alignment errors in In a proper lunge you create a strong and straight line from the sword-
the lunge. I recommend that you experiment with each error — meaning hand to the back leg by aligning the shoulders so the sword-side leads.
intentionally make the error and then correct it. By intentionally making an This creates both structural (bone) alignment and strong muscle chain
error of alignment you will better understand what the proper position feels alignment30. If you square your shoulders, the arm aligns with the shoulder,
like and the benefits of taking it. but the shoulder aligns with nothing, forcing your abs to resist twisting and
thus do much more work to apply the strength of your legs.
Arm Alignment
While extending the arm, make sure the wrist, elbow joint, and the bones
of the forearm stay in front of the body.
Explore how the lunge breaks down when you allow your elbow to stick
out to the side, or your wrist to bend. (Be gentle with your wrist, do not
attempt this with much force.)
Incorrect! Shoulder alignment is too square. Correct! Body is strongly profiled to create powerful
alignment from the target to the back foot.

Head Alignment
In a lunge you want to keep your head in behind your sword hilt and
over your feet. If you tilt your head away from the sword, whether that is
Incorrect! Elbow should not be Incorrect! Broken alignment Correct! Elbow and wrist are to your left or right or backward away from the sword, you will break your
sticking out. along the wrist. aligned with the body.
alignment with the ground.
Experiment with head position in this exercise to understand how it can
affect your power and safety.

Incorrect! The head is tilted away Incorrect! The head and shoulders Correct! The head is well aligned
from the lead shoulder. are leaning too far away from the over the lead shoulder.
lead shoulder.
44 | Foot Connection Rising in the Lunge
The most powerful connection When lunging correctly, it is important that you align your body behind
with the ground, for explosive the point of force. The step of the lunge is the most important transference
muscle engagement, is through the of force and you want it to be directed toward the opponent, not up and
whole foot. over their head. The lunge should either stay level, or sink, not rise.
Conduct a resistance lunge and To explore the error, push upward with your back leg as you step in the
experiment with pressing off of Correct! Push off the whole foot when you lunge. lunge. This upward aspect will often look like a slight bob of your head and
different parts of the foot: the ball of the foot, the heel, and the whole foot. body as you lunge out.
Though moving up to the ball of the foot is a great way to increase your With this error you will find it difficult to push your opponent with the full
reach at the end of your lunge, the initial push against the ground is much strength of your legs. You may also find that your sword arm may suddenly
stronger when conducted with connection from the heel and ball of the fly out in a random direction, as the straightness of your connection from
foot together. the ground to your partner is broken.

Incorrect Order
Moving the hand, shoulders, and then hips not only provides you with
protection behind the hilt of the sword it also provides you with optimal
alignment.
Attempt a resistance lunge where you leave the arm bent and attempt to
push the shoulders or hips forward without a straight arm. Then attempt a
lunge with the shoulders coming after the hips and feet. Incorrect! Pushing upward with the back leg will Correct! Push directly into your opponent. Sinking
cause your force to go off target. as you move forward.
The alignment of the bones of the arm allows the muscles of your arm to
focus simply on maintaining straightness. Pushing your upper body forward
connects the arm more directly with the lower body. You can then use the
larger quadriceps and gluteus muscles to push into your partner.

Incorrect! An effective attack Incorrect! Right has sent their Correct! Always extend the arm
cannot be made with a bent arm. lower body ahead of their upper- and shoulders ahead of the lower
body. body.
 | 45
Chapter Four

In taking the just measure it is more useful that you go, as is

often said, with a leaden sandal.
—Ridolfo Capoferro, Gran Simulacro dell’Arte e dell’uso di Schermire, 1610

MOVEMENT
How you move between the measures is perhaps the most essential
skill in swordplay. Traditionally, students in fencing schools spent years
in their practice of movement before doing anything serious with their
swords. Though that rigour is not essential for most practitioners, fluid
and stable mobility is essential to one’s offence and defence. It forms
the core of good fencing practice.
In this section you will learn how to move in and out of measure with
both small and larger steps and how to coordinate these movements
with those of your sword.
46 | Advancing and Retreating Steps Retreat
The advance and retreat are the most essential steps in rapier fencing. 1. Push from the ball of your front foot.
Both are careful steps used to come to measure, and to make adjustments 2. Reach your back foot one foot-length behind you.
once you or your opponent are in measure. The distance covered by an 3. Withdraw your front foot the same distance.
advance or retreat is roughly half of one foot’s length.

Advance u v w
1. Lift the lead toe.
2. Place the heel where the toe was.
3. As the toe descends, move the back foot forward the same length to
complete the step.
Push from the front foot. Reach with the back foot first. Follow with the front foot.

u v w The goal is to be able to move quickly, easily, and in a manner that leaves
you ready to defend or attack as soon as necessary.
When advancing and retreating be sure to:
• Keep the distance between your feet. Step with the front foot first
when moving forward, the back foot when moving backward.
Lift the toe. Place the front heel ahead one Bring the back foot forward. • Keep your weight on your back leg.
half foot-length.
• Move smoothly and crisply.
• Pick up your feet.
Sideways Steps Step Left | 47
Historical fencing is not a strictly linear game. It is important to know how 1. Push from the right foot to initiate the step.
to move right and left as well. 2. Place your left foot one foot-width to the left. Your stance will widen
slightly as you do this and your weight will shift toward your left foot.
Step Right
3. Step with the right foot the same distance to come back to the same
1. Push from the left foot to initiate the step. stance width.
2. Place your right foot one foot-width to the right. Your stance will widen
slightly as you do this and your weight will shift toward your right foot. u v w
3. Step with the left foot the same distance to come back to the same
stance width.

u v w
Push with the right foot. Step with the left foot first. Bring the right foot into line.

When stepping sideways it is important to keep the steps small so that

you do not overly square your body (becoming a larger target).
Note that you are always stepping with the foot that is closest to the
Push from the left foot. Step with the right foot first. Bring the left foot into line.
direction of movement (when stepping forward, the front foot, when
stepping left, the left foot, etc), this keeps your base broad and stable and
avoids crossing or gathering together of the feet.
48 | Common Footwork Errors Bouncing
Proper advancing and retreating should maintain weight over the back Be sure to keep your knees bent
leg, a proper reclined angle to the body (in the defensive posture), and a while moving. You want your head
smooth carriage where the head or hips do not bounce. and body to glide forward at the
same distance from the ground.
Weight Shifting It is common during an advance
or retreat to overly straighten one Incorrect! Do not allow your legs to straighten or to
A common error is to place excessive weight onto the front foot when come up onto your toes.
moving forward, thus exposing the flank or head to attack (when they are of the legs, causing the body to
closer to your opponent), as well as the leg itself. Taking weight off the back become taller, and thus bounce. Bouncing is a waste of energy and gives
leg also robs it of the ability to push you forward quickly when you attack. your opponent greater warning when you are moving.

Gather Stepping
Be sure to always maintain the
distance between your feet in your
stance, expanding as you step with
the lead foot and returning to the
proper distance between the feet as
Incorrect! Do not shift your weight forward when Correct! Note back leg, recline, and smooth you complete the step. Incorrect! Do not allow your feet to get closer
you step. movement. together.
Though there will be times
when gathering is an advantageous technique, you do not want to do it
Pigeon Walking unintentionally. Advancing and retreating steps should be kept small and
A variation on letting your weight precise. Don’t rush.
come forward is letting the head
come forward. This happens most
commonly when retreating while in
the defensive posture. Be sure to keep
the head back while aligning the off- Incorrect! Do not reach backward with your leg
and push your head forward.
side breast, hip, and heel. If the head
rocks forward while you reach back with your foot, it will be dangerously
exposed to attack.
Drifting Toe/Knee Passing Steps | 49
Keep your lead toe and knee directed toward your opponent and your A passing step is a much larger step, where one foot passes the other.
rear knee over your rear toe. These steps are used to get out of measure quickly or approach an
The toe and knee act as a kind of pointer for your sword. Where they opponent who is a long way away.
point the hips follow, and where the hips go so do the shoulders, hands, The passing step is not used to move into your striking measure, and
and finally your sword. In striking and defending it is essential for optimal certainly not your opponent’s, as the size of the step can leave you
strength and accuracy that your toe and knee stay on-line. vulnerable to attack. You can use the passing step to move just outside of
Toe and knee alignment is also an essential part of knee health. When measure and then then use advancing steps to cover the last part of the
you flex your leg, if your toe is pointing in one direction while your knee is distance.
heading in another, you will quickly do damage to the tendons at the joint. The following instructions are written for someone holding their sword
Be sure to focus on groin and hip opening stretches when you conclude in their right hand with their right side leading.
your workouts to help alleviate any muscle tension that contributes to this
problem.

Incorrect! Do not allow the toe Incorrect! Do not allow the knee Correct! Keep the hips, knee, and
to drift out of alignment from to drift out of alignment from the toe in alignment along the line of
the knee. hips or toe. direction.

A passing step is a step where one foot passes the other.

50 | Passing Step Forward Passing Step Back
1. Begin in the defensive posture. 1. Begin in the defensive posture.
2. Shift your weight onto your front/right foot. This will free your rear foot 2. Lift the lead/right foot and cross it behind your left/rear foot, maintaining
to step. your foot orientation.
3. Lift the left/rear foot and cross it just ahead of the lead foot, maintaining
your foot orientation. u v

u w

Defensive posture. Cross the lead/right foot behind.

3. Shift your weight onto your right foot (which is now in the rear). This will
Defensive posture. Cross the rear/left foot ahead of the front.
free your left foot to step.
4. Shift your weight onto your left foot (which is now in the lead). 4. Move your left foot behind your right foot to reform the proper defensive
5. Replace your right foot ahead of the left foot, approximately two foot- posture. Your feet should be approximately two foot-lengths apart.
lengths apart.
w x
x y

Transfer your weight to the foot behind you. Pass your left leg back. Return to the defensive
posture.
Place the foot on the ground ahead of the lead/ Bring the lead/right foot through to return to the
right foot. defensive posture.
Common Passing Step Errors Turning the Hips | 51
When making a passing step, you want to keep your sword-side leading
Over-shifting Your Weight throughout the step. Do not let your off-side come ahead of your sword-side.
If you find at the end of a passing step forward you are needing to shift You can maintain the orientation of your hips by also maintaining the
your weight back onto the rear foot you are most likely shifting too far orientation of your feet and shoulders. Leave the sword-arm strongly in
forward at the end of the step. When concluding the forward passing step be front, your back foot pointing out toward your side, and your front foot
sure to place your front foot down lightly maintaining the weight on your pointing along the line of direction throughout the entire step.
rear leg.

Incorrect: Do not turn your hip and foot while you Correct: Keep your hip and foot alignment while
Incorrect! Do not let the weight shift over the front Correct! Lightly place the foot so the defensive are passing. passing forward.
leg at the end of the pass. posture is maintained.

Two ways you can help avoid this error:

1. Practice the passing step in slow motion. Slowly shift the weight forward,
pick up the rear foot and have it hang in the air for a long time as you
bring it forward. Place it down gently and continue through with the
front foot, slowly putting it in place in front of you. Doing a step slowly
will help you develop the stabilizer muscles required to step fluidly and
with balance. Don’t be surprised if you find this more challenging than it
sounds.
2. Keep separation between your passing steps in practice. It is easy to let
one passing step flow into another, which can lead to the weight shifting
issue described. When you are first developing your passing step, be sure
to allow for a pause between each full movement.
52 | Stepping Around the Lead Leg Simple Movement Drill
When passing forward, many can find it difficult to navigate around the You can use this exercise to gain more fluidity and crispness in your steps.
lead leg, especially when both feet rest on the line of direction. 1. Start at one side of a room in the defensive posture. Make two advancing
Some will find it easier to increase the width of their stance slightly so
steps followed by one retreating step, and repeat, until you reach the
that the heels are slightly off-line from one another. In this way you can pass
opposite side.
more directly with the back foot, without feeling that the front foot is an
2. Then, make two retreating steps and one advance, repeating until you
obstacle.
reach your starting position.
3. Change to the offensive posture and conduct the drill again.

u v

Incorrect! Do not step directly in front of your lead Correct! Step slightly offset to allow the back leg to
foot. pass the front foot freely.
Two advancing steps followed by one retreating Two retreating steps followed by one advancing
step. step.
Mirror Movement Drill 5. Periodically your partner, as the leader, will check your measure by | 53
announcing “check.” You both will then pause and extend your swords
In this exercise you will have a partner test your movement and help you
into the offensive posture. You can now observe how close to your starting
develop your ability to judge misura.
measure you are and then adjust.
1. Start facing across from your partner.
2. Both you and your partner extend your swords into the offensive posture
y y
and approach one another until the point of your, or your partner’s,
sword touches the hilt of the other.

u v

The follower has come too close and will need to The follower is too far away and will need to adjust
adjust by making a retreat. by making an advance.

6. Switch leaders in the exercise on every third “check.”

Face your partner. Establish misura. You do not need to match your partner’s footwork exactly. The goal is
to move with proper steps while maintaining measure. You may find, that
3. Stop at this place. You and your partner will return to the defensive
depending on the height of your partner or the length of their legs, you
posture. Observe the distance between you and your partner. Your job may need to take more or fewer steps, or differently sized steps, to properly
will be to stay at this same measure throughout the rest of the exercise. match them.
4. Your partner will now step toward you or away from you using advancing,
retreating, and passing steps. Your job is to maintain the same measure,
established in step 3, using your own footwork.
54 | Tactical: The Measure Game The pace can increase as you get more comfortable in the exercise. You’re
playing a game of hit and not-get-hit. You’re welcome to make a short range
The simplest form of defence is distance. Now that you have attacking
attack like a lunge and then extend it into a passing lunge to catch your
and movement skills under your belt you can take your first step toward
partner off guard, or make a shorter attack than is needed, simply to trade
sparring. This exercise is best done with protective equipment, at least a
turns while staying a bit farther from a long-limbed opponent.
mask and gorget.
As soon as you lower your sword you must receive your partner’s attack.
1. Begin with you and your opponent out of measure from one another. You
You cannot attack again until they have done so. It’s also poor form to back
are in the defensive posture; your partner is also in the defensive posture your partner into a wall.
but with their sword arm down and their point directed at the ground. One of the best strategies is to retreat from an attack only as much as
2. Your job is to approach your partner and when you are in measure, attack is necessary. Stay as close to their point as possible. Then, as they begin to
with the appropriate thrust for that measure. lower their sword and retreat, follow immediately after with your counter-
3. Your partner's job is to stay close enough that you believe you can strike attack. To do this efficiently will require that you maintain good posture and
them, but, then as you attack, to step back enough to not be struck. form throughout, as well as attacking in good order: arm, shoulders, hips.
However, if they find themselves to be in your measure they should step
back as you attack, to keep from being struck.
4. You recover and lower your sword point to the floor.
5. Having avoided your thrust, your partner raises their point and you
exchange roles.
6. Alternate striking, using only movement and distance to protect you,
until someone has been struck. When someone is struck a point is scored
and you reset by moving apart from one another.

 Right is ready to attack  Left has avoided the attack of Right   It’s Left’s turn to attack   Right did not move back enough.
 | 55
Chapter Five

Anyone who in anger draws the sword he wears at his

side, whether because of his own fury or some external
provocation of word or deed, will raise his hand to form
a guard.
—Camillo Agrippa, Trattato di Scientia d’Arme, 1556

GAINING THE SWORD

The art of fencing is first and foremost the art of defence. Your primary
goal throughout any fight is to keep yourself safe. This is especially
true when you are attempting to strike your opponent. A well-formed
attack is not simply an offence; it is a defence that carries your weapon
to its target.
As you make a thrust to your opponent you must first make sure that
you have dealt with their weapon in some way that prevents it from
being able to strike you, either simultaneously or pre-emptively. This
could be done immediately before your attack, or more optimally, as a
defence integrated into your attack.
The foundation for this idea of defence with offence are the techniques
known as finding and gaining the sword31. In this section we’ll explore
how to employ these techniques as well as defining the guards of the
rapier, lines of attack, and the beginnings of rapier tactics.
56 | The Problem of the Point
Let’s explicitly explore the problem you face when you want to attack an y
opponent who is threatening you with the point of their weapon.
1. Place yourself at misura larga across from a partner.
2. Have both of you take up the defensive posture. Have your partner direct
their point at your chest.
3. Transition into the offensive posture, avoiding sword-to-sword contact
with your partner’s weapon. You will essentially be reaching over or
around your partner’s sword to do this.
4. Make a slow lunge to your partner’s chest.
5. Have your partner keep their point on-line with your chest while you
conduct your attack. Depending on relative arm or sword length you
may be struck by your partner during, or at the end, of your attack. You
may also find yourself very close to their point without having made Left has let themselves get struck simultaneously with their own attack.
contact with it.
This exercise probably feels rather uncomfortable. If you don’t employ
a technique to displace your partner’s sword you’re rushing toward certain
death. Who cares if your point strikes its own target?
Finding Gaining | 57
To find the sword is to place your opponent’s weapon in a mechanically To gain the sword of the opponent is to fully negate its offensive
weak position where you can easily gain control of it. capability and ideally negate its defensive capability as well. This makes you
safe and leaves your opponent open to be struck.

Left has found the sword of Right.

Left has gained the sword of Right.

In this section you will learn how to properly find and gain your
opponent’s sword by using your sword and body’s physical characteristics
to best advantage.
58 | Lines of Attack There are infinite numbers of lines of attack, depending on your sword’s
position and your desired target. However to simplify things, these lines
Before you begin learning to find and gain the opponent’s sword, a
are divided into a few categories based on the position of your opponent’s
language is needed to describe where to strike and how.
weapon.
Stand across from your partner with your weapon pointing towards their
Provided you are facing an opponent who is holding their sword in
chest. Imagine a line extending from the point of your sword to your desired
their right hand, all of the targets to the right of their sword (from your
target. This imaginary line is the path that your sword must travel to strike
perspective) are on the inside line. All of the targets to the left of their sword
the target with a thrust. This path is called the line of attack.
(from your perspective) are on the outside line. Targets above the hilt of the
sword are on the high line. Targets below are on the low line.
So if you are striking a target that is to right of their sword and above
their hilt, you are striking them on the “high, inside line”. If you are striking
below, and to the left of their hilt, your target is on a “low, outside line”.
Be mindful that their sword’s position is what determines the line of
the target. You may strike twice to an opponent’s breast pocket. If the first
time their sword is to the left of yours then the target is on the inside. If, the
second time, they have moved their sword so it is to the right of yours you
are striking on their outside.

Left’s sword can travel the line of attack into their opponent’s shoulder.
 | 59

HIGH OUTSIDE HIGH INSIDE HIGH INSIDE HIGH OUTSIDE

LOW OUTSIDE LOW INSIDE LOW INSIDE LOW OUTSIDE

The four lines of attack for a right handed fencer. The four lines of attack for a left handed fencer.
60 | Crossing Swords If you cross swords with your opponent, with your sword to the right of
theirs, they are on your inside line and you are also on their inside line.
If you walk toward a partner, while both your swords are on-line,
Now, if your opponent is holding their sword in their left hand while
somewhere around misura larghissima your points will pass one another. At
you are holding your sword in your right—things change. If you cross with
this point your swords are “crossed”, regardless of whether or not they are
their sword to your left they are still on your inside line but you are on their
in-contact with each other. The crossing forms an “X“ when viewed from the
outside line.
side.
Many exercises will call on you to place your opponent’s sword in a
particular relationship to your own, for example: “find your opponent’s
sword on your inside”; to a right-hander this would mean to have their
sword to the left of yours, to a left-hander it would mean the opposite
(regardless in which hand your opponent is holding their sword).
If high or low are not specified the default placement is high. You will also
encounter requests to strike your
opponent in a particular line, in
which case it is irrelevant which
hand you are holding your sword in.
What is relevant is on which side of
your opponent’s sword your blade is
crossing when you strike. Right has struck Left in the chest on their high,
outside line.

The “X” is the crossing.

The Three Advantages Leverage | 61
To learn how to find and gain in a given line, you must understand how to The sword and hand form a lever.
successfully push the opponent’s sword away while keeping yours on-line. The lever of the sword rests on a
To do this you must understand three principles of blade interaction called fulcrum which is typically the finger
the three advantages. looped under the ricasso. As the
pressure on the weapon’s debole
True Edge increases, the force exerted on this Left has the advantage of leverage.
Turning the true edge of your fulcrum finger will become pronounced as the sword fighter attempts to
sword toward your opponent’s prevent the deviation of the weapon. Being able to apply the forte of your
weapon creates mechanical strength sword against the debole of your opponent’s sword is an essential part of
through orientation of your wrist controlling their weapon.
and arm, structural strength by
Crossing
engaging the more rigid edge, and Right has turned his true edge toward his partner’s
sword.
deflection through engaging the This advantage, sometimes
width of the blade. This could be expressed as a simple rule: “always turn expressed as the rule “always be
your knuckles toward your opponent’s sword.” on top”, is where you place the
blade of your sword over the blade
of the opponent. This creates an
environment where the debole of the Right has the advantage of crossing.
opponent’s sword is more inclined to slide down into your forte and thus
increase your leverage.
62 | The Advantage of the True Edge u w
The following exercises will help you understand how orienting the true
edge (the edge of the sword that aligns with your knuckles) adds to the
sword’s structural strength while aligning your body’s mechanical strength,
and how the width of the blade and the orientation of your hand causes the
opponent’s sword to be deflected away from your body. Then you will learn
four hand and arm positions, the guards, that codify this edge placement.

Exercise: Rigidity and Mechanical Alignment

In this exercise you will explore how the rigidity of the edge, verses the
flexibility of the flat of your blade, allows you to more easily apply force to
your opponent’s weapon. Both flats are touching. Right has turned his true edge.

1. Place yourself across from a partner in the defensive posture. Cross

4. Switch roles. Note the change in blade flexion and ability to apply
swords, on the inside line, about 10 inches from the points. Make sure
strength.
that you are both crossing at the same place on the blade and that the
flats of your blades are touching. A sword blades lenticular shape (meaning it is wide and thin) makes it
2. Push against each other’s swords. Essentially try to push the sword of structurally stronger (less able to flex) along the axis of its edge. Thus, when
your partner out of the way, while they try to do the same. Observe what your sword’s edge is turned in, more force is communicated through your
happens to the blades and the feeling in your hand and arm. weapon. Turning the true edge also aligns the edge, your hand, and arm,
3. Turn your true edge to your partner’s sword by turning your hand palm-
so you can more effectively push into your opponent’s sword. If you were
to use your false edge (the edge opposite the true edge) your blade would
up. Keep your swords crossing in the same place and remain in contact
not flex, but you would not be able to push. You would instead be pulling,
with the flat of your partner’s blade. Observe how your partner’s blade
which is a weaker mechanical action.
flexes when you are pushing and yours does not. Also note how much
more easily you can push your partner’s blade aside.
Exercise: Deflection Exercise: Following the Sword | 63
1. Place yourself across from a partner standing in the defensive posture. By keeping your true edge toward your opponent’s sword you guard your
2. Take the offensive posture and cross swords on your high outside at the body from their point. In this exercise we will explore this idea and begin to
mezza spada (middle of your blades). Let the swords gently rest against understand proper hand position for defence.
each other, flat against flat. Your partner’s sword should be pointed at 1. Place yourself across from a partner standing in the defensive posture.
your face, just above the hilt of your sword. 2. Take the offensive posture and cross swords on your high inside at the
3. Turn your true edge towards your partner’s blade by turning your hand palm- mezza spada.
down. Maintain contact with their blade and continue to keep your own 3. Turn your true edge so it points directly toward your partner's sword on
point oriented toward your partner. As you turn your edge, your partner’s your inside.
sword will be pushed farther to your outside and away from its target. 4. Have your partner slowly move their sword from one side of your blade
to the other by making a circle underneath it (inside to outside). It will
v w start by moving below yours and you will follow it so your true edge
points toward the floor.

w x

Right is in the offensive posture. Right has turned his true edge to the outside.

