A Midsummer Night’s Blog

Italian Rapier Flowchart

Filed as Classical Fencing, Destreza (Spanish swordplay), Geek Stuff, General, Historical Fencing, Italian Rapier, Opinion, Reviews with 32 replies

(10/12/2009)

After WMAW 2007 I prepared this Italian rapier flowchart to explain some of the possible actions when executing tactical drills with a student.

There are things I would change about this chart today.  This flowchart does not include actions like attacks to the leg, the use of the off hand, and it doesn’t get into detail about execution, but as a basic learning aid I still like it provided the instructor does not limit the instruction solely to this decision tree.

~P.

Spanish Fencing Notation Part 4 - The Position of the Hand

Filed as Classical Fencing, Destreza (Spanish swordplay), Fencing, General, Historical Fencing with 9 replies

(10/1/2009)

LINK TO ARTICLE 1

LINK TO ARTICLE 2

LINK TO ARTICLE 3

Hand Positions

In the Italian tradition the hand positions are notated as first, second, third and fourth.  While this is concise, it doesn’t provide any information that guides the student to the correct position without additional explanation.  When grasping a sword, we can discuss the same hand positions by the orientation of the fingernails.  By using the fingernails as a reference, the Spanish system achieves a very simple notation for the position of the hand in plain language.

Fingernails Down (uñas abajo) - The edges are in the horizontal plane with the true edge on the outside line and the fingernails facing downward.  This is the same as Italian Second.  Carranza considers this position one of the two possible extremes that will be weaker than the moderate halfway point between this position and fingernails up.

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Fingernails Inside or On Edge (uñas adentro or de filo) - The edges are in the vertical plane with the true edge low and the fingernails facing toward the inside line.  This is the same as Italian Third.  Carranza considers this the best position and it is halfway between the two extremes of fingernails up and fingernails down.

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Fingernails Up (uñas arriba) - The edges are in the horizontal plane with the true edge on the inside line and the fingernails facing upward.  This is the same as Italian Fourth.  Carranza considers this position one of the two possible extremes that will be weaker than the moderate halfway point between this position and fingernails down.

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Fingernails Outside (uñas afuera) - The edges are in the vertical plane with the true edge high and the fingernails facing toward the outside line.  This is the same as Italian First and while it is mentioned, using this hand position is so unusual that Pacheco and Carranza typically speak only of the other three.

Hand Position in the Spanish Stance

The primary sources indicate fingernails inside or sword on edge is the hand position used when assuming the stance.

Carranza’s Description of the Position of the Sword Arm from The Philosophy of Arms… p. 155-156 (1569, pub. 1582):

“And the best of all these positions is as the arm originates because in it the nerves are more relaxed and the action of the Muscles—which are (as it is said) the instruments of the voluntary movement—quicker. In this position the strength endures longer, and since it is the middle (according to necessity) one passes easily to the extremes. For these reasons and others that come from these, the position on Edge is stronger and better than the one with fingernails down or up. Between the extremes there is advantage, like in those extremes that the virtues have (as we will mention in its place), because the extreme that the Fingernails Up arm makes is not as strong as the position of Fingernails Down. Thus, of the two, Fingernails Down is the most noble because it strains the Nerves less to maintain the strength, because even though the arm does not move (seemingly) the Muscles are working inside that maintain it in that position….”

~Translated by Mary Curtis

To explain this passage, hang your swordarm normally at your side and then reach forward as if shaking hands.  A natural extension places the weapon arm as it “originates” with the fingernails facing the inside.  If you extend your arm with the fingernails in you are halfway between the extremes of fingernails down and fingernails up which allows you to engage with your true edge quickly as needed.

You should also note that the text explicitly indicates fingernails inside is stronger than fingernails up and fingernails down.  Coming into guard fingernails up or fingernails down contradicts the author which is our primary source.  Carranza provides us with a ranking of the hand positions with fingernails in as the best and fingernails up as the least strong or worst of the three.

1. Fingernails in or sword on edge (Best)
2. Fingernails down (better than fingernails up)
3. Fingernails up (worst and least strong)

(Carranza does not discuss fingernails outside in this passage and by its omission we might assume it would qualify as the least useful position.)

Pacheco’s Image of the Stance from The Book of the Greatness of the Sword p.39 (1600)

Pacheco again in New Science p.30 (1632)

“The right angle is seen with the body being straight, and over the right angle or over the parallel lines, and he extends the arm straight as it originates from the body, without lowering it nor raising it.”

~Translated by Mary Curtis

Ettenhard’s Description of the Position of the Sword Arm from Compendium of the Foundations… p.13 (1675)

The first thing that one should deal with is the way to form the Angles, with the application of the Geometric measurements; and beginning with this, I say: That the Swordsman forms the Right Angle when he stands with the body straight and perpendicular; as he naturally falls over both feet, leaving a half foot distance between one heel and the other; and then holding out the arm and Sword straightly, like it originates from the body,…

~Translated by Mary Curtis

Over 100 years later, we see that Ettenhard comes very close to quoting Carranza in his description of how to assume the stance with the arm extended “like it originates from the body“.  When comparing the text to the relevant image in Treatise 2, Chapter 1, we see Ettenhard’s fencer with the hand fingernails inside which further confirms the interpretation.

Brea’s Images in Universal Principles… Ch12.L7 (1805)

In 1805, Manuel Antonio de Brea shows the stance in his book again with the hand fingernails to the inside.

You can view Brea’s Universal Principles and General Rules… online with Google Books here:

Thibault’s Academy of the Sword Ch43 - Plate 12 (1630)

Even Girard Thibault, who is arguably outside the mainstream Spanish canon, demonstrates his stance with the hand fingernails in.  Because of the peculiarity of his grip, Thibault’s cross is aligned in the horizontal plane, but the hand again follows Carranza’s advice extending as the arm originates with the fingernails facing the inside line.

Wikipedia Article with two images of Thibault’s intricate plates

Conclusion

The repeated examples in both the texts and original images provides compelling evidence that assuming the stance with the weapon hand in a position other than fingernails inside would be a significant deviation from the tradition.  While the hand position may naturally change in the course of an encounter by starting between the two extremes of fingernails up and fingernails down, the