This occurs for two reasons:

1. Turning the edge makes your blade “wider”, and thus creates more deflection. True edge inside. True edge down.
2. When you hold the sword it sits more to one side of your hand (toward the 5. Then to your outside.
knuckles) than the other (toward your thumb). The off-centre position of 6. Then toward the ceiling.
the sword then increases the deflection of the edge on the knuckle side.
y 

True edge outside. True edge up.

Note the pommel’s position to the inside of the Incorrect! Left has turned their true edge away
wrist. If you turn your true edge away from their from their partner’s sword. Right’s sword thus 7. Follow their sword all the way back in the opposite direction until you are
sword, you’ll notice the deflection does not occur. remains on-line and threatening. again palm-up on the inside with your true edge oriented to your inside.
64 | Hand Positions I. Prima (12 o’clock – true edge up)
Codified originally by engineer and fencer Camillo Agrippa in his • Fully extend your arm and place the sword at the height of your head
1553 treatise, the four hand positions represent the four most optimal over your sword shoulder with your fingernails oriented toward your
placements of the sword for defence and offence32. outside.
Hand positions relate both to the orientation of the edge and to the • The knuckle-bow and true edge orient toward the ceiling.
position of the hand in front of the body: in front of your flank, right • Keep the point directed at the opponent with the blade parallel with
shoulder, head, etc. the floor.
You can imagine these positions as points on a clock, where your brow • Place your thumb beneath the grip to support the blade.
is the 12, and your flank (at the bottom of your ribcage) is the 6. The 3 and 9
positions are then occupied by your right and left shoulders.
In each position the true edge and knuckle-bow are oriented toward the
outside of the clock.

12

3 9

II. Seconda (3 o’clock – true edge outside)

6
• Lower your sword and extend it in front of your sword shoulder with
your fingernails oriented toward the floor.
• The true edge is oriented to your outside (your right, if your sword is in
your right hand).
• The pommel rests beneath your palm or wrist.

The hand positions are the quarter hours of a clock. Seen from the fencer’s perspective.
III. Terza (6 o’clock – true edge down) Why Is It Called Prima? | 65
• Lower your hand to the height of your waist with your hand palm- Prima, which is the Italian word for “first”, is the first position your sword
down with your fingernails oriented toward the inside. easily finds when drawn from a scabbard. To explore this, try this sword-
• Bend your elbow so your forearm is parallel with the floor. drawing exercise:
• The handle or pommel resting against the heel of your hand. 1. Stand with both feet together, with your sword-side shoulder oriented

• Keep the point of your elbow oriented toward the floor. toward your opponent.
2. Grip the top of your scabbard in your off-hand. (If you do not have a
scabbard simply grip your sword blade ahead of the hilt, as if it were in a
scabbard).
3. Reach across your body with your sword-hand and place it on the handle
of your rapier, in a proper grip with your finger extended over the ricasso.
4. Push your scabbard backward with your off-hand while drawing your
sword with your sword-hand. The action will describe a diagonal arc from
your off-side hip out into prima on your sword-side. Your knuckles and true
IV. Quarta (9 o’clock – true edge inside) edge will keep their same orientation throughout the entire motion.
• Fully extend the arm and place the hilt in front of your off-side shoulder 5. Step back with your sword-side foot, while drawing the sword, allowing
with your fingernails oriented toward the ceiling. your shoulders to turn away from the scabbard.
• Your true edge is oriented to your inside (your left, if your sword is in 6. Finish the turn of the body bringing you fully in to prima with your
your right hand). off-side foot in the front. Prima not only frees the sword—it presents an
• A straight line is formed from your off-side shoulder, to your hand, to the immediate threat to your opponent.
point of your sword, then to your target. 7. You can now step forward or back and take one of the guards we're about
to see.

x y 

Push down the scabbard. Turn the shoulders. Step back into prima.
66 | Guards Seconda Guardia
A guard (in Italian guardia) is the combination of a hand position with The guard of seconda combines the hand position of seconda with the
a body posture. They are so named because their primary goal, whether offensive posture.
defending or threatening, is to guard your body from attack. The guards • The sword is extended in front of the sword-shoulder.
follow the same naming convention as the hand positions. Each hand • The body is lowered behind the sword, hiding as much of the upper
position could be combined with the defensive posture (hand low by the chest as possible behind the protection of the hilt and forte.
flank) or the offensive posture (with the hand high by the face and the upper • The head is alongside the sword-arm, with your eyes looking through,
body reaching forward). There are four default combinations: or just above the rings of the hilt, and down the length of the blade.
Prima Guardia • The off-side shoulder stays behind your hilt, as much as possible.
The guard of prima combines the hand position of prima with the • The wrist joint should be straight, with the back of the hand forming a
offensive posture. flush line with the back of the arm.
• The sword is extended in front of the sword-shoulder with the hilt at Be sure to keep your hips underneath your shoulders. It’s easy, when
brow height. forming seconda, to allow your buttocks to stick out on your sword-side.
• The off-side shoulder stays back and in-line with the hilt, profiling the Keep the shoulders relaxed and the neck elongated as you look down your
body behind the weapon. rapier. Avoid hunching your shoulders or scrunching your head down.
It can be difficult with prima to not feel compelled to contort the torso
to place the arm and hand in the correct position. Use the exercise in the
section on posture to find the correct offensive posture with your sword
palm-down (seconda), then keep the body firmly in place and move only the
arm and hand into the prima position. You will also find placing your thumb
beneath the grip, as shown in the hand position section, will make the guard
easier to form and maintain.
Seconda in profile. Seconda facing the camera. Incorrect! Keep the hips tucked
in, the sword-arm at shoulder
height, and the arm and
shoulders along the line of
direction.

Prima in profile. Prima facing the camera. Incorrect! Keep the hips under the
shoulders and the arm and head
aligned to the line of direction.
Terza Guardia Quarta Guardia | 67
The guard of terza is the only guard that is by default formed with the The guard of quarta combines the hand position of quarta with the
defensive posture. offensive posture.
• The sword is held ahead of the sword shoulder, at the height of the • The sword is extended in front of the off-side shoulder.
lower ribs, to the outside of the sword-side knee. • The body is lowered behind the sword, hiding as much of the upper
• Hold the forearm parallel with the ground. chest as possible behind the protection of the hilt and forte.
• Keep one hand-span of distance between your sword elbow and your • The head is to the outside of the hilt with your eyes looking down the
side to allow for movement of the sword. false edge of the blade.
• Keep your sword elbow tucked in and pointing toward the ground, so it • The body maintains the same degree of profile as the other guards.
does not point toward your outside. • The arm is straight so that your elbow and the underside of your arm
This is the most protective of the guards and is used to cautiously are protected by the hilt.
approach measure and to wait for the opponent. Here, with the head Quarta can protect both high and low on the inside line. The hilt can be
withdrawn and the sword central to the body, you can easily move to any of raised, as needed, up to the same height as prima.
the other guards.

Quarta in profile. Quarta facing the camera. Incorrect! Keep the hips under the
Terza in profile. Terza facing the camera. Incorrect! Keep the shoulders shoulders and the hilt in line with
profiled and along the line of the off-side shoulder.
direction, the hilt of the sword on
the line of direction and the elbow
of the sword-arm tucked in.
Practice
Practice moving between the guards in front of a mirror or an observant
partner. The goal is to move crisply through each position while moving only
the parts of the body essential to change guards. Keep in mind that prima,
seconda, and quarta share the same body position, so nothing needs to move
other than the arm and hand when you are transitioning between them.
68 | The Advantage of Leverage
Your sword is a lever that both you and your opponent can use.
The functioning of your sword as a lever is both its greatest strength and
its greatest weakness. Using your handle as a lever (above right) allows you
to move your point very quickly. However, your opponent can also use your
blade as a lever, to displace your point (below right). Like with any lever, the
longer it is (or the farther you are from the fulcrum) the stronger you will be.
When swords come into contact for a prolonged period, or simply for an
instant, it becomes a lever vs lever battle. The following exercise will help
LEVER
you understand how this lever-on-lever contact plays out in a sword fight
FULCRUM
and how to best position your weapon to maximize leverage in your favour.

Your sword as your lever

LEVER

FULCRUM

The sword as your opponent’s lever

Exercise: Winning Leverage Exercise: Using Guards to Win Leverage | 69
The sword blade is divided into two halves: 1. The debole (English: weak), 1. Stand again with your partner, in terza, your swords crossed at the mezza
the half closest to the point. 2. The forte (English: strong), the half closest spada on the high inside line.
to the hilt. The dividing point of these halves is called the mezza spada 2. Now extend into quarta (the correct guard for applying the advantage
(English: middle sword). of true edge) and place your forte against their debole. Keep your point
1. Stand with your partner, in terza, your swords crossed at the mezza spada directed at their face.
on the high inside line. 3. Play the pushing game as before. Note that as long as you maintain the
2. Have your partner place the debole of their sword into the forte of yours. same strong-on-weak relationship, your partner cannot push your point
3. Have a pushing battle with both of you attempting to push the other’s away from its target, and your own face and upper body are protected.
sword right and left. Be sure to keep the relationship of debole on forte
throughout. Note that you are significantly more able to push your u w
partner’s sword.
4. Have your partner place two hands onto their handle and attempt to
double their strength. You should continue to be able to win the pushing
battle, provided you maintain the position of your forte on their debole.

w x

Equal crossing in the mezza spada. Right has gained leverage by going to quarta.

Though differences in physical strength between the partners can make

a difference in this exercise, when you are optimally positioned against your
partner’s sword, even the strongest partner will be unable to overcome you.
This is one of the beautiful things about swordplay: when done well, victory
is about position and strategy, not simply brawn and audacity.
Left has the advantage of leverage. Right is attempting to resist using two hands.

5. Switch roles. Place your debole into your partner’s forte and repeat the steps.
See how the change of leverage changes who is able to win the battle.
70 | The Advantage of Crossing Exercise: Being On Top
This advantage is the most powerful of the three advantages. You get this 1. Have both you and your partner place yourselves in terza, in the offensive
advantage by directing your point over your opponent’s sword. This does posture, with your blades parallel to the floor.
two things: 2. Approach your partner. Allow your blade to pass on the outside of theirs.
1. You create a guiding path for your opponent’s sword that causes their 3. Direct your point so it crosses over top of your partner’s blade on
point (and thus their debole) to slide down into your forte, increasing your the outside (pointing toward their chest or off-side shoulder), while
leverage. maintaining its overall position parallel to the floor.
2. You put gravity on your side (they’re lifting away from it, you’re moving 4. Have your partner attempt to push your sword to the right (your left) by
with it). It also puts you in the mechanically superior position of pushing
lifting their point and pushing. This is done with their arm straight by
down while they’re in the weaker position of lifting up.
directing from the wrist or shoulder.
In conclusion, always lead with the point. When you cross swords, by 5. Hold your sword firmly over theirs. Keep your point down so the blade
directing your point first towards a target that is across your opponent’s stays parallel with the floor and your point stays directed at its target. The
sword, you naturally create a slope which guides the opposing force best way to resist your partner’s attempt to push you is to keep your point
into your forte. When responding to an opposing force use your point to on target. Do not attempt to stop them by pushing with your forte or hand.
oppose it, instead of attempting to push with your hilt. This will cause the 6. Continue moving your point towards your partner while maintaining the
opponent’s point to be channeled into your hilt more effectively. crossing. Keep your face and torso hidden behind the hilt. You will see
The following exercises will show you several different ways this that your partner’s point will slide down into your hilt and be deflected
advantage can be applied. aside while your point stays on-line until you have struck.

w 

Right is crossed over Left’s sword. Right maintains their position and deflects Left’s
sword as they strike.
Exercise: Crossing a Defensive Sword Exercise: Using a Straight Line to Defeat an Oblique Line | 71
The power of crossing can also be seen when you and your partner are in In the previous two exercises the opponent’s weapon was directed
the defensive posture with the hilts low and the points high. at the centre of your body. This required that you direct your point over
1. Cross swords with your partner in terza on the inside at the mezza spada. their sword by pointing it right or left, thus forming an oblique line in the
Have an equal position of leverage, with your hilts in front of your flanks horizontal axis. If your partner’s sword is itself forming an oblique line, then
and your points at the height of the shoulder. to cross it you simply need to keep your sword straight (note: you can still
2. Attempt to cross your point over your partner’s sword, while they have a vertical angle to your sword, i.e. hilt low, point high).
attempt to do the same. Your swords should stay roughly in the same 1. Have your partner stand in seconda with their blade parallel with the
place while you both feel the pressure of the other’s resistance. floor and their point angled strongly to the inside. This will put their hilt in
3. Stop applying pressure. Your partner will now allow you to direct your front of their sword-side shoulder and their point in front of their off-side
point over their sword. shoulder.
2. Take terza, with your hilt in front of your flank and your point at the height
4. Point toward your partner’s sword shoulder (your off-side) so your blade
forms an angle overtop of their sword. of your partner’s throat.
3. Without deviating your position, walk slowly towards your partner. Have
5. Have your partner push again on your blade without attempting to
change their leverage position. your blade meet theirs at the mezza spada. Your sword will cross over
their angled sword as you move toward your target.
6. Slowly extend your point toward your opponent’s body by stepping
4. Have your partner attempt to bring their point on-line or deflect your
forward or reaching forward with your shoulders. Do not raise your hilt
or lower your point. Keep your hilt low and your tip high, even when point as you press against their sword. Continue to your target without
extending your shoulders forward. deviation. Affirm your position simply by pushing down with your point
and pressing it firmly toward its target. Your partner will find your sword
The pressure into your sword, combined with the crossing you are impossible to deflect without significant repositioning of their sword in
creating overtop, should cause your partner’s point to drop into your forte, relation to yours.
and make it difficult to direct it back into your debole.

v  v w x

Left forms seconda with their Right crosses on the outside with Left is unable to push Right away.
Fencers are pushing in a neutral (even) crossing. Left’s point has slid down into Right’s forte. point angled to the inside. a straight line and walks forward.
72 | Gaining the Sword – Approaching w x
When you put the three advantages together in an offensive guard
you have gained the opponent’s sword. Gaining a sword is what makes it
possible for you to strike an opponent with safety.
1. Have your partner stand, out of measure, in terza with their point
directed at your face.
Right has gained the sword of Left on the outside. Right strikes with a lunge.
2. Approach until you arrive at misura larga, with their sword outside of
yours. 4. From the gaining position, propel yourself into a lunge and strike your
3. Transition into seconda guardia and use it to gain all three advantages and partner in the chest. Be sure to keep yourself extended in seconda as you
push your partner’s point aside. do so. Your partner’s sword should be directed safely past your body as
• Direct your point toward the centre of your partner’s upper chest you strike.
(crossing).
• Extend your arm and place your hilt against your partner’s debole w x
(leverage).
• Push your shoulders forward and turn your arm and hand into seconda
(true edge). This action should push the opponent’s point up and to
your outside, leaving you safe to strike.
• You have now gained the opponent’s sword. Ensure that you are in Left gains the sword of Right on the outside. Left strikes with a lunge.
a proper offensive posture and that your weight is still carried over your
rear leg. 5. Recover your lunge into seconda. Note that you are again in the gaining
position.
6. Now retreat out of measure. Continue to protect yourself with your hilt
and the three advantages for as long as possible.

 Right approaches  Right arrives at misura larga  Right gains Left’s sword  Right strikes with a lunge.
Exercise: Gaining the Sword on the Inside Finding the Sword | 73
Now let's try the same exercise on the inside line using quarta to gain the You’ve learned how to gain your opponent’s sword, pushing it aside
sword. so that it cannot strike and setting your weapon up to deliver a thrust.
1. Begin out of measure. However, what’s to stop them from doing the same? Upon arriving at misura
2. Approach until you arrive at misura larga, with your partner's sword to larga, provided all things are equal, it’s going to be a race to see who can get
your inside. into an offensive guard and gain the advantages first. You don’t want to trust
3. Transition into quarta and use it to gain all three advantages and push your safety to games of speed and chance.
your partner's sword aside. If you are going to win the race to gain the sword, every time, you need
to have a head start. That head start is known as finding the sword.
w w

Left gains the sword of Right on the inside. A view from the opposite perspective.

4. Strike with a lunge maintaining the advantages.

5. Recover to quarta.
Left has found a portion of each advantage while approaching in terza.
6. Retreat from measure.
Finding is essentially a defensive form of gaining, generally done in terza.
During the gaining exercises, you can have your partner give you light
When you find you acquire a portion of each of the three advantages sufficient
resistance to help you test your position. The best way to provide resistance
to make it difficult for your opponent to gain in that same line. If, at this point,
is to attempt to direct your point, through your partner's sword, at their
your opponent attempts to gain your sword you already have a portion of
chest.
crossing, leverage, and true edge, so you are more sure to gain first.
74 | Exercise: Finding and Gaining on the Outside 7. Push your sword and upper body forward to fully gain your partner’s
sword in seconda. Be sure to have your hilt in front of your sword-shoulder.
The process of finding your partner’s sword, and beginning to acquire the
Direct your point toward your partner’s centreline, at their chest or face.
three advantages, starts before the swords cross.
The process of gaining should:
1. Start out of measure from your partner with both of you in terza with your
• Place their debole firmly against your forte or hilt (depending on how
points directed at your partners' face.
close you are).
2. Slowly approach misura larga, one careful step at a time. Place your
• Fully apply your true edge to deflect their sword off-line.
partner’s sword on your outside.
• Push your partner’s point sufficiently off-line in a way that allows you to
3. Aim your sword toward your opponent’s off-side shoulder before your
aim straight to your target while maintaining the advantage of crossing.
sword points pass. This will set you up to place your opponent’s sword
8. Conduct your thrust with a lunge. Maintain all of the advantages.
under yours and give you the advantage of crossing. Direct the crossing
from your elbow. Avoid breaking the wrist. 9. Recover the lunge to seconda (you are still in a gaining position).

4. Turn your true edge so that it is oriented halfway between terza and AT Return to terza, finding their sword as you do so.
seconda. Keep your hilt low. As your points pass one another you will AK Retreat from measure. Maintain as much of the three advantages as
have the advantage of crossing and a partial advantage of edge. possible as you withdraw.
5. Cross your partner’s sword and stay in their debole, approximately one
hand-span from their point.  
6. Elevate your point using your wrist and fingers to stay at the same place
in their debole. Apply a downward pressure to force their sword under
yours and into your mezza spada. This will give you the advantage of
leverage. You should now have arrived at misura larga and have all three
advantages. You have found your partner’s sword.
Left finds Right’s sword on the outside. A view from the opposite perspective.

 Right approaches  Right find’s Left’s sword on the outside  Right gains in seconda  Right strikes with a lunge  Right recovers to seconda.
Exercise: Finding and Gaining on the Inside 7. Push your sword and upper body forward to fully gain your partner’s | 75
sword in quarta. Be sure to have your hilt in front of your off-side shoulder.
1. Start out of measure from your partner with both of you in terza with your
Direct your point toward their chest, face, or lead shoulder. The process
points directed at your partners' face. of gaining should:
2. Slowly approach misura larga, one careful step at a time. Place your
• Place their debole firmly against your forte or hilt (depending on how
partner’s sword on your inside. close you are).
3. Aim your sword at your partner’s sword-shoulder before your sword
• Fully apply your true edge to deflect their sword off-line.
points pass. This will set you up to place your partner’s sword under
• Push your partner’s point sufficiently off-line in a way that allows you to
yours and give you the advantage of crossing. Direct the crossing from
aim straight to your target while maintaining the advantage of crossing
your wrist. Be sure to keep your hilt in front of your sword-side knee. Avoid
(more on this later).
allowing your hand to drift toward your inside, this would make it harder
8. Conduct your thrust with a lunge. Maintain all of the advantages.
to create and maintain the advantage of crossing.
9. Recover the lunge to quarta (you are still in a gaining position).
4. Turn your true edge so that it is oriented halfway between terza and
quarta. Keep your hilt low. As your points pass one another you will have AT Return to terza, finding their sword as you do so.
the advantage of crossing and a partial advantage of true edge. AK Retreat from measure. Maintain as much of the three advantages as
5. Cross your partner’s sword and stay in their debole, approximately one possible as you withdraw.
hand-span from their point.
6. Elevate your point using your wrist and fingers to stay at the same place  
in their debole. Apply a downward pressure to force their sword under
yours and into your mezza spada. This will give you the advantage of
leverage. You should now have arrived at misura larga and have all three
advantages. You have found your partner’s sword.

Left has found the sword of Right on the inside. A view from the opposite perspective.

 Right approaches  Right finds Left’s sword on the inside  Right gains on their inside  Right strikes with a lunge  Right recovers to quarta.
76 | Straight Lines and Oblique Lines You may find, when making a defensive crossing, that your point must be
off-line to sufficiently cross, I.e. Not directed at a target. This is ok. The point
Crossing is the most powerful of the three advantages because it channels
can be redirected to a target very quickly. Keep it within the silhouette of
an opposing force into your hilt, thus maximizing your leverage. It is vital
your opponent’s body so that it can act defensively while still presenting a
that you acquire and maintain it throughout the process of finding and
threat.
gaining to stay safe while you strike your opponent. This sometimes requires
that the way you cross change while you approach.

Crossing a Straight Line

If your opponent presents you with a straight line you will first cross it
with an oblique line as you find them. Then as you gain, you will force their
sword into an oblique line with your hilt and thus will cross them with a
straight line.

Right has kept their point threatening to their Right has put their point too far off-line to be
opponent. threatening.

Crossing an Oblique Line

If your opponent presents you
with an oblique line, then you can
use an offensive crossing throughout
Right has used an oblique line to find a straight Right has forced a straight line into an oblique line. your approach. You will thus find and
line. gain with a straight line.
The oblique line formed with finding is a defensive crossing because your
alignment with your target is not as direct but your safety is more assured.
The straight line formed when gaining is an offensive crossing because the
crossing is created while directing the point in a straight line to its target.
Right finds an oblique line with a straight line.
Winning the Gaining Race This is a useful exercise not only for illustrating this point but also | 77
for building your ability to gain when you’re under pressure. It is worth
To understand how advantageous it is to find, and how dangerous it is to
practicing it on the inside and outside.
be found, let’s have a race with your partner.
1. Start out of measure from your partner with both of you in terza.
v x
2. Approach your partner, as before, and find their sword on your inside at
misura larga.
You have now found their sword, and they have not found yours.
3. Both of you to attempt (at the same speed) to gain the sword of the
other.
Right has found Left’s sword on their inside. Right and Left both attempt to gain at the same
4. Wait for your partner to begin gaining, then counter them by using the time. Right wins.
advantages you have already gained to keep control and win the race. It is
essential that you keep the advantage of crossing throughout. Keep their
sword beneath yours by pressing slightly downward with your point as v x
you extend into quarta.
5. Repeat this exercise with you and your partner in the opposite roles.
In this way you will understand both the advantage of finding and the
disadvantage of being found.

Left has found the sword of Right. Left and Right attempt to gain at the same time.
Left wins.
78 | Open, Closed, and Constrained Lines
Now that you understand how to find and gain a sword, we can explore
a final idea about lines. As you have experienced, not all lines of attack are OPEN
available for striking. Lines have three states depending on the position of
your opponent’s sword in relation to yours:
An open line is a line of attack that leads directly to your target and
has no influences applied over it by your opponent. The line has not been CONSTRAINED
found or gained. As you travel this line, you may acquire one or all of the
advantages over the opponent’s sword.
A constrained line is a line of attack that is not closed but has been
compromised because the opposing sword fighter has found it by applying
a small part of each of the three advantages.
A closed line is a line of attack that cannot be followed because a
weapon or other defensive object has gotten in its way. Lines are commonly Right has constrained the inside line by finding it. The outside line is open.
closed through gaining, where the three advantages are fully acquired and
applied against a sword.
Using an understanding of finding and gaining, you can choose to attack
on lines that are open and where you have the best chance of constraining
(finding) and closing (gaining) the line to your opponent. OPEN
CLOSED

Right has closed the high inside line by gaining it.

 Tactical: Gaining Choice Drill | 79
In this exercise your partner will present you with random opportunities
to find, gain, and strike on the inside and outside. By switching between skills
OPEN at random your will increase your ability to choose the right skill and retain.
This exercise is best done with protective equipment (mask and gorget
minimum).
CONSTRAINED 1. Begin out of measure from your partner. Both of you in terza with your
points high.
2. Your partner will invite you to find them on their inside by pointing
slightly toward their outside OR to find them on their outside by pointing
slightly toward their inside. By doing this it make sit slightly easier to find
the advantage of crossing on one side or the other (more on this later).
3. Approach and find, gain, and strike in the appropriate line.
Right has constrained the outside line by finding it. The inside line is open. 4. Your partner will test your position by either pushing on your sword with
their point or attempting to extend their sword to strike you.
5. After you have struck or failed to strike, recover and move out of
measure. Your partner will then invite you again. Repeat 5 times and then
switch roles.
OPEN
CLOSED You could make this drill slightly more challenging by moving backward
and forward with your partner (like the mirror movement drill) in between
each invitation. In this way you will have to practice managing measure and
making approaches.

Right has closed the high outside line by gaining it. Right has made an invitation on their outside. Right has made an invitation on their inside.
80 | Tactical: The Measure Game II You can test your partner’s gaining of your sword by attempting to bring
your point on-line as they attack (see Winning the Gaining Race, earlier in
In this version of the measure game (see the previous section on
this chapter). If they run onto your point they’ll know to do a better job of
movement for the original), your goal is to gain your partner’s sword and
gaining next time.
strike at the appropriate measure.
1. Begin with you and your partner out of measure from one another. You
will both be in terza.
2. Your job is to approach your partner, find their sword and, when you are
at the appropriate measure, gain and strike.
3. Your partner’s job is to stay close enough that you believe you can strike
them, but, then as you attack, to step back enough to not be struck.
Right attacks and Left avoids. Left returns an attack. Right is struck because he
4. After having attacked you switch roles with your partner. They should did not move back in time.
immediately find your sword (on the inside or outside) and attempt to
come into your measure and strike.
5. Continue alternating until someone is struck. Then reset.
 | 81
Chapter Six

To one who is without this understanding & knowledge no

guard has value. This is what the guards are.
—Nicoletto Giganti, Scola overo Teatro, 1606

APPROACHING DIFFERENT GUARDS

There are many different factors that will affect how you need to find
and gain an opponent’s sword. If they are holding it higher or lower or
further to the inside or outside, each variation requires that you acquire
the advantages in a slightly different fashion.
In this section we will explore the best lines of approach against various
guards. How to apply terza to find on all lines and how to select the
correct guard for gaining and maintaining control of the advantages,
regardless of where your opponent holds their sword.
82 | Stronger and Weaker Lines Your partner should find it easy to cross your sword, and you should find
it suitably challenging to maintain a crossing of their sword without aiming
Each guard has a stronger and weaker side based largely on the
well off-line from their body.
mechanics of the human wrist. Though it may seem that a sword pointed
straight toward you could be approached on the inside or outside, it’s not
the case. The following exercise will help demonstrate this:
v w
1. Have your partner stand out of measure in seconda. Their seconda should
form a straight line from their shoulder to you.
2. Approach your partner and find their sword on your partner’s inside. Stop
at misura larga having found the three advantages.
3. Have your partner attempt to cross your sword using their false edge.
You will attempt to resist. Your partner should cross with their false edge
simply by pulling their point toward their inside while keeping their hand
palm-down.

Left finds Right’s seconda on the inside at misura Right easily gains the advantage of crossing on the
larga. inside with their false edge.

The false edge side of a guard is mechanically stronger for crossing.

Because of this, it is generally more effective to find a sword against its flat,
or against its true edge. This means its best to approach seconda on the
outside and quarta on the inside. It’s not impossible to find a sword on the
opposite side; however, it requires significantly greater crossing and leverage
to do so effectively.
You may wonder why we find swords using our true edge and not the
false. If you acquire the advantage of crossing as you approach with the true
edge the same mechanic that makes you weak on this side also allows you
to engage and resist pressure more easily. It’s also safer because the true
edge closes the line and the false edge does not.
Maintaining the Debole | 83
The position of an opponent’s debole can sometimes make it hard to find
or hard to maintain. The following two concepts will help you find and keep
the advantages of leverage and crossing throughout an attack.

Finding a Palmo from the Point

When a sword is held parallel to the ground it presents two problems to
an opponent who is attempting to find it:
1. Without proper care you can lose the advantage of leverage by allowing
your debole to slide into the forte of your opponent’s sword.
2. You can easily stab yourself in the hand on your opponent’s sword as you
attempt to gain.
The answer is to make sure that you always cross your opponent’s sword
a hand-span (called a palmo in Renaissance Italian fencing manuals) from Left is holding their sword low and parallel with the ground. It is more difficult to find and the point
could easily go through Right’s hilt.
the point of their sword.
84 | From the initial finding through to gaining the sword, attempt to keep Striking According to the Point
your crossing at this same place. It will ensure that you maintain leverage A useful tip for maintaining control of the debole throughout an attack
and it will help you place your opponent’s point beyond the rings of your is to strike a target on your opponent that is at the height of their point or
hilt rather than inside them. higher.
For example, if your opponent has their sword in terza with their hilt at
their flank and their point at the height of their shoulder, you can strike
PALMO them in the shoulder, throat, or face. If their point is as high as their face,
then the face would be the only target.
By striking according to the point you ensure that your debole will stay
high and that you will increase in leverage as you get closer. If you choose
a target that is lower than the point then during your attack the debole of
your sword will drop down into the opponent’s forte and you will lose the
Right is being struck in the hand through their hilt. Right has protected their hand by finding one
palmo from the point of Left’s sword. advantage of leverage.

If your opponent’s blade is held quite low you may need to deepen your
stance so that you can place your hilt more firmly beneath it, or you may
need to strike downward through their sword toward a low target — more
on this later.

Correct! Right aims at a target “according to the Incorrect! Right has given up leverage by aiming at
point”. a target that is below the point.

Right has sunk lower in their posture to find a low Right aims at a lower target to gain a low sword.
sword.
Transports: Finding and Gaining the High Sword Against a high sword you are safest to find from above but strike below. | 85
These techniques are called transports because they involve “transporting”
If you have a particularly tall opponent, or your opponent hides their
your opponent’s sword from one line into another (for example from the
head behind their hilt or hold’s their sword particularly high, it can be
high inside to the low outside).
difficult to gain and strike “according to the point”. Even if you successfully
gain their blade you may find it difficult to strike your target without being
deflected by the opponent’s hilt. Attempting to strike under their sword
without gaining it is even riskier. (see the examples below).

A transport from the high outside to strike the low inside.

Left defends their head using their hilt. Right is struck because they did not gain Left’s sword.

A transport from the high inside to strike on the low outside.

86 | Exercise: Striking Against a High Seconda 7. Conduct your thrust with a lunge. Keep your hilt in your partner’s debole
and direct your point up into their chest.
As noted before, seconda is best approached on the outside.
8. Recover the lunge to terza or quarta (so you are still gaining your partner’s
1. Start in terza, out of measure to your partner. They will be in seconda.
sword as before).
2. Slowly approach misura larga, one careful step at a time. Aim to place
AT Return to defensive terza, finding their sword as you do so.
your partner’s sword on your outside.
AK Retreat from measure. Keeping your sword over your opponent’s weapon
3. Aim your sword at your partner’s off-side shoulder with your point slightly
throughout the entire withdrawal.
above their head. This will set you up to place your partner’s sword under
yours (even though it is particularly high) and give you the advantage of Make sure that when you get to misura larga you are close enough that
crossing. as you move to gain you will catch the partner’s debole in your hilt. If you are
4. Cross your partner’s sword and stay in their debole, approximately one too far away your partner’s point will easily slip free as you push them down.
hand-span from their point. Note: because their sword is under yours,
you immediately gain the advantage of edge. You do not need to turn x  
your wrist at all.
5. Begin applying a downward pressure with your point to their debole. Your
goal is to force their point down and get access to the low line. You should
now have arrived at misura larga and have found your partner’s sword.
6. To gain their sword, continue to apply a downward pressure with your
point, aiming at your partner’s chest on their centreline, while extending
into the offensive posture in terza. This should trap your partner’s sword
below yours with their debole in your forte.

Right finds Left on the outside. Right presses Left down. Right strikes under the sword.

 Right finds on the  Right begins to push Left down  Right directs their sword  Right gains in terza pointing down  Right strikes upward into the flank of Left.
outside, point high under the sword of Left
Exercise: Striking Against a High Quarta 7. If your partner’s sword begins to rotate toward your outside, follow it by | 87
turning your hand into seconda, with your hilt high and aiming your point
As noted before, quarta is best approached on the inside.
in the low line toward your partner’s chest on their centreline.
1. Start out of measure from your partner. You will be in terza. They will be in
8. Conduct your thrust with a lunge. Maintain all of the advantages.
quarta.
9. Recover the lunge to terza or seconda (so you are still gaining your
2. Slowly approach misura larga, one careful step at a time. Aim to place
partner’s sword as before).
your partner’s sword on your inside.
AT Return to defensive terza, finding their sword as you do so.
3. Aim your sword at your partner’s sword-shoulder with your point slightly
AK Retreat from measure. Keeping your sword over your opponent’s weapon
above their head. This will set you up to place your partner’s sword under
yours (even though it is particularly high) and give you the advantage of throughout the entire withdrawal.
crossing.
4. Cross your partner’s sword and stay in their debole, approximately one
y  
hand-span from their point. Note: because their sword is under yours,
you immediately gain the advantage of edge. You do not need to turn
your wrist at all.
5. Begin applying a downward pressure with your point to their debole.
Your goal is to begin to force their point down and give you access to the
low line. You should now have arrived at misura larga and have found your
partner’s sword.
6. To gain their sword, continue to apply a downward pressure with your
point, aiming at your partner’s chest on their sword-side, while extending
into the offensive posture in terza. This should trap your partner’s sword Right finds on their inside. Right gains low in seconda. Right strikes with a lunge.
below yours with their debole in your forte.

 Right finds on the  Right pushes down Left’s debole  Right extends arm to seconda  Right gains in seconda  Right strikes with a lunge.
inside, point high
88 | Striking Against Prima Keep your Hilt Low when Finding
If an opponent is holding their sword in prima or a high terza you can use One of the easiest traps to fall into when finding a high sword is to lift
the same approaches as before on the inside or outside. Be aware that as you your hilt as well as your point. When you do this you expose your flank to
press down on their weapon you will force it to move toward your inside attack and weaken your position. Always bring your opponent down to you.
or outside and will need to follow this movement by going from terza into Elevate your point, not your hilt, and use the advantage of crossing to push
quarta or seconda respectively. your opponent down to a position of weakness.

Right finds in terza on the inside, gaining on the outside in seconda. Incorrect! Right has lifted their hilt too high. This Correct! Right keeps their hilt low and lifts their
exposes their flank. point to find.

If your opponent’s sword is so high that you cannot reach it without

lifting your hilt, you can use techniques presented in the next section to find
them while their sword is low. As the opponent lowers their sword to find
you, you can easily find them.

Right finds in terza on the outside, gaining on the inside in quarta.

Right threatens the flank of Left while leaning Left has lowered their sword to find Right. Right
away. can more easily find them now.

Right finds high terza on the inside, gaining on the outside in seconda
Exercise: Resistance Testing 5. Assess any weaknesses discovered based on the three advantages: | 89
The best way to understand the application of the three advantages is to • Have you crossed their line?
test them against different guards with resistance. • Do you have leverage?
1. Have your partner take a guard. One of the four or a variation (point • Have you applied your true edge?
higher or lower, hilt higher or lower).
6. Continue your strike to the target with a lunge. Have your partner test
2. Approach your partner, finding their sword in terza on the inside or
your position during and after your lunge.
outside, depending on their position. It’s important that you keep the advantages throughout.
3. When you arrive at misura larga gain their sword. 7. Finally recover to your gaining position and test it again.
4. Your partner will now test your position in two ways: 8. Retreat out of measure, finding your partner’s sword for as long as
• Extending their sword on its current line – Has their point been possible.
sufficiently deflected, or can they easily strike you?
• Applying force into your position – Can they push your sword aside x x
without a significant change of their own sword’s position?

Left is applying pressure. The position of Right is Left is applying pressure. The position of Right was
correct and strong. incorrect and has been defeated.
90 | Tips on Gaining Keep your head tucked in behind your hilt and resist the urge to peak
over it or around it.
Be sure not to uncross the line as you extend to your target. As you lunge
every one of the advantages should become greater, not lesser.

Unsafe! Left has lowered their hilt exposing their Safe! Left has positioned their hilt in front of their
head to counter-attack. face. They are more fully protected from the sword
of their opponent.
Incorrect! Right has uncrossed the line during their Correct! Right has kept their point on target and
attack leaving them vulnerable. maintains the advantage of crossing.
Maintain the order of your lunge: sword, shoulders, lunge, recover,
Maintain control with your true edge throughout the lunge. If you began shoulders, sword. This will ensure that you are creating a solid defence in
your lunge in quarta end it in quarta. advance of committing your body to the attack.

Incorrect! Right can be easily struck by their Correct! Right keeps their true edge engaged
opponent during their attack. throughout the attack and is safe.
 | 91
Chapter Seven

I exhort unto you to practice these two things well: When

being in measure against the enemy, how in time of
disengaging the sword, knowing how to disengage nimbly
and well, and in the time of guarding, to know how to
guard equally well.
— Nicoletto Giganti, Scola overo Teatro, 1606

RECOVERING CONTROL
When your sword is found or gained (the line it is on is constrained or
closed) you need to defend yourself by moving your sword in such
a way as to recover the three advantages. In this section you’ll learn
three techniques for recovering control and how to use those same
techniques to maintain control once you’ve acquired it.
92 | Cavazione Sotto After you’ve practiced this operation several times, switch to the opposite
side of the sword and begin with a finding on the outside.
A cavazione33 (in English, a “disengage”) is a movement of the point of
your sword from one side of your opponent’s weapon to the other. You
do this to leave a constrained line and gain an advantage of your own
v w
in an open line. When you have been found, a cavazione is pretty much
always performed with a step backward to give you time and safety. This
movement can be done over (sopra) or under (sotto) an opponent’s weapon.
1. You and your partner begin in terza, at misura larga, with your partner
having found you on the inside.
2. Begin a step backward and while doing so use your fingers and wrist to
drop your point down and beneath your partner’s blade.
3. Bring your point back up but on the outside of your partner’s blade, and
as you do so, find all three advantages at misura larghissima. Through the
whole motion, both down and up, try to move only the point of your Right drops their point just below the forte of Left. Right finds the three advantages on the outside.
sword and not the position of your hilt. Stay as close to your partner’s
blade as possible with your point as you change lines.
4. If you succeeded in finding the advantages, advance back into misura
larga. You have now reversed roles with your partner, and they can
practice the cavazione.

 Right has been found on the inside by Left  Right steps back dropping their point  Right elevates their point on the outside to find Left  Right steps in with control.
Cavazione Sopra u v w | 93
Sometimes it is faster to go over the point of your opponent’s sword
rather than under their blade. This motion is called a cavazione sopra.
1. You and your partner begin in terza, at misura larga, with your partner
having found you on the outside.
2. Begin a step backward and while doing so, withdraw your forearm and
use your hand and wrist to direct your point back and up, so it clears the
point of your partner’s sword.
3. Drop your point down on the inside of your partner’s sword, finding the
three advantages at misura larghissima. Throughout the whole motion,
keep your point as close to your opponent’s blade as possible, and keep Right has been found on their Right steps back and elevates Right lowers their point on the
your forearm parallel with the ground. outside. their point. inside to find Left.

4. If you have found the three advantages, step back into misura larga. You
have now switched roles with your partner, and they can practice the
cavazione sopra.
As with the cavazione sotto, this action can be performed on the inside
as well.

 Right has been found on their outside by Left  Right steps back and elevates their point  Right lowers their point on the inside to find Left  Right steps in with control.
94 | Volta Stabile u w x
You do not necessarily need to perform a cavazione to regain advantage.
You can recover control in the same line by withdrawing your sword to
recover leverage and then pushing your opponent’s sword over to recover
crossing. This move is called a volta stabile34, in Italian, which means “stable
turn” and refers to a movement where you rotate the edge of your sword
Right has been found on their Right steps back and applies Right steps back in with control.
from one facing to another. inside by Left. pressure to cross their partner’s
blade.
1. You and your partner begin in terza, at misura larga, with your partner
having found you on the inside.
2. Begin a step backward, and while doing so, withdraw your point and turn u w x
your true edge slightly toward your inside.
3. Apply pressure into your partner’s debole as you elevate your point.
The goal is to regain the advantages of leverage and edge and use those
advantages to win the crossing. Stepping back makes it easier to find the
opponent’s debole and keep the point of your sword threatening.
4. Once you succeed in pushing your partner’s sword aside, push only so far
as you need to gain the advantage of crossing, then step back into misura
larga. Now try the volta stabile starting on the outside.

Right has been found on the Right steps back and applies Right steps back in with control.
inside by Left. pressure to cross their partner’s
blade.
While the Opponent is Finding | 95
Performing a cavazione after you have been found is an important skill,
however performing a cavazione while you are being found is even more
effective. In this way, your opponent’s plan to find your sword will instead
result in you finding theirs.
1. Start out of measure from your partner. Both of you in terza.
2. Have your partner approach you, beginning to find you on your inside.
3. When they are about to step to misura larga and complete the finding of
your sword, follow the movement of their point and perform a cavazione
under their sword as it comes to find yours.
4. Bring your point up on your outside and find your partner’s sword. If done
correctly, your partner will complete their step to misura larga just as you
finish finding their sword.
Your cavazione happens at the same time as theirs.

You must be prepared to act immediately after having found an

opponent’s sword. In a combative environment, there are rarely pauses at
the end of a motion. An advantage you gain in one moment can be quickly
lost, if you fail to act on it, in the next.
96 | Maintaining Control At Larga or Stretta – Crossed in the Mezza Spada
The same movements that allow you to recover control can also be If your opponent attempts to push your sword with a volta stabile, when
used to help you maintain control. Here are the techniques you can use to you have this crossing, either hold your finding position firmly and step
respond to your opponent’s cavazione or volta stabile. Which technique you forward (if you have found correctly, they should not be able to defeat you in
uses, depends on how close you are and in which part of your blade you are the same line), or gain their sword (opportunities to strike may quickly follow).
crossed.

At Larghissima – Crossed in the Debole

If your opponent pushes your sword aside using a volta stabile, respond
with a cavazione and find their sword
on the opposite line. Ideally, while
you do this, you will also step
Left pushes and Right holds their position. Left pushes and Right gains their sword in
forward and find their sword at a response.
closer measure.
If they attempt to find you on the If they perform a cavazione you can use a volta stabile to maintain control.
opposite side of your sword with Left is making a volta stabile to the inside. Right
In this case, follow your opponent’s sword movement by bringing your point
a cavazione, respond by making a counters with a cavazione to the outside. straight across from right to left or left to right while turning your hand. Aim
cavazione of your own that finds them again in the same line. This is called to cross your opponent’s sword with your forte over their debole. This will
a “contra-cavazione”. Ideally this is done while you step forward and gain allow you to keep all three advantages. If your opponent is moving backward,
control at a closer measure. you will need to follow them to maintain measure and keep advantage.
Anytime that you turn your edge, and redirect your point from one facing
to another, it is a volta stabile. This is the case whether you are pushing on
your opponent’s sword (as you did to recover control) or following their
movement, as you are here.

Right has made a volta stabile Right follows the cavazione of Right has returned to their
and Left is responding with a Left with a contra-cavazione. original position of control.
cavazione.

Left has found Right on their Right begins their cavazione. Left follows with a volta stabile
inside. and finds Right on the outside.
Tactical: Football How to play: | 97
Football is a fencing game that allows you to practice all of the 1. Begin at misura larghissima with both you and your opponent in terza.
techniques of posture, movement, finding, recovering control, and 2. The first objective is to find your opponent’s sword at misura larga. You
maintaining control. can attempt to find their sword and move forward, or wait and attempt
to find them as they move forward.
The setup for football is as follows:
3. Once someone has been found, the heart of the game begins. The one
• The “field”. An area where two fencers facing one another at misura who has lost control must move backward and attempt to recover the
larga can move forward or back at least a dozen steps. finding; the one in control moves forward. As long as you are in a weak
• The “end zones”. Scoring areas at each side of the field. position, you must move backward. Should you recover control, then the
roles switch and you move forward until control is lost again.
4. Once someone has been driven to the end zone, the game is over. The
one who is driven to the end zone has lost.
Throughout the game both you and your opponent should maintain an
awareness of measure. However if your opponent fails to back up when they
END ZONE END ZONE have been found, you can walk your point into them to demonstrate their
lack of control — make sure you are both wearing appropriate protective
gear if you’re using this option. Be sure to maintain an emphasis in this game
on finding, re-finding, and controlling measure, don’t focus on striking.

w x

The rules:
1. You and your partner start at misura larghissima. You each have an end
zone to your back.
Left has been found and so must retreat. Left has been driven into the end zone. Right wins!
2. You are both seeking to find the sword of your opponent and drive them
back into the end zone.
3. When you step into an end zone, your opponent scores a point.
4. When your opponent has found your sword, you must move backward.
98 | Tactical: The Gaining Game The rules:
Gaining an opponent’s sword allows you to defend yourself from their 1. You and your opponent begin well out of measure.
most direct attack and exposes them to the point of your weapon. In this 2. The first part of the game is to attempt to find your opponent’s sword at
game you will score by gaining the opponent’s weapon successfully. misura larga.
3. If they find you, use measure and the techniques from this section to
The setup for the gaining game:
recover control.
• A 15' x 15' space that allows for both fencers to approach in and out of 4. Look for a moment to gain. Make sure you move your sword ahead of
measure and circle one another. your body and keep your hips withdrawn.
• A fencing mask and gorget. 5. Continue until someone has reached 10 successful gainings. There is no
requirement to reset after scoring. An opportunity to gain may come
The rules: immediately after one of you has scored a point.
1. Anytime that you form an offensive posture with your partner’s debole
against your hilt and your point on-line, you score a point.
2. No attempts to strike are to be made and your weight should be
maintained over your back foot throughout.
3. The winner is the first to get to 10 points. There is no requirement to reset
after a point is scored.

Left has gained the sword of Right. Left scores a Right has attempted to gain but their point is not
point. on-line. No point is scored.
 | 99
Chapter Eight

The aim of fencing is the defence of self, from whence it

derives its name; because ‘to fence’ does not mean other
than defending oneself, hence it is that ‘fencing’ and
‘defence’ are words of the same meaning.
—Ridolfo Capoferro, Gran Simulacro dell’Arte e dell’uso di Schermire, 1610

DEFENCE AND COUNTER-OFFENCE

No matter how good you are at finding, recovering, and maintaining
control of your opponent’s weapon, you will inevitably find yourself
in a position where the opponent has an opportunity to attack. Like
offence, a good defence employs the three advantages to keep you safe
and create opportunities to attack.
In this section you will learn to use finding and gaining in response to
an opponent’s attack in three situations:

1. When your sword is free.

2. When your sword has been found.
3. When your sword has been gained.
100 | Defence when Free Defence Through Gaining
An ideal defence is both a defence and an offence. In this way you are 1. Begin across from your partner at misura larga, in terza, on the inside.
not only safe but you force the opponent onto the defensive, or successfully Neither you or your partner should find the sword of the other.
strike them and thus end the need for future defence. If your sword is free 2. Have your partner make a lunge toward your torso, without finding or
at the time of an attack, this can easily be done by gaining your opponent’s gaining your sword.
sword.
3. In response to this attack, gain the sword of your partner:
Your sword is free when:
• Lead first with the point of your sword, crossing over their weapon and
1. You have found the three advantages, or
aiming to their right side or eye.
2. Neither you nor your opponent have found the three advantages.
• Extend your hilt and arm while turning your true edge.
• Arrive in quarta, pushing your partner’s sword off-line with your hilt. Be
u u sure to keep your weight on your back leg. Do not inadvertently shift
forward.

4. You should now have deflected your partner’s sword and struck them
simultaneously.

Left has found her opponent’s sword, thus Left’s Neither opponent has found. Thus both of their
sword is free and Right’s is constrained. swords are free.
 The idea of using gaining as a means of defending and counter-attacking | 101
u v x
will be explored in greater detail in the section on contro-tempo (in the
following chapter).

At misura larga. Left attacks without advantage. Right gains the sword of left
defensively.

u v x

Left has gained on the outside in response to an attack.

At misura larga. Left attacks without advantage. Right gains the sword of Left
defensively.

Practice this same exercise on the outside, defending by gaining in

seconda.
102 | Defence of the Leg In this defence, be sure to keep your weight over your back leg (your
left if you are holding your sword in your right hand). You will simply swing
The best defence for your leg is distance.
the lead leg away from the attack while your upper body rocks forward.
1. Stand across from your partner at misura larga, with both of you in terza.
Keeping your weight on the left leg makes the action faster and allows you
2. Your partner will make a cavazione and thrust at your lead leg. to extend your sword forward without losing measure.
3. Pull your lead leg backward away from the attack. As you pull your foot
away: v
• Keep your weight over your rear foot.
• Extend your sword and upper body into seconda (this will counter-
balance your leg).
• Rest your evading leg about three foot-lengths behind your rear foot,
on the ball of the foot. The leg is voided and the opponent is struck Incorrect! If you put your weight onto the evading
simultaneously. leg you will lose measure.
4. If there is opportunity, deliver a simultaneous thrust to your opponent’s
sword arm, chest, or face.
5. Recover by either passing backward, or replacing your leg in front of you.
Defence from Control u x | 103
It is always safer to have found your opponent’s sword whenever you
are in measure. In this way you can more easily defend yourself even if your
opponent seeks to gain your sword as they attack.
In this exercise you are going to practice gaining in response to your
partner’s attack, as you did before, but starting instead from a position
Right has found Left on their outside. Left has attempted to strike and Right has gained
where you have the three advantages. in response.

Exercise: Maintaining and Gaining

1. Begin by finding your partner’s sword on your inside or outside at misura u x
larga.
2. Your partner’s job, in the first part of the exercise, is to advance and
retreat while disengaging between the inside and outside lines. Your
job is to maintain control of their sword, using the techniques from the
Recovering Control section, while moving to stay at misura larga.
3. Periodically your partner will attempt to gain your sword and strike in
their current line, even though you have already found them and the
line is constrained. Your partner must always move their sword directly
forward. Their role is to test your position, not attempt to recover control.
4. As soon as you sense that your partner has begun their attack (through Right has found Left on their outside. Left has attempted to strike and Right has gained
in response.
visual or tactile information), gain their sword. In this way, you should
simultaneously defend yourself and strike them. You may wonder why someone would attack into your sword when you
When you gain, be sure to keep your point on target and your blade have the three advantages. This could occur simply because your opponent
crossing your partner’s. The easiest way to lose the crossing of your partner’s is not aware that you have control or because they believe they can defeat
sword is to push with your hilt while allowing your point to be slack. By you in spite of your advantage. And, if you don’t practice exercises like this
maintaining firm control over the point of your sword you’ll prevent your one, they will.
partner from winning the crossing.
104 | Defence when Found u v w
You have practiced using finding to make the way safe for attack, and
to prevent your opponent from easily attacking you. Now you will learn to
use finding to defend yourself from an attack where your opponent has the
three advantages. This type of finding is often called a “parry”35 or in Italian a
“parata”.
Left has found on their inside. Left gains on their inside and Right parries by withdrawing and
begins their attack. finding on the inside.
Exercise: Finding in Response to an Attack on the Inside
1. Begin at misura larga, with your partner having found your sword on your
inside in terza. w y
2. Your partner will begin an attack by gaining your sword in quarta and
beginning a lunge.
3. As they begin their lunge, you will find their sword by performing a volta
stabile:
• Turn your true edge toward their blade (to find the advantage of true
edge)
• withdraw your forearm back slightly by bending at the elbow and
elevate your point at your wrist to cross their debole (to find the
advantage of leverage),
• then cross over their weapon by pushing their sword to your inside and Right parries by moving their point up and across Right has successfully parried the attack.
to the inside.
down with your mezza spada over their debole (to find the advantage of
crossing).

4. Retreat during this action to give yourself more time and space.
5. You will now have found your opponent’s sword on your inside and
successfully negated their attack.
Exercise: Finding in Response to an Attack on the Outside | 105
u v w
1. Begin at misura larga, with your partner having found your sword on your
outside in terza.
2. Your partner will begin an attack by gaining your sword in seconda and
beginning a lunge.
3. As they begin their lunge, you will find their sword by performing a volta
Left has found on their outside. Left gains on their outside and Right parries by withdrawing and
stabile: begins their attack. finding on the outside.

• Turn your true edge toward their blade (to find the advantage of true
edge)
w y
• withdraw your forearm back slightly by bending at the elbow and
elevate your point at your wrist to cross their debole (to find the
advantage of leverage),
• then cross over their weapon by pushing their sword to your outside
and down, using your mezza spada over their debole (to find the
advantage of crossing).

4. Retreat during this action to give yourself more time and space.
5. You will now have found your opponent’s sword on your outside and
successfully negated their attack.
Right parries by moving their point up and across Right has successfully parried the attack.
to the outside.
106 | Finding and Stepping Forward 2. Find their sword while they attack (potentially with a small retreating

Stepping backward gives you more time to defend, however it also adds step) and then move in quickly while they recover. At the end of their
more time to your potential counter-attack. This could make it easier for recovery you should be at a closer measure and in a position of control.
your opponent to defend themselves or simply to escape. If you are of equal
or greater reach than your opponent, this may not be a problem. However v
if you are at a reach disadvantage you may need to use your opponent’s
attack as a moment to gain a closer measure.
To find and step forward you must use the same technique as above,
however, as your partner attacks you must do one of two things to stay safe:
1. Find/parry their sword at the beginning of their attack without moving,
then step forward before their attack has concluded. Right parries with a small withdrawing step. Right follows the recovery of Left with a passing
step, to get to a closer measure.

u It is essential in these techniques that you begin your defence with the
point of your sword and not your hilt or your body. You must also have your
opponent’s point pushed aside before you begin to enter. If you attempt to
step in, or push with your hilt, before finding the advantage of crossing, you
will step onto your opponent’s point.

Right parries without stepping back. Right gains the sword of Left and begins their
counter-attack from misura stretta.
Defence when Gained The most common circumstances for this to occur are: | 107
1. When your opponent has gained
Sometimes it’s too late to use
your sword and has already
a volta stabile to parry, in these
begun their attacking movement
instances you need to use a different forward before you begin to
type of defence called a “yield”. In parry.
a yield you allow your opponent to 2. When your opponent has found
push your debole aside and then lift your sword at a close measure,
your hilt to protect your head and like misura stretta, and begins
body by using your sword like a their attack before you are able
sloped roof. to back up.
3. When you have begun attacking
Left is too close at this stage of the attack to use a
volta stabile to parry. your opponent and lose the three
advantages in the middle of your Left has lost the three advantages while attacking.
They do not have enough time to parry with a
attack. volta stabile.

After you yield, you will continue the circular motion of your blade to
place it over your opponent’s weapon or, in some cases, strike. The yield and
circular cutting motion of your blade are together called a stramazzone36.
108 | Performing a Stramazzone Starting on the Outside
v w
1. Begin by having your partner find your sword on your outside, at misura
larga.
2. Begin an attack by extending your sword. Have your partner respond to
your extension by gaining your sword in seconda and lunging.
3. Turn your hand into prima. Let your point drop under your opponent’s
pressure while continuing to lift your hilt in front of your face. Your point
will be aimed down at the ground. This will push your opponent’s point
from the outside of your arm to the inside.
4. Deflect your opponent’s point past your head on your inside using your
forte. Right has been gained on their outside and is Right lifts their hilt and drops their point to push
about to be struck. Left’s sword past on their inside.

5. Keep your arm extended. Pull your point around in a wheel-like motion,
past your off-side shoulder, then forward and down so that you cross
your partner’s sword, in their debole, with your true edge on your inside.
Side-step toward your outside while you do this.
6. Find the three advantages over your partner’s sword and lower your
sword into terza.

 Right has been gained by Left  Right drops their point and lifts their hilt  Right continues to circle their sword  Left’s sword has passed without hitting  Right finishes the circle and finds
Left’s sword while stepping back.
Performing a Stramazzone Starting on the Inside | 109
v w
1. Begin by having your partner find your sword on your inside, at misura
larga.
2. Begin an attack by extending your sword. Have your partner respond to
your extension by gaining your sword in quarta and lunging.
3. Turn your hand into quarta. Let your point drop under your opponent’s
pressure while continuing to lift your hilt in front of your face. This will
require that you slightly open and relax your hand. Your point will be
aimed down at the ground and toward your outside. This will push your
opponent’s point from the inside of your arm to the outside.
4. Deflect your opponent’s point past your head on your outside using your Left begins to yield by dropping their point and Left lifts their hilt and drops their point to push
moving Right’s sword from their inside to their Right’s sword past on their inside.
hilt and forte. outside.
5. Keep your arm extended. Pull your point around in a wheel-like motion,
past your sword-side shoulder, then forward and down so that you cross As you practice these techniques, you may see that you could perform
your partner’s sword, in their debole, with your true edge on your outside. the stramazzone and cut down onto your partner’s head or arms, instead
Side-step toward your inside while you do this. of covering their sword. Though this is true, it is best at this point in your
6. Find the three advantages over your partner’s sword and lower your
training to seek to control your partner’s weapon. If you seek to strike with
a cut, your partner could still hit you with a thrust because you have not
sword into terza.
controlled their sword. Defence first.

 Right has been gained  Right drops their point and lifts their hilt  Right continues to circle their sword  Left’s sword has passed without hitting  Right finishes the circle and finds
by Left on the inside Left’s sword while stepping back.
 | 111
Chapter Nine

The reason why the name tempo was given to the

movements made while fencing is that the time employed
to make one movement cannot be employed to make any
other. Therefore, if your opponent makes a movement
within the distances while you see an opening and are
ready to strike, you will surely wound him, because it is not
possible for him to make two movements at one time.
—Salvator Fabris, Lo Schermo, 1606

TEMPO
Time is the essential building block in the music of fencing. Just like in
a musical piece, the nature of an engagement changes dramatically
based on its pacing, when you play the notes, and how long each is
sustained.
A real fight does not have a set rhythm. You must both match and
move in discord from the other player. You must draw your opponent
into your music and then change it suddenly.
In this section we’ll explore the theory of tempo and how to practically
apply that theory to lead your opponent into error and strike them.
112 | Three Meanings for Tempo 2. Opportunity.
Tempo, which is the Italian word for time, is a blanket term in Italian Having good timing for an action is nearly as important as having good
fencing that refers to all of the connections between time and motion. form for that action. An attack has the best opportunity of being successful
There are three primary meanings that we will explore in relation to fencing: if it is done in a moment where the opponent cannot defend. The right
moment is also critical to preventing your opponent from striking you.
1. Rhythm.
3. Proportion.
The tempo of a fight can be thought of as a series of turns in a game, or
as a dance where the movements of each combatant move in-step with the The speed of a particular motion is not as important as its length. All
beating of a drum. The speed or syncopation of the drum sets the tempo of things being equal, a shorter motion will conclude faster than a longer
the fight, and to be moving within its rhythm is to be moving “in tempo”. motion. The comparison of the proportional size of one motion to another
Knowing when to be in rhythm and when to break rhythm is an essential is essential to both managing your own safety and forcing your opponent
part of fighting. into error. You always want to make movements that are equal to or smaller
than those of your opponent. One of the most common ways to control
proportion is by controlling the distance that your opponent must move
their point in order to strike. This is done through controlling measure
and through finding the opponent’s sword. This connection of controlling
measure to control tempo is an essential part of both successful defence and
offence.
Tempo as Rhythm | 113
Any combative action can be divided up into a series of individual
1
movements or tempos (“tempi” in Italian). A movement has a beginning, an
end, and a straight path of travel in between. An example of a one tempo
movement would be extending your arm from terza into quarta, or moving
your front foot forward a foot-length.
As soon as you stop moving or change direction one tempo ends and
Extending from defensive terza directly into offensive quarta takes one tempo.
another begins. To extend your sword in quarta, then having arrived there,
move into seconda, would take two tempos, no matter how quickly you
conducted the change.
Movements can share a single tempo if they happen simultaneously.
2
Extending your arm and taking a step forward at the same time would be 1

a one tempo action. However, if you extend your arm while stationary, and
then step, you will have used two tempos.

Extending into offensive terza and then turning the hand into quarta takes two tempos.
114 | Exercise: Exchanging Full Tempi Examples of Single Tempo Actions
In this exercise you and your partner will have a sword fight. You will
conduct this sword fight like you are playing a turn-based game. Only one
of you will be able to conduct a fencing move at a time, and the other will
remain in place until this move is concluded. Each movement or “turn” will
be one tempo in length.
For the purposes of our game, a single tempo will be the length of time
it takes to make one advancing step (forward foot followed by back foot).
On your turn, you can perform an advancing step, or any action that is equal
An advancing step.
in time to an advancing step. For example, transitioning from one guard to
another, half of a passing step, or a lunge. If the action can be conducted
simultaneously with the advancing step, you may perform them together;
for example, taking an advancing step forward while changing guards.
To play this game:
1. Start in a guard and out of measure from your opponent.
2. Take one-tempo turns, alternating back and forth.
3. Continue alternating until you or your opponent has been struck.
4. Reset the game by moving out of measure. Half a passing step.

You can only move on your turn. If your opponent is about to conduct a
wounding action to you, and it is not your turn, you must simply stand and
take it. Observe the situation and determine how you could avoid the same
demise in the next round.

A lunge from Terza.

Exercise: Exchanging Half Tempi Movements Done in Half Tempos | 115
Conduct the same exercise again, but shorten the length of each tempo.
Now a single tempo will be equal to the movement of only one foot’s step.
This means:
1. An advancing step will take two turns to conduct, one for the front foot,
one for the back.
2. A lunge must be conducted in two parts, the upper body and then the
step, or the step and then the shift forward. An advancing step takes two 1. The front foot moves, 2. The back foot moves.
turns:
3. Moving from one line to another takes a turn. So if you are on the
inside and you desire to strike on the outside you will need to perform a
cavazione in one turn and strike in the next.

An attack at misura larga takes 1. Extend to offense, 2. Lunge.

two turns:
116 | Exercise: Sharing Full Tempi Before beginning this next game, designate a leader for the game. It is
beneficial if the leader can be a non-participating third party.
Though the alternating tempo game is useful for understanding an
1. Stand in a guard and out of measure from your opponent.
aspect of tempo, combat is more of a dance than a turn-based game. To
dance a waltz with a partner you must move with the rhythm of the music 2. You and your opponent plan a single tempo action in your minds.
and in-time with your partner. As they take a step forward, you take a step 3. The leader, after giving both participants a moment or two to come up
back, as they step away, you step forward, responding to each of their with their plans, says “go.”
movements in the same moment. When you match rhythm with your 4. At the same time, you and your opponent conduct the single tempo
opponent and move when they move, you are moving “in-tempo”. action you had planned. If you had not come up with anything you stay
In this exercise, you will move in full tempos as we did in the first still. Do not change your action based on your opponent’s action. To
exchanging tempos exercise, except this time you and your opponent will learn from the drill you must conduct it exactly as planned. Be sure to
be acting simultaneously. As in the previous exercise, your objective is conduct the action with care and safety.
to outsmart your opponent and use good sword fighting technique and 5. Think of your next action and act when instructed. Continue this process
strategy to defeat them. until you or your opponent has succeeded in striking the other.
 To truly gain all you can from this exercise, it is vital that you act honestly Tempo as Opportunity | 117
within its rules. Don’t change your intent mid-motion, instead try to think
Here is a simple problem: Your opponent is standing at misura larga.
ahead and out-strategize your opponent.
They are close enough to be struck with a lunge. You push forward into your
After you have played the game a few times, have the leader shorten the
lunge, yet as you commit to the attack, your opponent simply steps back out
amount of time allowed for planning in between each turn. As you shorten
of your measure and you fall short.
the planning time, the apparent “speed” of the game will increase. The
An alternate problem: You lunge, but as you do so, your opponent finds
shorter the time for planning, the quicker the rhythm, and the more like
your sword, negating its ability to strike, and leaving you in a position of
combat the game will become.
disadvantage.
Both of these defences are relatively easy to conduct and require very
little energy on the part of your opponent. So how do you overcome these
challenges and succeed in an attack?
To find an opportunity to successfully strike, you need to understand the
moments where it is most difficult for your opponent to effectively defend
themselves or strike you in response. All of these tempos of opportunity have
two ingredients:
1. Your opponent is in a measure where you can strike them.
2. Your opponent is moving in a committed and predictable manner.
These two ingredients come together in four specific ways which are
called the four tempos which you will explore throughout this section.
Note: The tempos you are about to learn are described in slightly
different ways in different historical sources and modern schools. See the
glossary section for more information on their use.
Left has been caught “in-tempo” by Right.
118 | Primo Tempo Exercise: Striking in Primo Tempo
The word primo in Italian means “first”. The first tempo when an Your partner in this exercise will use their hand as a target for you to
opponent can be struck is as they step into your measure — in particular strike. It does not require that they have a sword.
your misura larga. If you attack as an opponent steps forward it negates their 1. Have your partner begin out of measure. They will present their hand as a
ability to step away. It also makes it much more difficult for them to defend target.
themselves with their sword. 2. You will stand in terza and wait as your partner approaches one confident
advancing step at a time.
3. As your partner begins to lift their foot to step into your misura larga,
begin your attack. In this way, your attack should strike, as your partner’s
foot lands in misura larga.
4. As soon as your partner sees you begin to lunge, they will attempt to step
away. If you have not timed your attack correctly, they will succeed in
stepping back out of misura larga. If you have timed your attack correctly,
they will be unable to step away because their body will already be
moving forward.

u w x

Start out of measure. Right begins attacking as soon as Right strikes Left’s hand as it
Left lifts his foot. arrives in measure.
Exercise: Striking in Primo Tempo Through the Sword | 119
w x y
In this version of the primo tempo exercise, your partner will have a sword
and will advance while threatening you with their point.
1. Have your partner begin out of measure in terza.
2. You will stand in terza and wait as your partner approaches one confident
advancing step at a time.
Right begins to find at misura Left begins their step. Right strikes Left in primo tempo.
3. Find your partner’s sword while they approach. Before they arrive at larghissima.
your misura larga you should have already begun to acquire all three
advantages.
4. As your partner begins their step into your misura larga, gain their sword
w x y
in quarta or seconda (depending on which line you are in), then strike
them in primo tempo.
5. As soon as your partner sees you begin to lunge, they will attempt to
step away. They will also attempt to direct their point at your chest. In
this way, they will both test your ability to strike in primo tempo and to
properly gain their sword as you do so.

Left begins to find at misura Right begins their step. Left strikes right in primo tempo.
larghissima.
120 | Exercise: Cavazione in Tempo (Disengage in Time) 5. As soon as your partner sees you begin to lunge, they will attempt to
step away. They will also attempt to direct their point at your chest. In
You don’t have to find your opponent’s sword as they approach to
this way, they will test both your ability to strike in primo tempo, and to
successfully strike them in primo tempo. In this version of the exercise, you
properly gain their sword as you do so.
will allow your partner to try to find your sword. As they begin finding you
will strike them in primo tempo using a cavazione to gain their sword in the
opposite line. x y
1. Have your partner begin out of measure in terza.
2. You will stand in terza and wait as your partner approaches one confident
advancing step at a time.
3. As your partner approaches, allow them to find your sword on the inside
or outside. Left begins to disengage as Right seeks to find. Left gains and strikes before the end of Right’s step.
4. As your partner begins their step into your misura larga, perform a
cavazione under their sword to the opposite line and immediately move Efficient and precise movement is the key to being successful. I
forward to gain their sword and strike (gaining all three of the advantages recommend spending time conducting simply the mechanical part of this
as you do so). In this way, you will gain their weapon and strike them in exercise (conducting the cavazione and gaining in one tempo) with your
primo tempo. Extend your point forward at the same time as you conduct partner fixed in place, then bring in the aspect of tempo.
your cavazione. This will make your cavazione into a corkscrew, or spiral, All versions of this exercise should be conducted slowly before you
shape, allowing you to both make the cavazione and gain in the same accelerate them in speed. It is also essential that the approaching partner
tempo. If you cavazione, and then gain, as two distinct movements, your move in a committed and consistent manner and not speed up to avoid
action will take two tempos to complete. This will give your opponent a being struck.
free tempo to step away or find your sword.

 At larghissima  Left steps to find  Right begins their cavazione  Left continues forward  Right gains left and  Right strikes Left in primo tempo.
begins their attack
Tempo as Proportion Exercise: Primo Tempo and Proportion | 121
A Proportion Problem: You are standing in terza. Your opponent takes a First, experiment with the proportion problem that was just outlined by
small and discrete step into your misura larga. During this step you attempt practicing the primo tempo exercise with your partner taking smaller steps.
to strike them in primo tempo. Your opponent, however, completes their You will attempt to strike from terza as they step to misura larga. They will
step and steps away before your attack has time to hit them. step away, even when your timing is right (as long as you both move at the
same speed, you should experience the proportion problem).
Now you will solve the proportion problem by gaining your opponent’s
sword before they step to misura larga. In this way you will have shortened
the length of your attack.
1. Have your partner begin out of measure in terza.
2. You will stand in terza and wait as your partner approaches one step at a
time.
Left steps into misura larga with Right gains and begins their Left steps away and avoids being
an advance. attack. struck. 3. Find your partner’s sword while they approach.
4. As your opponent steps to misura larghissima, gain their sword in seconda
As stated in the introduction to this section, you want to make sure that
your movements are equal to or lesser in length to those of your opponent. or quarta (choose the guard that is appropriate to the line they are in).
A lunge from terza is quite a long movement, especially when compared to 5. As your partner begins their step into your misura larga, lunge.
an advancing step, if that step is small and judicious. In the above example By gaining your partner’s sword before they step to misura larga you are
the fencer on the left may have stepped forward in error, but they are able shortening the length of movement you must make to strike them. During
to realize their error and exit before being struck because the attacker’s their step to misura larga all you need to do is step. This significantly reduces
movement is proportionally longer. your partner’s time to respond.
To successfully strike in primo tempo the attacker must shorten the length
of their attack so it is proportionally equal to that of the step.

 Start out of measure  Left approaches   Left steps to Right gains  Left steps to larga Right begins lunge  Right strikes in a short primo tempo.
larghissima
122 | Due-tempi 5. After their sword is beaten, your partner will attempt to bring their point
back to the line, directing it at your face or chest. If you’ve done your job
Due-tempi (“two-tempos” in English) is the opportunity to strike your
correctly, they will encounter your hilt or forte, and be struck in the same
opponent in two motions. In the first tempo you displace your opponent’s
moment.
sword from the line, and in the second, you strike them as they bring their
sword back on-line.
u v
Exercise: Beat and Attack
In this exercise, you will strike your opponent’s sword with a beat that
will give you an opportunity to then strike the opponent as they bring their
sword back on-line.
1. Begin with your partner at misura larga, with both your swords parallel
Right begins their beat. Right beats. Left’s sword is displaced by the beat.
on the inside, in terza. Leave six to twelve inches of space between your
blades. w x
2. Turn your true edge toward your partner’s sword (with your hand slightly
palm-up), then strike their debole with your own by forcefully flicking
your wrist. If done successfully, your partner’s point will be sent away
from you.
3. You will immediately move into quarta, placing your hilt between your
Left attempts to return their sword. Right extends. Right strikes while gaining the returning sword.
partner’s sword and your body. You are essentially gaining the space that
your partner’s sword must return to. An error to avoid in this action is moving your debole away from your
4. Having gained, you will proceed into your lunge, striking your partner in partner’s sword before conducting your beat (winding up). If you do this,
the chest or face. you may give your partner a tempo to strike you, instead of one for you to
strike them.

 Right begins their beat  Left’s sword is displaced by the beat    Left attempts to return their sword  Right extends  Right strikes while gaining the returning sword.
Exercise: Parata-Risposta 5. As the opponent attempts to bring their sword back on-line and recover | 123
from their lunge, you will proceed with a lunge, striking them in the chest
A parry, or parata, as we explored before, is the act of finding your
or face in due-tempi.
opponent’s sword in response to their attack. A risposta is an attack of
your own conducted immediately following a parry, while your opponent
attempts to bring their sword back on-line. w x y
1. Begin at misura larga with your partner having found your sword on the
inside in terza.
2. Your partner will begin an attack by gaining your sword in quarta and
beginning a lunge.
3. As they begin their lunge, you will find their sword by performing a volta Right parries on the inside. Right gains on the inside. Left recovers. Right strikes in
stabile: due-tempi.

• Turn your true edge toward their blade (to find the advantage of true It is essential that you find the sword exactly as you would if you were
edge) approaching. Don’t over-lift your point, or send your sword strongly off-line.
• withdraw and elevate your point by pulling your arm back slightly at
the elbow (to acquire the advantage of leverage), Conducting a Parata-Risposta on the Outside
• and cross over their weapon by pushing their sword to your inside
and down, using your mezza spada over their debole (to acquire the w x y
advantage of crossing).
• Retreat during this action to give you more time and space.

4. Having found the opponent’s sword, you will immediately extend into
quarta, gaining it.
Right parries on the outside. Right gains on the outside. Left recovers. Right strikes in
due-tempi.

Left gains the sword of Right   Left attacks Right begins to parry  Right fully finds the sword of Left  Left recovers Right gains  Right strikes in due-tempi.
124 | Errors in Parata-Risposta Forgetting to gain before reposting

Over-gathering the arm

Incorrect! Right has attacked without gaining. Correct! Right has gained before attacking.

Always gain in proper order, with your sword and then shoulders
Incorrect! Right’s elbow is too close to their flank. Correct! Right has stepped back to parry.
extending before you step. In this way, if you fail you have warning and can
Be sure to leave at least a hand-span of distance between your elbow and abort.
your side. If you need to withdraw your weapon further in order to gain the
Parrying with the Hilt Instead of the Point
advantage of leverage, step back while parrying instead.

Defensive only

Incorrect! Right has pointed their sword upward. Correct! Right has parried by finding with point
on-line.

It is essential that you threaten your opponent at all times. Keep your
Incorrect! Right has parried with their hilt to the Correct! Right has parried by using their point and
point in a threatening place even when defending. inside. has kept their hilt in front of their body.

The advantage of crossing is the most powerful of the three advantages in

the thrust. Be sure to use your point to cross the opponent’s sword and push
them down with your blade. Do not push your hilt to the inside or outside to
parry. This will make it easier for your opponent to cross you.
Tactical: Primo Tempo vs Due-tempi v | 125
In this game one side is going to attempt to strike in primo tempo, the
other, in due-tempi.
1. Begin out of measure from your opponent, in terza.
2. Both of you may move forward and back. Your first objective is to
perceive the moment that your opponent steps into your misura larga,
and strike them in primo tempo.
3. Your opponent’s objective is to fool your sense of measure, or your
timing, so that you miss the primo tempo opportunity and attack too late.
When you attack, they will attempt to find your sword, and conduct a
parata-risposta.
4. If you fail in striking in primo tempo, seek to recover quickly and move
back out of measure. In this way, your opponent will need to step forward
Right is stepping into misura larga. Left is beginning an attack in primo tempo.
again and give you the primo tempo opportunity a second time.
5. Once someone has succeeded in striking, switch roles.

Left has attacked out of tempo. Right has successfully parried.

126 | Contro-tempo Contro-tempo Drill
One of the moments when your opponent is most vulnerable is as they Now you will attempt to strike in contro-tempo against attacks to random
move to strike you. The opportunity that occurs during an opponent’s targets.
attack is called contro-tempo. Successful contro-tempo has two components: 1. Stand with your partner at their misura larga with your swords parallel.
1. The tempo of your attack is of equal or lesser proportion to your opponent’s. No advantages have been found by either party.
2. Your attack defends you from the opponent’s attack. This is generally 2. Your partner will attack you with a lunge to a target of their choosing,
done by acquiring the three advantages. inside or outside, high or low. They will do this without attempting to gain
your sword.
Exercise: Striking in Simple Contro-tempo
3. If your partner attacks your high inside, you will gain and strike in quarta.
As we explored in the section on defence and counter-offence, if an
If your partner attacks your high outside, you will gain and strike in
opponent does not seek to control the three advantages, they may be
seconda. If your partner attacks in your low line, you will withdraw the leg
vulnerable to being struck in contro-tempo.
and strike in seconda. Note that withdrawing the leg protects the hip and
1. Begin across from your partner at misura larga, in terza, on the inside, with
belly as well. See the three images below.
no advantages acquired by either of you.
4. Have your partner recover and attack in a new line. You will return to terza
2. Have your partner make a straight thrust toward your torso, without
along with them and be immediately prepared to gain their new attack.
finding or gaining your sword.
3. Simultaneously with this attack, gain the sword of your partner in quarta
by aiming a strike at their right shoulder or eye. Lead first with the point w w w
of your sword, then extend the hilt and arm, while turning your true edge,
and pushing your hilt to your inside to close the line. If done properly, this
will deflect your partner’s sword and you will hit them in contro-tempo.
There are no new techniques here—you are finding and gaining your
partner’s sword as you have done previously, but now with an added Right strikes in quarta against an Right strikes in seconda against Right strikes with a leg void.
attack on the inside. an attack on the outside.
element of timing. Start slowly, always maintaining order and precision.

v w

Left begins their attack without cover. Right gains and strikes in contro-tempo.
Stringere: Strategic Constraint | 127
Even with a limit of three lines (high inside, high outside, low) perceiving
and successfully responding to an attack in contro-tempo can be
challenging. You need a way to force your opponent into a predictable
attack, that is proportionally larger than your counter-attack, so your chance
to succeed in contro-tempo is more assured.
When you find your opponent’s sword you put yourself in a position
of mechanical strength over their current position. This eliminates one of CONSTRAINED
your opponent’s potential lines of attack and puts them in a position where
they must move to an open line in order to strike. This move takes time and
makes their next action much more predictable. This operation of strategic
constraining is called stringere37 in Italian, pronounced strin-jer-eh, with the
emphasis on the first syllable.
Stringere has three components: Left has constrained Right on their outside. Right must move their point a proportionally larger distance
to escape from constraint..
1. Constraint. Placing your opponent’s weapon in a position of weakness in
its current line. Now the opponent cannot easily strike the targets directly in-
line with their sword, and your lines for striking them are open.

2. Invitation. When you constrain one line, for example your inside line,
you must leave the other line open, in this case your outside line. This
open line is the best place for your opponent to attempt to gain control or
strike. Knowing this allows you to more easily predict and respond to the INVITATION
opponent’s next action.

3. Proportion. Having constrained one set of options and made another set
of options more appetizing, you must control the amount of time that it
takes for your opponent to move from one option to the other. The goal is to
make their movement between lines larger than your response to counter it.

Right has constrained Left on their outside. Left must move their point a proportionally larger distance
to find an open line..
128 | Exercise: Contro-tempo and Stringere • Catch your partner’s debole on your mezza spada below your sword.
In this exercise, you will use stringere to make the next action of your • Lift their debole up and push it to your outside with your forte and hilt
partner more predictable and easier to respond to. as you turn your hand into seconda. You’re able to succeed at gaining
your partner’s sword while they make a cavazione because their action
1. Start out of measure from your partner with both of you in terza.
is proportionally longer than yours.
2. Approach your partner and find them on your inside at misura larga.
3. Your partner will now attempt to make a cavazione, gain, and strike on 5. At this point, your partner may have already run onto the point of your
your outside line in seconda. sword; if they have not, help the process along by making a firm-footed
lunge. All of this should have happened in the time of your partner’s
v x attack and thus be in contro-tempo.

x y

Right has found Left on their inside. Right follows the disengage of Left.

4. While your partner performs their cavazione, follow it with a volta stabile Right begins to gain on the outside. Right gains and strikes in contro tempo in seconda.
while you extend your arm and upper body:
6. Recover back into seconda and then into terza, maintaining the three
• Start first by moving your point from the inside to the outside. Stay over
top of your partner’s sword. advantages as long as possible while you retreat out of measure.
• Aim toward a target that gives you crossing and extend your arm as you
do so to increase your leverage.

 Right has found  Left disengages to strike   Right follows the disengage  Right gains in seconda and  Right recovers and finds Left’s sword.
Left on their inside with their point strikes in contro tempo
 Practice the same exercise on the inside and outside. The most essential Stringere on the Outside, Strike on the Inside | 129
element is beginning the volta stabile with a movement of your point so that You can follow the steps of the previous exercise but begin on the outside
you are always winning the advantage of crossing first. Secondly, be sure that and strike on the inside instead, as you’ll see in these images.
you are making the volta stabile simultaneously with the extension of your
sword to gain. Do not respond in two distinct movements as you will act in v x
two tempos and miss the contro-tempo moment.
After you have built your comfort with this exercise, you can invite your
partner to attack the high line or attack your lead leg. The trick to simple
decision making here is to always respond by closing the high line in quarta
or seconda but be ready to withdraw your lead leg if you realize that it is the
target of attack.

Right has found Left on their outside. Right follows the disengage of Left.

x y

Right begins to gain on the inside. Right gains and strikes in contro tempo in quarta.
130 | Angulation and Penetration Creating a steep angle with your sword does not make it any less deadly.
A sword does not need to follow the angle of the blade in order to wound
You may have noticed in the previous exercises that the closer you are to
successfully with the point. A strike can travel at an alternate angle to the
your opponent (when you have found their sword) the larger the cavazione
blade, so even though in this extremely angulated position the sword could
the opponent must make. This is to your benefit. If you can force your
be said to be pointing over the opponent’s head, it is actually threatening
opponent to make large movements while you make small movements
the face quite sufficiently. I usually cite to my students during this lesson
you’ll have a proportional advantage. There are two principles at play that
that swords are not rockets. They are not propelled from their pommels; we
make this happen:
can move them along any axis, in any orientation, and the point will strike
Angulation38 in just as deadly a fashion. After you have struck, or just before, you can also
align the sword more directly at its target.
In a finding position, the steepness of the angle of your sword dictates
the amount that your opponent’s sword point must drop in order to move
from one side to the other.

Right strikes Left with their sword at an angle. It Right lifts their hilt as they strike to align the blade
will still penetrate. for greater reach.

Right has a shallow angle. Left can make a small Right has a steep angle. Left must make a larger
cavazione. cavazione.

You can control this angle by reaching your arm and shoulders forward
while pushing your hilt downward. Lift your point upward at the same time
to make a larger “wall” for your opponent to get around. Note that the tip of
your rapier should never go higher than your opponent’s head.
Penetration | 131
Angulation on its own is not
sufficient to fully control the
opponent’s weapon; it must
be combined with penetration.
Penetration refers to the amount of
sword you have crossed, meaning The amount of your opponent’s sword that passes Right has a small amount of penetration. Left has a Right has a large amount of penetration. Left has a
your own is the “penetration”. small disengage. larger disengage.
how much of your opponent’s sword
has passed yours from the place where your two swords intersect. This does You must play a balancing act with penetration to find as much of the
not require contact between your swords. opponent’s blade as possible without giving up the advantage of leverage.
The more of their sword that has passed your own, the more sword your Experiment with different levels of angulation and penetration in the
opponent has to move from one side of your sword to the other, thus the previous contro-tempo exercises to build a better understanding of how
longer it takes. If you make a crossing close to the opponent’s point, the these two important principles make it easier or harder for your opponent
opponent has very little sword to move from one line to another. If there is a to perform a cavazione and strike and for you to counter them.
larger amount of sword, they’ll need to do a lot more work, and they have to
get around much more of your sword.
132 | Managing Angulation, Penetration, Distance, and Posture You may feel that your forearm becomes exposed when you push your
You may notice when you are experimenting with angulation and hilt down and elevate your point. This is true, which is why it is essential that
penetration that you need to break you only create a more extreme angle of your sword once you have crossed
from the perfect formation of the your opponent’s weapon. In this way you are protecting your forearm with
guards you have learned. This is true. proportion.
The priority is stringere. You can
safely manipulate the shape of a
guard provided that doing so
restricts targets, invites to an
obvious opening, and controls Right has stringered with a small amount of
angulation and penetration, so leans away to
proportion. create proportion.
The first terza on the right creates
very little angulation and penetration,
Right forms a terza that protects her arm. After sufficiently crossing she lowers her hilt.
but creates proportion by inviting to
a target (the head or chest) that is a When approaching from out of measure, be sure to form a terza that
long way away from the opponent. protects your arm. Only begin to modify your terza once you have crossed
The second terza on the right your opponent’s weapon.
creates significantly more angulation
and penetration, prompting a much
larger cavazione. Even though Right has stringered on their inside. Their head is
close but the angulation and penetration make
the fencer’s head is closer, the them safe.
proportional advantage and the
ability to gain significantly more leverage makes up for it.
Tactical: Contro-tempo vs Primo Tempo Exercise: Primo Tempo vs Contro-tempo | 133
After practicing the stringere and contro-tempo exercise, you may be left 1. Start out of measure from your opponent with both of you in terza. Your
with a fairly logical question: Why would someone who has been stringered goal is to strike in contro-tempo. Your opponent’s goal is to strike in primo
attempt to strike if they’re so easily overcome by their opponent? There are tempo.
a few reasons: 2. Now you will both freely approach one another. To succeed in your
1. They may not realize or understand the advantage that you have over objective, you must succeed in getting to misura larga and have found
them. Not everyone who fences with rapiers learns the principles of your opponent’s sword. From there, you will be ready to strike in contro-
sword control, no matter how fundamental they may seem to you now. tempo. Your opponent will succeed in their objective by striking you
2. Combat is a fast moving affair and it’s easy to not realize the in primo tempo while you step to misura larga. (See the earlier section
disadvantage of your position. This can lead you to attempt to strike at on primo tempo for the techniques on doing this successfully with and
the wrong time. without a cavazione).
3. Your opponent may be attempting to strike you in primo tempo but have 3. The fact that your opponent wants to strike you in primo tempo is what
missed their moment. will make them vulnerable to contro-tempo. If you can successfully step
We’re going to look at this last one now. to misura larga before they are ready to strike, their attempt to strike in
primo tempo will give you the opportunity to strike in contro-tempo.
4. Periodically switch roles to understand both sides of the exercise.

The opportunity in this exercise is all about being ready at the right
measure. If your opponent is ready and waiting while you step to find them
at misura larga, they can strike you in primo tempo. If you manage to get to
misura larga while they’re not ready, and they attempt to strike late, then
you are ready, and you can strike them in contro-tempo.

Right is stepping while Left is ready. Thus Left can Right missed their chance to strike in primo tempo.
strike in primo tempo. Left has successfully stringered Right at misura larga.
134 | Mezzo Tempo It is important that you begin your motion as soon as you perceive your
partner’s movement. If you wait too long, they will be completing their
By controlling angulation, penetration, and measure, you can substantially
action, and the opportunity to strike in mezzo tempo will have passed.
increase the length of an opponent’s tempo to attack, while decreasing the
length of your own tempo to strike. In this way, you can make it possible to
strike your opponent in the middle of a movement (such as a cavazione) v w x
before they’re even able to threaten you with their point. This opportunity is
called mezzo tempo which means “half tempo” or “middle tempo”.

Exercise: Striking in Mezzo Tempo

1. Begin out of measure with both you and your partner in terza. Right begins their approach from Right finds at misura stretta. Right catches Left in the middle
out of measure. of their disengage.
2. Approach your partner, finding their sword on your outside. Keep
approaching until you have arrived at misura stretta. Be sure that you Mezzo tempo is generally easier to achieve at misura stretta where the
have substantial angulation and penetration. length of tempo you require to strike is quite short. However, the larger the
3. Your partner will now make a cavazione under your sword with the movement of your opponent, the more tempo you have in which to strike,
intention of gaining and striking on the inside. and thus the farther away you can be.
4. As their sword point begins to drop down to get under your hilt, extend
your sword forward while keeping your hilt low. Strike them with a
firm-footed lunge to their chest or face. In this way you will catch your
partner’s sword on the outside in the middle of their cavazione.
Exercise: Striking in Mezzo Tempo During a Cut You can imagine that an invisible string connects your partner’s sword | 135
1. Begin at misura larga, having found your partner’s sword on the outside.
to your point. As they begin to withdraw their sword to prepare the cut, the
action pulls your point into their body, so they are not able to even begin
2. Your partner will begin to pull their sword backward, away from your
the descent of their cut before they are struck.
weapon, with the intention of making a downward cut to your left side.
Note that the hilt is held quite high to protect your face so you are
Because we don’t cover cutting extensively in this book, it may be worth
protected from your partner’s cut if they succeed in making it.
practicing this cut action a few times to get a sense of the motion before
you respond to it.
u v w
3. As your partner begins to withdraw their sword, follow their weapon
backward by moving into quarta and striking them with a lunge to their
upper chest.

Right has stringered Left at Right begins extending their sword Right strikes before Left’s cut
misura larga. as Left pulls their sword back. begins to fall.
136 | Tempos in Summary
The four tempos can be easily summarized:
Primo Tempo: Striking while your opponent steps into measure. Contro-tempo: Striking while your opponent attacks.

Left steps to misura larga. Right strikes in primo tempo. Left attempts to strike on the outside. Right strikes in contro-tempo.

Due-tempi: Striking while your opponent recovers their sword. Mezzo tempo: Striking while your opponent moves their point away from you.

Left recovers after they have been parried. Right strikes in due-tempi. Left begins to pull their sword back to cut. Right strikes in mezzo tempo.
 | 137
Chapter Nine

It must be kept in mind that all the motions of the sword are
a signal to those who know how to decipher them.
—Nicoletto Giganti, Scola overo Teatro, 1606

STRATEGY
Webster’s defines strategy as “the art of devising or employing plans or
stratagems toward a goal.” For our purposes, this is a fitting definition.
Our goal in fencing is generally to defeat our opponent while surviving
the engagement. The plan we formulate, that hopefully takes into
account our own strengths and our opponent’s weaknesses, is our
strategy.
The fundamental strategy of Italian rapier is to use strategic constraint
(stringere), combined with forward pressure, to reduce the opponent’s
options and time, forcing them into a predictable error. When they
make that error you strike.
I call this strategic approach the “True Fight”.
In this section, you will develop a fundamental understanding of
the True Fight strategy and explore the exercises that will help you
implement it.
138 | Tactical Conditioning The True Fight
German Field Marshall, Helmuth Karl Bernhard Graf von Moltke, famously Combat can be a chaotic environment with the potential for a sword
said “No plan survives contact with the enemy.” This is as true a statement to come from nearly any direction, and left unchecked, an opponent can
in fencing as it is in war. You may have a plan when you approach your act in seemingly unpredictable ways. The “True Fight”39 is an approach
opponent, but so do they. It is a rare encounter where things go perfectly to the fundamental strategy of Italian fencing, designed to control the
to plan. To be a successful fencer you must be able to adapt a strategy in unpredictability of fencing and give you a straightforward and limited
real-time. selection of options to choose from at each stage of a fight. In this strategy,
Though you are going to first learn the True Fight as a flow chart of you will use the mechanical and strategic principles you have learned so far
decisions to be made at each measure, a necessarily cerebral process, tactics to protect yourself from an opponent’s most direct attacks, safely approach
in swordplay cannot be a front-brain operation. Pausing to consider whether your own offensive measure, and strike when the opportunity presents itself.
to go right or left, while in the measure of a sharp weapon, is too slow.
Tactics in fencing is the implementation of pre-conditioned
responses to new threats and opportunities. You must train the tactical
side of the True Fight into your body and into your instinctive responses.
This allows your fighting mind to respond to the situation much faster than
your conscious brain.
Every exercise that you perform here must first be understood in a
theoretical way and then conditioned through repeated drilling, starting
slow and gradually accelerating in speed of practice, so that they become
natural responses in your body.
The Rules of the True Fight Success in the True Fight | 139
1. Stringere your opponent at all times. To succeed at the True Fight, remember to take into account that you are
2. Move forward when you have control to increase advantage or strike. facing a sharp weapon that requires very little force to do you great harm.
3. When you do not have control, move backward and recover control. This should temper your actions in two ways:
4. Seek opportunities to strike in one of the four tempos. 1. You must approach with great caution, seeking to control the weapon
of the opponent at all times and recover control with wise movement
should you lose it.
2. As the distance narrows, safety comes with decisiveness, and valour will
be the better part of caution. When the opportunity presents itself, you
must strike in earnest and without hesitation.
Remember that your primary objective in a sword fight is to survive.
Though self-evident, this overarching objective can be easy to lose sight of
in our non-lethal modern world. If you want to truly understand and master
the traditional art, you must keep this thought first and foremost in your
mind as you practice.
140 | Directions of Movement
When you have control, the fundamental thing you are responding
to from your opponent is their direction of movement. Movement is LARGHISSIMA
LARGA
categorized into three basic types: STRETTA

Forward
Forward movements from the opponent bring them closer to you, such
as when they advance or attack.

Backward
Backward movements take your opponent away from you, such as a
recovery from a lunge or a retreating step.

Stationary/Fixing
Your opponent might stay still when they’re waiting to see what you FORWARD FIXING BACKWARD
do next or because they’re moving only their sword and not their feet.
Left has found Right at misura larga. Right could respond by moving forward to stretta, fixing at larga,
“Fixing” is a stationary moment when an opponent fails to act (thus they are or moving backward to larghissima.
unprepared to react). This can occur for a myriad of reasons including simply
forgetting, being overly tense, or being unready to move.
Circular Footwork Understanding the Flow Chart | 141
Historical swordplay is by no means restricted to linear action. Many The flow chart that follows describes the opportunities that exist at each
opponents will choose to move right or left in order to gain advantage or measure to control and strike, not the specific techniques required to do so.
find new opportunities. If your opponent is circling, you can still categorize It is based on you being the fighter who is in control (has stringered their
their movement as above. If their circling brings them closer to you, they’re opponent). To stay on the chart you must maintain control as you respond
moving “forward”. If their circling brings them further away, they’re moving to your opponent’s cues. If you lose control you need to recover control to
“backward”. If they circle in a manner that keeps them the same distance get back on to the chart at a given measure (rule 3 of the True Fight).
from you, then they are “stationary.” Over the next few pages we’ll look at how to better understand the flow
chart and how to map the correct technique to fulfill each box, maintain
control, increase advantage, and strike.
LARGHISSIMA Generally at each stage of the flow chart you will either follow your
opponent as they move back (pursue them), acquire more control by
LARGA
stepping to a closer measure when they are stationary, or strike them when
STRETTA they move forward (until you’re at misura stretta where you can hit them
regardless of which direction they move).
STRETTISSIMA
FORWARD

BACKWARD

Right could circle forward to stretta or circle backward to larghissima.

142 | The True Fight Flow Chart
Misura
Larghissima
Out of
Measure

Opponent’s
Movement
Opponent’s
Movement

Backward
Pursue
Backward Wait for them to
come to you

Strike in
Primo Tempo
Step and Find @ Forward
or
Misura Larga
Forward
or
Stay Still and
Stay Still and Find @ Misura
Find @ Misura Larga
Larghissima
or

Step and Find @

Misura Stretta

Stationary Step and Find @

Misura Stationary Step and Find @
Larghissima
Misura Larga
 | 143

Misura Larga Misura Stretta

Opponent’s Opponent’s
Movement Movement

Backward Backward
Pursue Strike in Primo
Tempo

Forward
Forward
Strike in Contro-
tempo
Stationary
Strike in Mezzo
Tempo

Stationary Step and Find @

Misura Stretta
144 | Moving Between Measures Arriving at Misura Larghissima
As we explored earlier, the various measures are all essentially one step
apart (with variance for your own stature and that of your opponent). LARGHISSIMA
Movement between measures on the flow chart is determined both by your
movement and that of your opponent. If your opponent is stationary you
can advance between each measure one step at a time, through forward
movement. However, if your opponent is moving backward while you
move forward, your measure will not change (unless you take larger steps).
Conversely, if both you and your opponent step forward at the same time,
you may skip over one measure and find yourself two measures closer.
Starting just out of measure. Left steps forward to find the sword of Right while Right fixes.
Here we will look at how you might arrive at a given measure based on
the movement choices of you and your opponent.
LARGHISSIMA

Starting just out of measure. Left waits and finds the sword of Right as Right steps forward to misura
larghissima.

LARGHISSIMA

Starting further out of measure. Left steps forward at the same time that Right steps forward. They
arrive together at misura larghissima.
Arriving at Misura Larga Arriving at Misura Stretta | 145

LARGA STRETTA

Starting at larghissima. Left steps forward and maintains control while Right fixes. Starting at larga. Left steps forward and maintains control while Right fixes.

LARGA STRETTA

Starting at larghissima. Left waits and maintains control of the sword of Right as Right steps from Starting at larga. Left waits and maintains control as Right steps from larga to stretta.
larghissima to larga.

LARGA STRETTA

Starting just out of measure. Left steps forward and finds the sword of Right at the same time that Right Starting at larghissima. Left steps forward and maintains control at the same time that Right steps
steps forward. They arrive together at misura larga. forward. They arrive at misura stretta together.
146 | Maintaining Control Exercise: Walking the True Fight
The True Fight requires that while you respond to the movement cues In this exercise we are going to fully explore the core techniques of the
of your opponent that you also respond to their line changes to maintain True Fight. I recommend that you walk through each measure with a partner,
control. If you’re at misura larghissima and your opponent moves backward ensuring you’re familiar with the choices and responses that are available to
while making a cavazione you’ll need to pursue them to stay at larghissima you.
AND use a contra-cavazione to maintain control of their sword. If you are at Ideally the exercise will become something you can do from memory.
misura larga and your opponent moves forward you have a chance to strike
them in contro-tempo. If they do so while making a cavazione to strike, you’ll The Flow Chart Without Line Change
need to use a volta stabile to gain them in the opposite line. First we will go through the entire flow chart at each measure with a
Whether they attempt to change lines, or recover control on the current focus only on the opponent’s direction of movement. Your partner will not
line, if you have stringere over them you have a greater capacity to counter change lines or attempt to recover control with their sword.
anything they do with your own techniques. Any move they can make must
necessarily take longer than the appropriate counter-move because of the
proportion advantage a good sword position gives.
In-depth guidance on every technique you need has been covered in the
previous sections on maintaining control, recovering control, and tempo.
Now it’s time to look at how each technique fits in at each measure.
Misura Larghissima 1. Cue: Partner steps away. | 147
Practice the three methods for finding your partner’s sword at misura Response: Follow them to maintain larghissima and keep advantage
larghissima (on either the inside or outside): over their sword.
1. Begin out of measure. You step forward to larghissima and find your 2. Cue: Partner fixes.

partner’s sword while they stay still. Response: Step forward to misura larga keeping advantage.
2. Begin out of measure. Your partner steps forward to larghissima and lets 3. Cue: Partner steps forward with a small step.

you find their sword while staying still. Response: Stay still and keep advantage. You have now found their
3. You both begin two steps outside of misura larghissima and step
sword at misura larga.
OR step forward in the same tempo as their step and find their sword at
simultaneously into measure. You find their sword while doing so.
misura stretta.
If an opponent steps into your misura larghissima, with a particularly large 4. Cue: Partner steps forward with a large step.
step or is particularly unprepared, there is an opportunity to strike them in Response: Gain and strike in primo tempo with a lunge.
primo tempo with a passing lunge.
Having found your partner’s sword at larghissima, have your partner cue
you with each movement option, one at a time, resetting to larghissima after u v w
each cue and response:

Misura
Larghissima

Opponent’s
Movement Left steps away - Pursue Left fixes - Find misura larga Left steps forward - Find stretta

Backward
Pursue
x x
Strike in
Primo Tempo
Forward
or

Stay Still and

Find @ Misura
Larga
or

Step and Find @

Misura Stretta Left takes big step forward - Strike in primo tempo

Stationary Step and Find @

Misura Larga
148 | Misura Larga Having found your partner’s sword at misura larga, have your partner cue
Practice the three methods for finding your partner’s sword at misura you with each movement option, one at a time, resetting to larga after each
larga (on either the inside or outside): cue and response:
1. Begin at misura larghissima. Step forward and find your partner’s sword 1. Cue: Partner steps away.

while they stay still. Response: Follow them to maintain larga and keep advantage over their
2. Begin at misura larghissima. Your partner steps forward to larga and lets
sword.
you find their sword while staying still. 2. Cue: Partner fixes.

3. You both begin out of measure (one step outside of misura larghissima)
Response: Step forward to misura stretta keeping advantage.
and step simultaneously into misura larga. You find their sword while 3. Cue: Partner steps forward OR attempts to strike with a lunge (without

doing so. line change).

Response: Gain and strike with a firm-footed lunge in contro-tempo.

Misura Larga
u v w

Opponent’s
Movement

Left steps away - Pursue. Left fixes - Find misura stretta. Left moves forward - Strike in
Backward contro-tempo.
Pursue

Forward
Strike in Contro-
tempo

Stationary Step and Find @

Misura Stretta
Misura Stretta Having found your partner’s sword at misura stretta, you will begin to | 149
Practice the three methods for finding your partner’s sword at misura extend your sword (before your partner even begins to move). Have your
stretta (on either the inside or outside): partner then respond to this movement with one of the three movement
1. Begin at misura larga. Step forward and find your partner’s sword while
cues. You will adapt to that cue to strike appropriately. Repeat for each cue
and response:
they stay still.
2. Begin at misura larga. Your partner steps forward to stretta and lets you
1. Cue: Partner steps away.
Response: Gain and strike with a lunge as they step back to misura larga
find their sword while staying still.
in primo tempo.
3. You both begin at misura larghissima and step simultaneously into misura
2. Cue: Partner fixes.
stretta. You maintain finding of their sword while doing so.
Response: Gain and strike with a firm-footed lunge in mezzo tempo.
3. Cue: Partner steps forward OR attempts to strike with a firm-footed lunge
Misura Stretta (without line change).
Response: Gain them part way through their action, beneath your
sword, in mezzo tempo.

Opponent’s
Movement u v w

Backward
Strike in Primo
Tempo
Left steps away - Strike with a Left fixes - Strike firm-footed. Left moves forward - Strike with
lunge. the sword low.

The last action of misura stretta where you strike your partner as they
Forward
move forward is the only action you will practice at misura strettissima in this
exercise. The other most common occurrence of misura stretissima is after
you’ve parried a committed attack.
Stationary
Strike in Mezzo
Tempo
150 | Incorporating Line Change Misura Larghissima
Now we will go through the Walking the True Fight exercise again 1. Cue: Partner steps away while making a cavazione.
practicing the techniques required if the opponent changes line. Be sure to Response: Follow them to maintain misura larghissima while making a
practice this exercise from a finding on both the inside and outside. contra-cavazione to maintain control.
2. Cue: Partner fixes while making a cavazione.
Response: Make a contra-cavazione while stepping forward to find
misura larga.
3. Cue: Partner steps forward with a small step while making a cavazione.
Response: Make a contra-cavazione and stay still to find their sword at
misura larga OR make a contra-cavazione and step forward to find their
sword at misura stretta.
4. Cue: Partner steps forward with a large step while making a cavazione.
Response: Make a contra-cavazione to gain their sword and strike them
with a lunge in primo tempo.

x x

Follow your opponent’s movements to maintain control while following the flow chart.

Right has stepped forward making a cavazione. Left makes a contro-cavazione and strikes in primo
tempo.
Misura Larga Misura Stretta | 151
1. Cue: Partner steps away while making a cavazione. 1. Cue: Partner steps away while making a cavazione.
Response: Follow them to maintain misura larga while making a volta Response: Make a volta stabile while extending to gain their sword and
stabile to maintain control. strike with a lunge in primo tempo.
2. Cue: Partner fixes while making a cavazione. 2. Cue: Partner fixes while making a cavazione.
Response: Make a volta stabile while stepping forward to find misura Response: Make a volta stabile and trap your partner’s sword beneath
stretta. your own, part way through their action, striking them in mezzo tempo.
3. Cue: Partner steps forward, OR attempts to gain and strike, with a 3. Cue: Partner steps forward, OR attempts to gain and strike, with a
cavazione. cavazione.
v
Response: Make a volta stabile while extending to gain their sword and Response: Make a volta stabile
strike them with a firm-footed lunge in contro-tempo. and trap your partner’s sword
beneath your own, while making
a reverse lunge, to strike them in
w w mezzo tempo.
Left has attempted to disengage while staying in
place. Right has caught them in mezzo tempo.

Left has disengaged to strike. Right makes a volta stabile and strikes in contro-tempo.
152 | Incorporating Pressure
Sometimes an opponent will attempt to recover control while leaving
their sword in the same line by using a volta stabile or simply trying to
extend and gain your sword (even when you’ve found them already). Even
though this option sometimes seems foolish, it is important to practice
against it so that you are prepared for an opponent who either doesn’t
Left is pushing on the sword of Right. Right can maintain their position or gain.
know better or believes that you are not capable of shutting them down.
Walk through the responses at each measure following this guidance: At misura stretta you should be able to gain in an extended terza below
At misura larghissima respond to pressure into the sword by making a your sword, in nearly all cases. If the opponent is moving away, you may
cavazione and proceeding based on need to extend into seconda or quarta to keep control and maximize your
the flow chart. measure but again you should not need to yield to their pressure.
At misura larga if the opponent
is applying pressure while moving
forward or fixing, you can simply
gain in response to the pressure, or
keep your finding. Your advantage
should be strong enough that
they cannot win the crossing. If At larghissima. Left pushes on Right’s sword with a
volta stabile. Right responds with a cavazione.
the opponent is applying pressure
while moving backward, respond with a cavazione as you would at misura
larghissima.
Recovering Control in the True Fight Regain Stringere When It’s Lost | 153
In many ways the ideal of Italian fencing is to stringere your opponent If you are in measure and have lost stringere, move backward and use the
at the outset and never lose control or have need to back up. However, the techniques from the section on recovering control. Put yourself back into a
reality is that it is hard to keep to this ideal and for many fencing in a more position of stringere over your opponent, then move back in, following the
receptive manner, where you allow your opponent some freedom to attack, rules of the True Fight. For example, if you step back and have recovered
can be more comfortable and often tactically advantageous (see the section control at misura larghissima immediately respond to your opponent’s body
on fighting a taller fencer for an example of this). and sword movement as described on the flow chart.
With this in mind I’d like to take a few moments to review the defensive The images below show three ways that Right can recover control.
concepts from earlier in the book and fit them into rule 3 of the True Fight:
”When you do not have control, move backward and recover control.”

Use Distance
The most formidable defensive tool is to stay out of the measure of your
opponent’s attacks. If you find yourself in measure without control, simply
step away.
Cavazione Sotto Cavazione Sopra Volta Stabile
If the opponent is attacking, and you have the ability to move (meaning Right can go under the sword. Right can go over the sword. Right can regain leverage and
then crossing.
they’ve attacked out of tempo), you can negate many attacks simply by
stepping back.
Use the Mirror Movement drill, from the Measure section, and the
Gaining Game, from the Recovering Control section, to help you develop a
strong sense of your defensive measure.
154 | Parrying Yielding
Parrying is simply finding while going backward. When your opponent At closer measures you may find
attacks from a position of control, step backward and find their sword. If this that your only option is to yield and
is successful, you can begin your responses on the flow chart as soon as you make a stramazonne. As advised
have found, even if your opponent is currently in a lunge. earlier, it is usually the best practice
to cut back to the opponent’s
weapon to find it while stepping Left is yielding in response to the attack of Right.

off-line. Be aware that you may need to start responding to your opponent’s
movement and sword action while your sword is still descending to cover
their line. Follow the rules of the flow chart based on your new measure to
respond properly.

Right has parried the sword of Left by finding it. Right has parried the sword of Left by finding it.

Refer to the Defence and Counter-Offence section and the parata-risposta

exercise from the section on due-tempi to see how to use this technique
defensively and counter-offensively.
 | 155
Chapter Nine

To one who would become a perfect player, it does not

suffice only to take lessons from the master, but it is
necessary that he seek daily to play with diverse players,
and being able to do so, he must always practice with those
who know more than he, because the player with such
practiced wits will become most perfect in this virtue.
—Ridolfo Capoferro, Gran Simulacro dell’Arte e dell’uso di Schermire, 1610

FROM DRILL TO COMBAT

Crossing blades in a friendly, yet competitive, environment is the true
destination for the practice of swordplay. I recommend that once you
get the essential motor skills under your belt you begin applying them
in tactical exercises and light sparring as soon as possible. Nothing will
put technique into context better, or faster, than experience.
This section will guide you on the most productive ways to take what
you have learned in this book and apply them in a free and effective
manner.
156 | Freeplay Freeplay can then recommence at the salute and continue until both
fencers are satisfied.
Freeplay is the act of sparring without exercise constraints. It is here that
At Academie Duello, we tend to fence casual bouts in groups of 10. Our
you truly test what you know, learn how you need to improve, and enjoy
focus is on fencing excellence and the ideal of not being struck at all. We try
application of the art.
to avoid a misplaced overemphasis on striking. It’s easy to forget the tenets
Different groups govern their freeplay in different ways. At Academie
and just seek out points. It’s important to remember that to strike and not
Duello, our open sparring works in this way:
be struck, is the desired outcome. If you strike but are hit as well in a sharp-
1. Fencers agree to a bout at freeplay.
sword encounter you may not live to know you had “scored”.
2. They establish their conventions.
3. They establish their speed.
4. They stand across from one another, well out of measure.
5. Salute, and begin fencing based on the established standards.
6. Freeplay continues until someone has been struck in a valid manner.
7. The struck party calls “Hit!” and their opposite says “Thank you” to
acknowledge the strike.

Sparring at Academie Duello’s open sparring night.

General Rules Valid Blows | 157
In all fighting: A thrust to any valid target. Delivered with the point with sufficient
• Fence with precision, care, and control at all times. force to be felt. Remember it takes as little as four pounds of pressure to
• Wear appropriate protective gear for the level of sparring you are pass through clothing and skin.
doing. A cut to any valid target. We didn’t focus on cutting in this book at all,
but should you begin to incorporate it later, we accept any strike with the
• Establish a speed and a convention before fighting.
edge that meets and passes through its target (the edge slides along and
• Never spar while angry. frees on the opposite side) or that makes a substantial movement of the
• Do not fence faster than your ability to do it well. edge, with pressure, along the target (at least 5 inches of travel). The cut
• No slapping, punching, kicking, or kneeing. must first have made at least a 90 degree preparation (wind-up) so that it
• No grasping of the opponent’s blade40. would strike with sufficient intention to cut, if the blade were sharp.

“Hold” Conventions
At a call of “Hold,” all fighting stops. “Hold” may be called by either There are two basic conventions we use which establish the valid targets
fighter, or an observer, if anything appears to be going wrong, be it gear in the bout:
related (missing gorget, blunt coming off, etc). or psychological (fighter Limited: Only the torso, throat, head, and groin are valid targets. This
panicking, getting angry, etc). encourages fencers to go for vital targets and not over-focus on striking
hands and arms.
Standard: The whole body is a valid target for a decisive blow.
158 | Scaling Speed The Anatomy of a Fight
One of the best and most enjoyable ways to step into freeplay is by A fight is more complex than simply approaching your opponent,
starting slow and increasing your speed as your competence grows. getting control of their sword, and striking them while they stand there
This type of scaling approach to freeplay will help you build precision, dumbfounded.
perception, and sensitivity (the feeling of your sword against the There are 5 primary stages to a rapier fight:
opponent’s), instead of having all of your hard-earned skills fall apart when 1. Assess
you push them too far, too fast. From out of measure you assess what you know about your opponent,
Our speed levels are: their physical attributes, combative demeanor (aggressive, passive,
1. Speed 1 forward motivated, patient, etc) and the tactical choices they’ve made
based on their starting guard.
• As slow as you can go.
2. Engage
• Each technique can be practiced and thought about as it is executed. Based on what you determined from your assessment, you must begin
2. Speed 2 seeking control before you arrive to measure. You can’t simply walk in to
• Deliberately slow. the place that you want to strike, you must first engage the opponent’s
• A flowing speed that allows for thought and high mental presence. line and sword and get them to give you the opportunity to move into
measure safely.
3. Speed 3
3. Control
• “Walking speed” - neither slow nor fast.
Once you’ve bridged past the farthest measures you must seek to find
• Physical forces come into effect. Situations are more fluid and tactical and maintain control of your opponent’s weapon until they give you a
but combat is noticeably slower. safe opportunity to strike.
4. Speed 4 4. Strike
• Fast - smooth and controlled at your perfect form. From a patient approach and diligent control comes the opportunity to
• Physical forces are in play. This is the lower end of “combat” speed. strike with cover.
5. Speed 5 5. Exit Safely
Having struck your opponent you must still exit from measure
• Unlimited. without giving them any opportunities for a dying strike. You must
• There is no restriction on upper speed while still avoiding sloppiness. also acknowledge that sometimes when you strike you miss or fail to
sufficiently wound, for these reasons it is imperative that you keep
Speeds specify upper limit, not uniformity. For example fighting at speed
managing your safety until you have fully exited from measure after your
4 does not require you move constantly at 4, just that you limit your fastest
attack.
movement to 4.
When working at speeds 1 to 4 be sure to calibrate with your partner to Now let’s dig into these ideas more fully.
establish agreement. Calibrate to the side of the slower partner.
Assess Your Opponent Adapting to Physical Differences | 159
The True Fight is not uniformly applied. Physical and mental qualities of Taking note of the physical differences between you and your opponent
your opponent will dictate their more likely responses on the flow chart. To is essential to the techniques you will employ. If your opponent is taller than
formulate how you are going to apply the True Fight be observant from the you, recognize that they are going to be trying to strike you in primo tempo
moment you set eyes on your adversary and throughout each stage of your earlier than you. It’s going to take you more movements to get from out of
bout. measure into misura larga or stretta. This will mean that the engagement and
Consider the following: control stages of the fight will last longer before an opportunity arises to
strike.
• Height, leg and arm length, and sword length. Is their measure likely to
Technically you may need to employ more transports and you may need
be greater, equal, or lesser than yours?
to lure them to come to you before you can go to them. See the sections
• Posture and chosen guard. Are they presenting their sword in a
on dealing with the high sword as well as how to defend while stepping
particular guard? Are they protecting targets by leaning away or
forward in the sections on Approaching Different Guards and Defence and
placing their sword in front of them? Which targets seem more
Counter-Offence.
exposed?
If you are taller than your opponent, you’ll want to really take advantage
• Precision and skill. Do they over move their sword or are they still of the fact that your misura larga may be your opponent’s misura larghissima.
and precise? Do they take really big aggressive steps or small and Work to keep them at distance and look for the primo tempo opportunities
thoughtful ones? of the True Fight.
• Combative Attitude. Are they aggressive or conservative? Forward If your opponent is stronger than you, you may need to get to a closer
motivated or waiting for you to come to them? measure so you can have stronger findings to counteract their strength. If
they’re really pushy, be prepared to be softer and make more disengages
and quick sword movements until you find that strong position. Definitely
avoid a pushing match. If you’re the stronger partner then you can most
likely resist your opponent’s attempts to refind or parry your sword in the
same line.
160 | Responding to Combat Attitude Receive an Aggressive Opponent
The more than you can understand someone’s tactical approach to Opponents who are eager to come forward and rush to the attack can be
their fighting the more easily you can predict which choices they’re likely very intimidating, they can also be some of the easiest opponent’s to deal
to make. This allows you to reduce the potential responses from your with because they’re willing to give you lots of moments to retake control
opponent and thus will make you faster to react on the flow chart. and strike them during errors.
Being a responsive and effective fighter requires that you use good Some general advice:
technique to physically reduce your opponent’s options (stringere) while • Let them come to you. Try to find ways to allow your aggressive
using good assessment to predict which of the remaining options your opponent to give you control and throw themselves on to your sword.
opponent is most likely to choose. • Be very aware of primo tempo opportunities. If your opponent is
coming forward, especially if they’re doing it quickly, they’re more likely
to step heedlessly into measure.
• Get to and stay at misura larga or larghissima. Keeping a little bit more
distance between you and your opponent will give you more time to
react to a likely attack. Look for opportunities to strike them in contro-
tempo or due-tempi when they attack.
Approach a Conservative Opponent A Comment on Receiving, Approaching and Measure | 161
A more timid or thoughtful opponent may be less willing to approach Each measure has a speed and an attitude. Generally, as you get closer to
or attack. They may want you to come to them or may want to see a really your opponent you must act more efficiently and decisively.
good opportunity before they’re prepared to take a risk. Misura larga is a responsive measure. Here you lie in wait and force your
Some general advice: opponent to give you the opportunity. Because of the space between you
• If they are slow to retreat, move strongly forward to find misura stretta. and them there is time to perceive and respond to what they do.
• If they run away, approach slowly and then back away to encourage Misura stretta is an initiation measure. Upon finding misura stretta, you
them to pursue you. If you can get them moving forward there are must act before your opponent does and adapt to their responses while
opportunities to strike them in primo tempo or to step from misura in motion. If you wait at this measure, even if you have stringered your
larghissima to misura stretta. opponent, you may lose your position of strength before you realize it. You
must come to this measure and immediately act or the moment will be lost.
• Be patient and work to get and stay close. You will need to limit their
You’ll note that in the True Fight flow chart, all of the actions from misura
options with strong finding and make it difficult for them to parry or
stretta are an attack. When you arrive here, because all options are the same,
escape.
there’s no reason to hesitate.
• Give them control so they feel confident to attack or move forward.
Then recover control and make a risposta in due-tempi or pursue them
until you are at misura stretta and can strike in primo tempo or mezzo
tempo.
162 | Engagement and Control The important thing in this exercise is that you need to respond
immediately to your partner’s actions to maintain control and gain measure.
Up to this point, most of the drills that you have practiced have been
I recommend starting slow (at speed 1 or 2) and then gradually increase
against a partner who is willing to let you approach to the appropriate
in speed as you perfect your timing and precision. This same exercise, and
measure for your technique without challenge. However getting into
variations of it, can be conducted starting on the inside as well.
measure, while being in control, against an uncooperative opponent, takes
some work and finesse, and a whole new level of practice.
The following drills are going to help you combine techniques and w x y
responses to get into measure and take advantage of your opponent’s
reaction.

Exercise: Approach, Control, Strike

In this exercise you will approach your partner, maintain control, come to Right approaches while Right has successful found on the Right makes a volta stabile to
misura larga and strike. maintaining control of Left’s outside at misura larga. Left then gain and strike Left on the inside
sword. begins a cavazione to strike. in contro-tempo.
1. Approach your partner from out of measure with both of you in terza.
2. Begin to find at misura larghissima by crossing the point of your sword
over your partner’s on their outside.
Your partner will respond by making a cavazione and attempting to find
you instead on the inside.
3. Make a contra-cavazione and continue to step forward. You will arrive at
misura larghissima having found their sword.
4. Your partner will attempt a second cavazione while staying in place. You
will make a contra-cavazione and step forward to misura larga having
found their sword on the outside.
5. Your partner will now make a cavazione and attempt to gain and strike
you on the inside.
Respond by gaining their sword with a volta stabile and striking them in
contro-tempo on the inside in quarta.
6. Recover and find your partner on your inside in terza. Then exit from
measure keeping cover until you’re safely away.
Exercise: Receive, Control, Strike | 163
w x y
Let a more forward motivated opponent come to you.
1. Begin out of measure from your partner with both of you in terza.
2. Have your partner approach you. Seek to find their sword on the inside as
they do.
3. Your partner will attempt to make a cavazione to your outside and step to
Right has found Left on the Right makes a contra-cavazione Right strikes Left in contro-tempo
misura larghissima. inside. Left attempts to make a and steps forward to misura on the outside while Left makes a
cavazione to the outside while larga maintaining control on cavazione to strike.
4. As your partner begins to find your sword and step to misura larghissima, stepping forward. their inside.
in the same tempo, make a contra-cavazione and step forward. You
should now have found them at misura larga on the inside.
5. Your partner will now make a cavazione and attempt to gain and strike
you on the outside.
Respond by gaining their sword with a volta stabile and striking them in
contro-tempo.
6. Recover and find your partner on your outside in terza. Then exit from
measure keeping cover until you are safely away.
164 | Control and Strike v y y
Against less aggressive opponents, you will frequently need to maintain
control for a few tempos before an opportunity presents itself. The
following exercises will guide you in how to practice this element of combat.

Exercise: Maintain and Strike at Larga

Right steps back and Left pursues Right attempts to make a The cavazione is countered with
You can either begin this exercise already having found your partner at while maintaining control. cavazione to gain and strike. a volta stabile in contro-tempo.
misura larga on your inside or you can begin with one of the engagement
exercises, described before, to arrive at misura larga. You can make this exercise more challenging by inviting your partner
1. Your partner will step back while making a cavazione to attempt to find to step back a random number of times before attempting to strike. They
you on your outside. might step back three times and then strike, then only one time. In this
2. You will maintain control by following them and making a volta stabile to
way you are training yourself to identify opportunity based on direction of
find them on the outside instead. movement.
3. Your partner will step back again, making a cavazione to attempt to find
you on your inside.
4. You will maintain control by following them and making a volta stabile to
find them on the inside instead.
5. Your partner will now make a cavazione and attempt to gain and strike
you on the outside. Respond by gaining their sword with a volta stabile
and striking them in contro-tempo on the outside in seconda.
6. Recover and find your partner on your outside in terza. Then exit from
measure keeping cover until you are safely away.
Exercise: Maintain and Strike at Stretta Control and Choice | 165
If your opponent is reluctant to attack, you might need to close to a Every skill must first be learned in isolation without pressure. This allows
narrower measure to make it difficult for them to avoid being struck. As with you to focus on learning its mechanics and develop precision. However,
the previous exercise, this exercise begins at misura larga. You can start this you also need to push skills toward real world application where they have
exercise by inviting your partner to find you at misura larghissima and then, to be executed at the right moment based on the cues of your opponent.
as they do so, step forward and find them at misura larga (see the beginning The previous exercises took techniques that occurred at a particular
of the Receive, Control, Strike exercise). measure and added the engagement, control, and exiting steps to make the
1. From misura larga, your partner will step back while making a cavazione technique more contextual. Now we’re going to look at how to add choice
to attempt to find you on your outside. to drills to make them more tactical.
2. You will maintain control by following them and making a volta stabile to
find them on the outside instead. Make your step slightly larger, so you
get slightly closer as you follow them.
3. Repeat this process of following and taking slightly larger steps until you
arrive at misura stretta.
4. Having arrived at misura stretta immediately begin to gain your partner’s
sword and attack with a lunge or passing lunge. Trap your partner’s sword
in the same line or follow it into the new line (as described in the section
on the True Fight). Even when they are being struck, your partner should
be backing up and attempting to recover control. The passing lunge might
be necessary if your partner is taking particularly large or fast steps.
5. Recover and find your partner’s sword. Then exit from measure keeping
cover until you are safely away.

v w x

Left steps back and makes a Left continues to step back. Right Right initiates their attack at
cavazione. Right pursues while maintains control and takes misura stretta and strikes Left as
maintaining control. larger steps to find misura stretta. they retreat.
166 | Exercise: Responding to Direction at Larghissima Exercise: Responding to Pressure at Larghissima
1. Begin out of measure from your partner. Both of you in terza. 1. Begin out of measure from your partner. Both of you in terza.
2. Find your partner’s sword, on the inside or outside, and step forward to Find your partner’s sword, on the inside or outside, and step forward to
misura larghissima. misura larghissima.
3. Once you have arrived at larghissima your partner will do one of three 2. Once you have arrived at larghissima your partner will do one of three
things, which will prompt one of three responses: things, which will prompt one of three responses:
A. Make a cavazione and step forward - You will respond by making a A. Make a cavazione and step forward - You will respond by making a
contra-cavazione to gain and strike your partner in primo tempo. contra-cavazione to gain and strike your partner in primo tempo.
B. Make a cavazione and step backward - You will respond by making a B. Make a volta stabile and push into your sword while stepping forward -
contra-cavazione to maintain your finding while pursuing them to stay You will respond by making a cavazione to gain in the opposite line
at misura larghissima. and strike in primo tempo.
C. Make a cavazione and stay in place - You will respond by making a C. Step forward while leaving their sword in place - You will respond by
contra-cavazione and stepping forward to misura larga. gaining and striking in primo tempo in your current line.
4. You can now reset the drill or if your partner is at misura larghissima you 3. Recover, find your partner’s sword, and exit from measure.
can immediately repeat the cue and response. If you are at misura larga
you could integrate the next exercise. v
5. If your partner was struck: Recover, find their sword, and exit from measure. B
C
w
A

Right can step forward while making a cavazione, volta stabile, or leaving their sword in line.

A C B
Right can step forward, backward, or fix in place.
Exercise: Responding to Direction at Larga Exercise: Responding to Pressure at Larga | 167

1. Begin out of measure from your partner. Both of you in terza. 1. Begin out of measure from your partner. Both of you in terza.

2. Invite your partner to find your sword on your inside or outside. 2. Invite your partner to find your sword on your inside or outside.

3. Your partner will step forward and attempt to find your sword at misura 3. Your partner will step forward and attempt to find your sword at misura

larghissima. As they do so, make a cavazione and step forward, finding larghissima. As they do so, make a cavazione and step forward, finding
your partner’s sword at misura larga. your partner’s sword at misura larga.
4. Once you have arrived at larga your partner will do one of three things, 4. Once you have arrived at larga your partner will do one of three things,

which will prompt one of three responses: which will prompt one of three responses:
A. Make a cavazione to attempt to gain and strike - You will respond by A. Make a cavazione to attempt to gain and strike - You will respond by
making a volta stabile to gain and strike your partner in contro-tempo. making a volta stabile to gain and strike your partner in contro-tempo.
B. Make a cavazione and step backward - You will respond by making a B. Make a volta stabile and push into your sword while stepping forward -
volta stabile to maintain your finding while pursuing them. You will respond by moving immediately to gain their sword in the
same line to strike in primo tempo. If you have found your partner
C. Make a cavazione and stay in place - You will respond by making a volta
properly at misura larga you can respond to their pressure simply by
stabile and stepping forward to misura stretta.
gaining and maximizing your advantages.
5. You can now reset the drill or if your partner is at misura larga you can
immediately repeat the cue and response. If you are at misura stretta you C. Step forward while leaving their sword in place, no pressure applied - You
could integrate the options of the True Fight flow chart for misura stretta. will respond by gaining and striking in primo tempo in your current line.
5. Recover, find your partner’s sword, and exit from measure.
6. If your partner was struck: Recover, find their sword, and exit from measure.

x x
C
B
A

Right can make a cavazione, volta stabile, or leave their sword in line.
Right can make a cavazione while stepping forward, backward, or staying in place.

A C B
168 | Making Your Own Tactical Exercises Adding Complexity
The previous exercises can serve as a guideline for creating your own 1. Add Depth.
tactical exercises. The True Fight flow chart can serve as the basis for the Instead of starting in measure, make getting to measure part of the
options within the drill and you can incorporate variations of guard, changes exercise. In this way, you combine two techniques together and arrive in
measure in a manner that is more similar to combat.
of control, and anything else presented earlier in the book or that comes up
in your freeplay. 2. Add Choice.
Instead of only two options, add in a third or a fourth. The opponent may
Building Difficulty perform a cavazione to strike or simply step backward, forcing you to
pursue. You can add options at multiple stages as well, for example: Two
Start with simple drills (for example with only one option) and seek
options for getting to misura larga and then two options to respond to at
to have precision and smoothness. Once you are able to perform the misura larga, based on the opponent’s reaction. In this way you will learn
technique 80% of the time, begin to add difficulty in two ways: how to string several drills together into a more cohesive whole.
1. Speed. 3. Add Timing.
Use the free sparring speeds as a guideline for your drilling practice. Have your partner change the rhythm of your exercise. When you find
Gradually increase the speed to put a skill under pressure. Bring the their sword, sometimes they will respond immediately, sometimes they’ll
speed down when it breaks down, fix it, and then push it up again. hesitate before responding. This type of variable rhythm is very true to
2. Complexity combat and quite challenging to follow without practice.
Add more elements to a drill to make it more like combat and put
pressure on your technical ability. As before, if your precision starts to fail, Tactical exercises allow you to focus on a subset of skills in a way that
slow it down or reduce the complexity until you’re able to stabilize your open freeplay does not. This allows you to more easily diagnose problems
technique. and build foundational skills more quickly because they get more direct
attention. Learning the art of the rapier is much like learning to play a
musical instrument. You start slowly and focus on a small number of skills.
As you build proficiency you can add greater complexity and speed. Be
patient and intelligent with your practice. Those who allow themselves to
go slow learn quick.
The Learning Cycle Mechanical Learning/Refinment | 169
The process of bringing a skill from drill into combat is a long one. It takes First you learn a new skill in isolation with a cooperative partner. You
time, and many hours of purposeful and diligent practice. The more that you build an understanding of its shape, learn to coordinate it in your body, and
understand the process of how a skill is learned and integrated into your art achieve its basic goals.
the better you will become not just at fencing but at the process of learning
Drilling
itself.
This chart represents the path of a skill’s progression. Once you can do a technique correctly you repeat that skill over and over
to condition your strength and flexibility and to mentally prepare the skill
for fast and precise execution.
MECHANICAL
LEARNING/REFINEMENT
Tactical Pressure

ANALYSIS/DIAGNOSTIC DRILLING
By increasing the difficulty of your practice through speed and
complexity you make application of the skill gradually more true to combat,
while allowing you to still focus on doing it precisely.
EARNEST FREEPLAY TACTICAL PRESSURE
Integration
Using tactical drills and games (as presented at the ends of most of the
SCALING SPEED
SPARRING
INTEGRATION earlier chapters) you can create an environment that is more complex than a
drill but still presents fewer options than freeplay.

SLOW SPARRING Slow Sparring

Practicing at speeds 1 to 3 is a powerful way to create the environment of
The Learning Cycle
freeplay while still allowing you to think, focus on body mechanics, and not
get overwhelmed and thus sloppy. Slow sparring plays a significant role in
training at Academie Duello and has successfully produced hundreds of top
quality rapier fencers.
170 | Scaling Speed Sparring Analysis/Diagnostics
Deliberately starting slow and then speeding up, then slowing down if At each stage of this journey there are opportunities to analyze and
things get sloppy, then speeding up again, is a way to challenge yourself diagnose your mechanical and tactical challenges. Cultivate the power of
to perform faster without jumping off the deep end. There is little value critical observation and take what you learn right back to the beginning.
to going full speed but losing all form and mental preparedness. Scaling Then after you make those fixes mechanically don’t just jump right back
speed fencing allows you to challenge your edges and gradually increase into full speed sparring and expect a change. The most effective way to
your mental and physical presence at higher speeds. Again, like playing make a correction is to bring it back through the process stage by stage
an instrument, you do not learn to play the piano quickly by smashing the from mechanics, through drilling and tactical pressure, integration, and then
keys as fast as you can. You start slow and gradually build up speed while through the stages of sparring.
maintaining precision and tempo at each speed. The more that you practice this process the better you will get at
acquiring and applying new skills. Remember: To learn quick, practice slow.
Earnest Freeplay
Sword fighting at speed 5 is fun and informative. Use this time to test
your skills and learn more about the physical forces that come into play at
full speed as well as what is required mentally, and in your body, to respond.
Always use appropriate protective gear and be aware that no amount
of protective gear can prevent injury without control and respect for your
partner and yourself.
 CONCLUSION | 171

Congratulations on making it to the end of this manual. I hope that Beyond these resources, taking physical classes and getting hands-
your practice thus far has inspired a passion for this art and a desire to on feedback and the opportunity to spar with experienced practitioners
take it further. Though this is a manual for beginners, the core of the art is is necessary to solid long-term learning. I recommend that you find a
contained herein. I recommend that you read and refer to the book often. local Academie Duello study group, sister school, or come and visit us in
Practice every exercise again and make them a core part of your training. Vancouver. We have ongoing classes, intensive programs, and workshops
As you see challenges in your own freeplay, revisit the exercises that are that occur year-round. We also have distance education programs for those
most pertinent to further refine your ability and place the exercise in greater interested in forming their own Academie Duello study group or chapter.
context. Check out the calendar on our website and feel free to be in touch at www.
Though a book is a great way to build a theoretical understanding of a academieduello.com and [email protected]
movement art, in the end you need to see it in motion to understand it. Enjoy your continued learning, and I hope that we get a chance to cross
My Introduction to Rapier DVD and further lessons presented online at blades someday in the future.
https://www.duello.tv both support and build on the material that was
presented here. I recommend looking there to build a better, more dynamic
understanding of the exercises and freeplay in general.
I have two subsequent volumes already in the works that will extend your Devon Boorman
understanding of the rapier and build from the base learned here. These
books will teach you two additional strategic approaches: the Deceptive and
Adaptive fights. They will also cover the use of secondary weapons such as
the dagger, buckler, and cloak, as well as conveying a deeper understanding
of rapier play for the intermediate and advanced practitioner.
 | 173

APPENDIX
174 | Notes on Historical Terms Regarding the Guards
As I commented on in the opening chapter of this book, my goal as a Though presented in this book in an exact way, each guard can have
teacher is to convey an authentic form of swordplay grounded in physics, many different forms both in my system as well as across historical systems.
tactics, and mechanics. I seek to do this in the most effective and direct A single source may show several different formations of a single named
manner possible, while honouring the original sources for these arts. To guard with the primary commonality being the hand position. Salvator
that end, I have used terminology from several sources and have applied Fabris in his section on the sword alone describes 2 different formations of
stricter meanings to many terms to add clarity and aid learning. In many prima, 6 of seconda, 3 of terza, and 9 of quarta.
cases I have also added new terms that I felt best highlighted important Ridolfo Capoferro describes terza in one manner in the first section of his
points in the learning process. However, if you intend to work with original manual, and then shows as many as four variations of how the body might
sources, which I hope you do, you may find it helpful to understand some be held. The hand orientations are also not explicitly described, simply the
of the decisions that I have made and how terms and approaches may differ hand’s relation to other parts of the body (which are also not consistently
in the manuals of the original masters. To that end, I have used endnotes described).
throughout the book and included additional notes and information in the Camillo Agrippa, the originator of the four hand positions, shows a set of
glossary. For those things that were not best covered in those two places I four arm and body positions but says that many different variations can be
am including a few additional notes: formed from them.
When working with historical sources, be sure to thoroughly read the
descriptions of desired body postures as presented by that particular author
and do not come with any preconceived ideas.
Finding, Gaining, and Constraining The Four Tempos | 175
The biggest difference in terminology in my approach from some The opportunities to strike an opponent become more clearly defined
historical sources is that I have given distinct meanings to the words: find as you move into fencing works in the 1500s. The manuals of Antonio
(trovare), gain (guadagnare), and constrain (stringere). Historically these Manciolino (1531), Achille Marozzo (1536), and Giovanni dall’Agocchie (1572)
terms are used interchangeably and the concepts that I represent quite describe, at various points, opportunities to strike after the weapon has
distinctly are themselves treated in a more holistic sense. I have found passed, in the preparation of an attack, after you have set it aside, and while
that there is a significant pedagogical benefit to dividing the degrees of the opponent steps toward you. The codification of specific named tempos
mechanical control from one another (finding and gaining), and dividing (primo, contro, due, mezzo) then becomes more clear in 17th century fencing
the mechanical from the strategic (finding vs stringere). By giving strict manuals where the authors were strongly influenced by Aristotle’s ideas on
codifications to these concepts students gain a new and finer power over time and motion.
them. It does mean however that when working from a related historical Each author has slightly different definitions for each of the tempos but
source that you need to use the context of the words, to a greater degree, to they are largely in-line with what I present here. As you move past the rapier
understand that author’s specific meaning. period into the 18th and 19th century some of these same terms persist but
often with quite different connotations.
176 | Glossary Closed Position
These are the terms that are used in this manual and in my system of Taking a guard with the off-hand placed immediately beside the sword
teaching. Where there are significant differences, I have included a reference arm, behind the hilt of your rapier. In a closed position the available
to the historical uses of these same terms. targets are outside and outside the offhand. No targets are presented
between the sword and off-hand.
Advancing Step
Cone of Protection
A small step toward the opponent performed by moving the front foot
first, followed by the back foot. The cone-shaped deflection created by your hilt and forte by having
them extended in front of your body. Similar to the effect of creating a
Battere / Battuta (To Beat / Beat) large shadow, with a small object, by placing it closer to the light source.
To strike your opponent’s blade with your own to send it off-line. This is Contra-Cavazione (Counter Disengage)
typically done to create an opening or draw a predictable response from
your opponent. A cavazione performed in response to your opponent’s cavazione, in
the same tempo. This cavazione is typically done to return you to your
Closed Line, Close the Line original line.
A line of attack that cannot be followed because a weapon or other Contro-tempo (Counter-time)
defensive object has gotten in its way. Lines are commonly closed
through gaining, where the three advantages are fully acquired and To strike in the tempo of your opponent’s attack.
applied against an opponent’s sword.
Counter-Attack
Cavazione (Disengage) An attack made in contro-tempo or in due-tempi immediately following a
To move your point from one side of your opponent’s sword to the other, displacement of the opponent’s blade.
with the intention of moving into a position of advantage or away from a
Cut
position of disadvantage. This is generally done by moving the point in a
V or U shape over or underneath the opponent’s blade. An attack delivered with the edge of the rapier.

Cavazione in Tempo (Disengage in Time) Constrained Line

A cavazione performed at the same time that your opponent seeks to find A line of attack that is not closed but has been compromised because the
your sword. You typically follow this with an immediate attack. opposing sword fighter has found it by applying a greater portion of each
of the three advantages.
Cavazione Sopra (Disengage Over)
Crossing
A cavazione where your point moves from one side of the opponent’s
blade to the other by drawing an upside down V over its point. See Three Advantages.
Debole (Weak) Firm-Footed Lunge | 177
The upper half of the sword’s blade used primarily for wounding with it’s An attack made without moving the feet. This is done by extending your
point or edge. Also the part of a sword that is most easily moved around upper body and pushing your hips forward onto your front foot.
by the opponent (the farthest place on the lever arm). In historical sources the term pie fermo (fixed-footed in English) can refer
to an attack where neither foot moves, or where the back foot stays in
Defensive Posture
place and only the front foot moves (see lunge).
A position of the body and sword where the sword is positioned in front
of the flank and the shoulders and head are reclined away from the Four Tempos
opponent. The four categories of opportunities to strike. For more see Tempo.
Due-tempi (Double Time) Freeplay
To strike your opponent in a tempo where they are recovering their A form of sparring without any exercise constraints. The goal being to
sword. This typically takes two tempos. For example in the first tempo you get as close to a simulation of real combat as possible while maintaining
beat your opponent’s sword, sending it off-line, in the second tempo you control and ensuring the safety of you and your partner.
strike your opponent as they attempt to bring it back on-line.
Forte (Strong)
False Edge
The lower half of the sword’s blade used primarily for defence. Also the
The edge opposite the true edge. When the sword is held in terza with the part of your sword best for applying pressure to your opponent’s weapon
point elevated, this edge faces the wielder. (the part of your lever closest to the fulcrum).
Filo Dritto (True Edge) Fuori Misura (Out of Measure)
See True Edge. To be far enough away from your opponent that you cannot strike them,
and they cannot easily strike you. This is at least one step outside of your
Filo Falso (False Edge)
opponent’s misura larghissima.
See False Edge.
Gain, Gaining
Find, Finding
See Guadagnare.
See Trovare la Spada.
178 | Guadagnare (To Gain / To Earn) Hilt
To fully acquire the three advantages over the opponent’s sword and The protective portion of the sword that includes and surrounds the
thus close their direct line of attack while also forcing your line of attack handle. This includes the handle, sweepings, rings, knuckle-bow, and
to stay open. quillons.
This term appears in most Renaissance fencing treatises but is generally The hilt is sometimes called the “guard” of the sword.
used interchangeably with stringere or trovare la spada and its full, See the Anatomy of the Sword diagram in the first chapter for further
nuanced, meaning needs to be derived from its context. detail.
Guardia (Guard) Inside Line
An optimal position of sword and body with the primary purpose of If you hold your sword in your right hand, the inside line is a line of attack
defence. A good guard: to the left of your sword. Note that when referring to lines of attack it
• Minimizes targets. is important to reference the subject and the line, for example: The
• Presents threat to the opponent. opponent’s inside line.
• Creates powerful alignment for fencing actions.
In-Tempo
• Creates strategic and tactical advantage.
To move at the same time as your opponent, with movements that are
Guards are a combination of one of two body and arm postures: equal or lesser in length. See Tempo.
defensive and offensive; and one of four hand orientations: prima,
Invitation
seconda, terza, and quarta.
The opening of a line of attack for your opponent, with the intention of
Each of the four guards carries a default body position, unless otherwise
getting them to attack along it. This is generally done as part of a plan
stated. For example, prima is paired, by default, with the offensive posture.
that will lead you into a position of greater strength or to an opportunity
A request to form “prima guardia” refers to the specific hand orientation
to strike.
and default body posture.
Knuckle-bow
High Line
A bow shaped piece of metal in the hilt that protects the hand and
A line of attack above the opponent’s sword hilt.
fingers on the true edge side of the rapier.
See the Anatomy of the Sword diagram in the first chapter for further
detail.

Leverage
See Three Advantages.
Line Mezzo Tempo (Half Time / Middle Time) | 179
The term line could refer to a line of attack (for example, “the inside or The opportunity to strike an opponent half way through an action.
outside line”) or the line of direction (for example, “place your feet on Typically this is to strike the opponent while they prepare to attack, or in
the line.”) the beginning of an attack before the threat has developed. If you strike
them in the final part of the attacking motion you are striking in contro-
Line of Attack tempo.
The path that a sword travels along to strike your opponent. At the beginning stages of a student’s fencing education, I use mezzo
tempo quite strictly to mean: a short attack that occurs while the
Line of Direction opponent prepares to attack (i.e. withdraws their sword for a cut) or
An imaginary straight line, running along the floor, between you and while the opponent makes a non-attacking motion at a close measure.
your opponent. When forming a guard you stand with both feet on this However, mezzo tempo can refer to a strike that lands in the beginning
line. of an attacking movement. For example, striking someone in the arm as
they begin a thrust or just as a cut begins to fall. This usage is also more
Low Line common in historical sources.
A line of attack below the opponent’s sword hilt.
Misura (Measure)
Lunge The distance you must cover in order to strike your opponent. Measured
A movement, made typically with an attack, where the combatant from the point of your sword to your opponent’s body. There are five
takes a large step with their front foot, while propelling themselves by measures: Fuori misura (out of measure), misura larghissima (widest
straightening their back leg. measure), misura larga (wide measure), misura stretta (narrow measure),
and misura strettissima (narrowest measure).
Measure
Misura Larga (Wide Measure)
See Misura.
The distance at which you can strike your opponent to the body with a
Measure, In lunge.
To be within one of the five measures and thus able to successful reach Misura Larghissima (Widest Measure)
your opponent with an appropriate attack based on that measure. See
Misura. The distance where you can strike your opponent with a passing lunge to
the body or a stepping lunge to the arm.
Measure, Out of This term is not used in historical sources from the rapier period.
See Fuori Misura.
180 | Misura Stretta (Narrow Measure) Off-Side, Off-Hand Side
The distance at which you can strike your opponent to the body with a The side of your body associated with your off-hand. If you are holding
firm-footed lunge, where both feet stay planted and the hips shift forward your sword in your right hand, this would be your left side.
over the lead leg.
On-line
Renaissance authors describe misura stretta based on the placement
of the feet as well as the distance of the point to the target. Capo To have your point directed at a target. The opposite of off-line, where
Ferro describes two definitions, one based on being able to reach the the point is not directed at a target.
opponent with no movement of the feet, the other based on a small
increase of the foot (perhaps where the sword is already extended, so Open Line
less movement is required than if you were in a defensive posture). A line of attack that leads directly to your target and has no influences
applied over it by your opponent (the line has not been found or gained).
Misura Strettissima (Narrowest Measure) As you travel this line, you may acquire one, or all, of the three advantages
The distance at which you can strike your opponent simply by moving over the opponent’s sword.
from the defensive posture to the offensive posture. I.e., simply with an
extension of the sword, arm, and shoulders. Open Position

Capoferro describes misura strettissima as the distance where you can Taking a guard with the off-hand placed to the outside of the face. When
strike the opponent in the uncovered sword or dagger arm without a in an open position the available lines for the opponent are outside the
step. sword and between the sword and off-hand.

Offensive Posture Out of Tempo

A position of the body and sword where the sword is extended in front of To move while the opponent is stationary and in measure. The risk is
the lead shoulder with the chest and shoulders forward and the hips held that the opponent can respond to your movement to gain advantage or
over the rear foot. This position is often a transition position between the strike.
defensive posture and an attack.
Outside Line
Off-hand If you hold your sword in your right hand, the outside line is a line of attack
The hand you are not holding your sword in. to the right of your sword. Note that when referring to lines of attack
it is important to reference the subject and the line, for example: The
Off-line opponent’s outside line.
To have your point directed away from your opponent. This typically
occurs as a result of an error or because your point has been sent off-line
by your opponent through an action such as a beat.
Parata (Parry) Prima (First Hand Position), Prima Guardia (First Guard) | 181
A defensive finding done in response to an attack. This is done by An orientation of the sword hand and arm that turns the knuckles toward
acquiring the three advantages over that attack while keeping the hilt low the ceiling. As a guard it is formed in the offensive posture with the sword
and the point high, or the hilt high and the point low. positioned above the sword-side shoulder, with the point straight toward
In sources on Renaissance rapier, a parata may refer to an exclusively the opponent.
defensive action or to an action that also contains an immediate or
Primo Tempo (First Time)
simultaneous counter-attack. In this terminology, gaining someone’s
sword, in response to an attack, could be referred to as “parrying”. In To strike your opponent in a single tempo while they perform a non-
this book, a “parry” refers specifically to finding the sword in a purely offensive action. Some examples include: As your opponent steps into
defensive capacity. your misura larga, when at misura larga your opponent moves their sword
non-offensively, or when the opponent fixes in place long enough for
Parata-Risposta (Parry-Response) you to strike.
A parry that is followed in the next tempo by an attack. This attack is
Proportion
typically performed in due-tempi in response to the recovering of the
opponent’s sword from the parry. The comparison of the size of your movements (tempos) to those of your
opponent. It is generally good practice to make movements that are
Parry smaller or equal in size to those of your opponent. In this way you are
See Parata. more able to respond to your opponent in-tempo and not be struck in
primo tempo, due-tempi, contro-tempo, or mezzo tempo.
Passata (Passing Step) Making your actions smaller than those of your opponent is one of the
A step made towards or away from your opponent by crossing the first well-documented ideas of using tempo to your advantage. Antonio
lead leg behind the rear, or crossing the rear ahead of the lead. The Manciolino describes striking in mezzo tempo by using mezzo colpi (half
orientation of the feet and hips is maintained throughout this step. blows) in contrast to colpi finito (full blows).41

Passing Lunge Quarta (Fourth Hand Position), Quarta Guarda (Fourth Guard)
An attack made by passing the rear leg ahead of the lead leg. The An orientation of the sword hand and arm with the knuckles towards
orientation of the feet can be maintained, or the body can be rotated to the inside line (the left, if you are right handed). As a guard it is formed
bring the off-hand side ahead of the sword-side. in the offensive posture with the sword positioned in front of the off-
side shoulder, with the blade, and point, directed straight toward the
opponent.
182 | Quillons (Crossbar) Small Step
The bars that protrude from one or both sides of the hilt, in alignment A step performed by moving one foot forward a half foot-length, so
with the true and false edge, used to control the opponent’s sword and the distance between the feet expands, and then catching up with the
make a cavazione more difficult for them to perform. opposite foot so the feet return to their original distance. See advancing
See the Anatomy of the Sword diagram in the first chapter for further and retreating step.
detail. Small steps are not clearly defined in Renaissance fencing texts. In some
cases they are not used at all in favour of the passing step42.
Rapier
A primarily civilian sword typical of the 16th and 17th centuries with a Sparring
long blade and complex hilt. For a full description of its anatomy and A simulation of sword combat within the exercise and practice
associated terms, see the Anatomy of the Rapier diagram in the first part environment. At Academie Duello it is performed based on a set of
of this book. conventions and speeds.

Retreating Step Stringere (To Constrain)

A small step away from the opponent performed by moving the back foot Placing your sword in a position of strategic advantage that forces
first, followed by the front foot. your opponent to move in a way that gives you a tempo to act. This is
generally done by finding their sword.
Ricasso
The technique of stringere employs constraint, to reduce an opponent’s
The unsharpened, often square edged, part of a sword’s blade, just ahead options; invitation, to predict the opponent’s next action; and seeks to
of the quillons. On rapiers, this section of the blade is often surrounded lengthen the proportion of the opponent’s next action in relation to your
by the rings and sweepings and is thus within the hilt. own counter to that action. When using stringere you control proportion
through three aspects of the crossing of your sword and your opponent’s:
Rings
• Breadth — The lateral distance between your opponent’s sword and
The circular bars that protect the hand as part of the hilt. yours that must be travelled for your opponent to change lines.
See the Anatomy of the Sword diagram in the first chapter for further • Angulation — The vertical distance, created through the angle of your
detail. sword, that your opponent must travel with their point in order to
change lines.
Seconda (Second Hand Position), Seconda Guardia (Second Guard)
An orientation of the sword hand and arm with the knuckles towards
the outside line (the right, if you are right handed). As a guard it is formed
in the offensive posture with the sword positioned in front of the sword-
side shoulder, with the blade, and point, directed straight toward the
opponent.
 • Penetration — The amount of your opponent’s sword that has passed Tempo (Time) | 183
your blade. The greater this length, the longer the length of action to Tempo in fencing has several meanings:
change lines.
• The rhythm in a fight. Like taking turns in a game. The speed and
Stringere, as a term, appears in most Renaissance fencing treatises but measure of this rhythm is its tempo. If you are moving and pausing at
is generally used interchangeably with guadagnare (gaining) or trovare the same time as your opponent you are said to be in-tempo with them.
la spada (finding) and its full, nuanced, meaning needs to be derived
• The measurement of stillness and motion. “A tempo” is a unit of
from its context. The terms breadth, angulation, and penetration are used
movement bounded by two stillnesses, or a stillness, bounded by two
in many different ways across fencing texts from the Renaissance to
modern day. This usage is entirely my own pedagogical device, though movements. The length of a tempo can vary. The comparison of the
the principles applied through them are apparent within the historical length of your tempos to those of your opponent is called proportion.
practice of Italian rapier fencing. • A moment of opportunity to strike. Tempo in this definition is divided
into four types: primo tempo, due-tempi, contro-tempo, and mezzo tempo.
Sweepings
Curved bars that connect the rings, knuckle-bow, and quillons as part of Terza (Third Hand Position), Terza Guardia (Third Guard)
the protective furniture of the hilt. An orientation of the sword hand and arm with the knuckles towards the
See the Anatomy of the Sword diagram in the first chapter for further floor. As a guard it is formed in the defensive posture with the hilt, elbow
detail. and hand positioned in front of the flank. The point is directed straight at
the opponent’s flank or upward toward their chest or face.
Sword-hand Terza Guardia is the most defensive of the guards and is the usual starting
The hand you are holding your sword in. position for a swordplay bout.

Sword-side
The side of your body of your current sword-hand. If your sword is in your
right hand, this would be your right side.
184 | Three Advantages Transport
Three aspects of blade relationship that give you mechanical strength A method of finding or gaining the sword of the opponent where you
over your opponent’s weapon. They are: move it from its current line into another. For example you might find
• True Edge – Turning your true edge towards the opponent’s blade. your opponent on your high inside and then move them using the
advantage of leverage into the low outside as you gain them. Transports
• Crossing – Orienting your blade so that it crosses over the top of your
are often used as a means of safely striking targets that are below the
opponent’s. sword.
• Leverage – Crossing your opponent’s blade in such a way that their
debole (weak) is closer to your forte (strong). Thrust
An attack delivered with the point of the rapier.
In historical sources these advantages are never explicitly codified or
collected in this way, however they are applied. Leverage is the most Trovare la Spada (To Find the Sword)
explicitly described of the advantages and is usually covered through
dividing the sword into parts, with as few as two43 and as many as Placing your sword in a position of mechanical advantage over your
twelve44, and then describing how to connect them. In all Renaissance opponent’s sword that constrains their line of attack and facilitates your
rapier texts you see the true edge used to close lines of attack, however ability to gain their sword in that same line. Finding is done with or
the authors seem to expect an existing understanding of this on the without contact and is done by acquiring a greater amount of the three
part of their readers. Crossing is more erroneously defined; Salvator advantages than your opponent. Finding is generally used to stringere the
Fabris states that the sword’s edge is strongest in the direction the sword opponent (constrain them strategically).
points. Ridolfo Capoferro says, that when approaching on the inside to Historically this term is used primarily by Salvator Fabris to describe both
point toward the opponent’s sword-side shoulder and when approaching a mechanical and strategic position over the opponent’s weapon. His
on the outside to point toward their off-side shoulder45. He also makes meaning moves between finding, gaining, and stringere (as I use them)
specific mention of which eye to strike46 in particular actions, to further based on context.
emphasize the crossing of the sword (though this reason is never
explicitly mentioned).
True Edge Volta Stabile (Stable Turn) | 185
The primary cutting edge of the sword. Aligned with the sword’s knuckle- To rotate the edge of the sword from one facing to another. For example,
bow and the knuckles of the wielding hand. to turn its edge from the left to the right. Sometimes this facing change is
accompanied by a movement of the point to simultaneously acquire the
True Fight advantages of crossing and leverage over the opposite line of attack.
A fundamental fencing strategy based on stringere, moving forward when
in control, backward to regain control, and striking in the four tempos.
The True Fight can be summarized into a flow chart that gives set actions at
each misura based on whether or not an opponent changes line with their
sword and their direction of movement: forward, stationary, or backward.
See the True Fight in the Strategy chapter.
The “True Fight” is a pedagogical invention of mine that is part of a three
part system that includes the Deceptive Fight (a combative approach
that involves misleading the opponent) and Adaptive Fight (an approach
that involves continual movement forward). In historical Italian fencing
texts this term is not used, however the concepts of these three fights are
employed by various authors.
 ENDNOTES | 187

1 Ben Jonson fought a rapier duel with actor Gabriel Spenser in 1598. 6 More reading on the military revolution and its affect on the noble
Spenser was killed and Jonson was arrested. He narrowly avoided classes can be found in The Military Revolution, 1550-1660 by Michael
the death penalty. — Locating the Queen’s Men, 1583-1603: Material Roberts. Published in The Military Revolution Debate: Readings on the
Practices and Conditions of Playing; Ostovich, Syme, Griffin; Ashgate Military Transformation of Early Modern Europe; Boulder, CO; Westview
publishing; 2009; page 91. Press; 1995.
2 The artist and friend to Van Gogh, Paul Gauguin, was an active fencer 7 Il Libro del Cortegiano, Aldine Press, 1528, page 25.
and potential duelist. In the book Pact of Silence, historians Hans 8 Most judicial duelling codes go back to the 9th century. In the late 14th
Kaufmann and Rita Wildegans make an interesting argument for century we see the introduction of the Code Duello to specify how
Van Gogh’s famous ear mutilation being the occurrence of a sword honor plays into the judicial duel. Prior to this, duels are of two kinds:
encounter between the two artists that was then covered up to protect judicial duels over property disputes, and trials by combat to settle
Gauguin from prosecution. Pakt des Schweigens, Osburg Verlag, 2008. a “high crime”: murder, rape, incest or treason. Technically, heresy is
3 Introduced for epee in 1936, foil in 1956, and sabre in 1988. International a high crime, but the Church never accepted dueling as a legitimate
Fencing Federation history, www.fie.org judicial act, “Ivanhoe” not withstanding. You can read more about this
4 Though in most Zorro depictions the weapon is a classical sabre, in The Judicial Duel in 16th Century Italy, Tomasso Leoni, In the Service of
with the notable exception of 1998’s Mask of Zorro starring Antonio Mars, Volume 1, Proceedings from the Western Martial Arts Workshop 1999-
Banderas, where he uses a rapier. 2009, pages 237-250. Many examples of judicial duelling in armour can
be seen in early fighting manuals such as those by Hans Talhoffer (1443
5 There are a few exceptions to this: Paradoxes of Defence by George and later)
Silver (1599), where Silver identifies and derides the techniques of the
“rappir” for their excessive focus on duelling, and champions the use 9 Pietro Monte was an historian and fight master of Spanish or Italian
of the backsword as well as other contemporary weapons. Joachim origin who published several books in the early 1500s in Italy. He is
Meyer’s Kunst des Fechten (1570) also identifies the “rappier” as a favourably mentioned by many contemporaries including Castiglione
weapon brought to Germany from foreign sources and distinguishes its and Leonardo da Vinci.
techniques from other weapons such as the messer and two-handed 10 More on the cultural pressures that lead to the evolution of the duel in
sword. Italy can be found in the book Il Duello Giudizaiaro per Punto D’Onore by
Marco Cavina, Giappichelli, 2003
188 | 11 Achille Marozzo’s 1536 manual instructs its reader on use of the sword 20 Capoferro comments that all defences should contain an offence
in one-on-one encounters as well as against men on horseback, with and all offences a defence. Earlier manuals such as those by Antonio
diverse armaments, and in judicial duelling. Manciolino (1523), and Achille Marozzo (1535) emphasize specifically
12 From Fencing: A Renaissance Treatise by Camillo Agrippa, a translation defensive actions ahead of attacks. George Silver, an English Fencing
of Trattato di Scientia d’Arme con un Dialogo di Filosofia, by Ken master, in his (1599) manual also derides the Italianate rapier and
Mondschein, Italica Press, 2009. its emphasis on single time actions, versus the more conservative,
and traditional, defence and counter attack methodology of the
13 This is a calque from the Italian term Spada di Lato - literally translated broadsword and backsword as practiced at the time in England.
as “sword of the side”. Perhaps more properly translated as a dress
sword or sidearm. A weapon that can be easily carried in a civilian 21 17th century rapier manuals from Iberia, the Netherlands, Belgium, and
context. Germany all depict complex hilted swords oriented toward thrusting
oriented play.
14 In the post-mortem inventory of the goods of Duke Alvaro de Zúñiga.
The term “Epee rapiere” first appears in French writing in 1474. 22 Based on the paper Some Medicalogical Aspects of Stab Wounds by Dr.
AVB Norman, The Rapier and Small-Sword 1460-1820, Ken Trotman Bernard Knight published in the 1976 Legal Medicine Annual where
Publishing, 2010. Dr. Knight tested the resistance of human skin to knives. SCA member
Chris Zakes attempted a similar test with fencing foils and reproduction
15 Ariel Roth notes the consequence of duelling in France in the early rapiers. His studies found that most reproduction rapiers required 4 lbs
1600s: “In France during the reign of Henry IV, more than 4,000 French of pressure to penetrate a soaked raw hide designed to approximate
‘gentlemen’ lost their lives in an eighteen-year period.” “Roth, A. A. - The human skin. The test is conducted by placing the point of the weapon
Dishonor of Dueling; Roth, A.A.; Grisda.org; 1989. against the skins surface and gradually applying pressure until the point
16 Gran Simulacro dell’Arte e dell’Uso della Scherma was first printed in Siena penetrates fully through the skin.
in 1610.
This type of measurement provides an easy to comprehend but
17 Giganti published two books: Scola, overo teatro was first printed in scientifically imprecise measurement of force. A more extensive
Venice in 1606 and Libro secondo di Niccoletto Giganti was published in breakdown of force requirements for penetration of various types of
1608. tissue including skin, muscle, and fat, can be found in Dynamics of stab
18 Lo Schermo, overo Scienza d’Arme was first printed in Copenhagen, wounds: force required for penetration of various cadaveric human tissues
Denmark, in 1606. Forensic Science Volume 104, Issue 2.

19 La Scherma di Francesco Fernando Alfieri was first printed in Padua in

1640.
23 A stage actor inadvertently stabbed a colleague to death during 27 A Comparison of Late 16th to Early 17th Century Rapiers with Modern | 189
a stage performance of Shakespeare’s play, Romeo and Juliet. The Reproductions - DI (FH) Florian Fortner, Julian Schrattenecker, BSc,
unlucky young man delivered a thrust at the very moment his vision Fechtschule Klingenspiel, Vienna.
was inadvertently obscured by a member of the cast. Although he 28 Defining these two fundamental positions is my own device. Not all
claimed to have felt no resistance, a post mortem examination revealed historical Italian masters advocate distinct upper body positions, nor
that he had penetrated the chest of the victim to a depth of eighteen explicitly define them. I have found that learning through this approach
centimeters. Thimm; Supra volume 6; page 463. helps students best understand how to control their bodies and defend
24 For a study of the tactical and performance outcomes of asymmetry themselves through good sword and body relationships.
and symmetrization in Judo practitioners see: Stanislaw Sterkowicz, 29 The terms “open position” and “closed position” are distinct to my
Grzegorz Lech, Jan Blecharz “Effects of laterality on the technical/ practice. You see these postures employed throughout historical Italian
tactical behavior in view of the results of judo fights” Science of Martial texts as well but they are never systematically defined in this way.
Arts volume 6, issue 4; 2010.
30 Originally conceived by Françoise Mézières, a teacher and practitioner
25 For a study of asymmetry and its impacts on the performance and of physiotherapy throughout the 20th century, a muscular chain is a
injuries in Volleyball, a highly asymmetrical sport, see H.K. Wang T. group of at least 2 polyarticular muscles (meaning they extend over a
Cochrane “Mobility Impairment, Muscle Imbalance, Muscular Weakness, minimum of two joints) running in the same direction and overlapping
Scapulary Asymmetry and shoulder injury in Elite Volleyball Players” like tiles on a roof without any interruption in the linkage. Where this
Journal of Sports Medicine and Physical Fitness 2001;41:403-10 occurs in the body, all the muscles in the chain are mutually dependent
26 Item, her majesty also ordereth and commandeth that no person shall and behave as though they are a single muscle. The longest such chain
wear any sword, rapier, or suchlike weapon that shall pass the length is the posterior chain which runs from the back of the skull down our
of one yard and half-a-quarter of the blade at the uttermost, nor any spine, backs of our legs, all the way to our toes.
dagger above the length of 12 inches in blade at the most, nor any 31 The term “finding the sword”, or in Italian trovare la spada, and “gaining
buckler with any point or pike above two inches in length. And if any the sword”, guadagnare la spada, are used subtly differently in my
cutler or other artifices shall sell, make, or keep in his house any sword, teaching than in historical sources. I have outlined the distinctions in
rapier, dagger, buckler, or suchlike contrary thereunto, the same to the appendix.
be imprisoned and to make fine at the Queen’s majesty’s pleasure,
and the weapon to be forfeited; and if any such person shall offend a 32 Agrippa’s four hand positions represented a significant simplification of
second time, then the same to be vanished from the place and town of the system of fencing. Prior to Agrippa, Italian authors describe as many
his dwelling.” - Tudor Royal Proclamations (3 Volumes). Edited by Paul as 15 to 20 different hand and arm positions.
L Hughes and James F Larkin. Yale University Press, New-Haven and
London, 1969. (ABNRID 63013965 //r97) volume 2, page 278.
190 | 33 The term cavazione (and it’s English equivalent: disengage) are used 39 The True Fight is a pedagogical approach to understanding
differently in modern fencing than they are in renaissance texts. In fundamental Italian fencing strategy. Though the named concept is one
many a cavazione includes a movement to control or strike. I use the we use exclusively at Academie Duello, the principles of it are applied
term at its barest to mean a movement of the point from one side of the by the traditional rapier fencing masters. At Academie Duello the True
opponent’s weapon to the other. Fight is part of a 3 part strategic system that also includes the Deceptive
34 I have borrowed this term from Fiore dei Liberi’s Italian works. Its usage Fight and the Adaptive Fight. More on these in future volumes.
amongst modern instructors varies. Be aware. 40 Grasping the blade of the opponent’s sword with your off-hand is an
35 In my teaching I de-emphasize the term “parry” as it suggests to many advanced technique that can only be executed safely under very specific
a purely defensive action of the sword. It is essential to recognize that circumstances. Grasping the sword at this stage of your learning is almost
whether you are finding while your opponent is standing still, coming certainly counterproductive to you, and your sparring partner’s learning.
to find you, or coming to strike, the mechanics of the final position, and 41 An example of this is in the first section of Antonio Manciolino’s Opera
your follow-up, are essentially the same. The goal is to have a position Nova (1531).
that protects you from the most direct lines of attack, presents a threat 42 Salvator Fabris specifies the use of the passing step over the advancing
to your opponent, and allows you to proceed forward to strike or gain and retreating step in his “book 2”. In this book his goal is to move
greater advantage. continually, and smoothly, toward the opponent. This is more easily
36 The term “stramazzonne” and “tramazzone” are used in historical Italian done with the passing step because the advance and retreat necessarily
fencing works to refer to a wheeling cut that is generally aimed to hit create pauses as you expand and contract the distance between your
the opponent but can also be used to strike or defend against an attack, feet.
as we are doing here. 43 Ridolfo Capoferro in his Gran Simulacro defines the forte and debole of
37 In historical sources the term stringere is used interchangeably with the sword and admonishes other masters who make further divisions.
the terms finding and gaining to mean both mechanical and strategic Ridolfo Capoferro, Gran Simulacro, 1606, page 15.
constraint. I have found it useful in my pedagogy to separate the idea of 44 Gérard Thibault, a Flemish fencing master, uses precise divisions and
mechanical control and strategic control. relationship instructions (“place your 7 on the opponent’s 9”) in his 1630
38 This term is being used here specifically to refer to the angle of your rapier manual Academie de l’Espée.
sword. It can sometimes be used to refer to movement of the sword 45 In the description of plate 15. — Capoferro, Gran Simulacro, 1606, p.76.
around an opponent’s weapon or movements of your feet that take you inside, to point toward the opponent’s sword-side shoulder, and, when
off the line. approaching on the outside, to point toward their off-side shoulder
46 An example is plate 7 where he states “D lo ferisce di punta ne l’occhio
sinistro di piè fermo”. Translation: D makes a firm-footed thrust to their
left eye. Ridolfo Capoferro, Gran Simulacro, 1606, page 60.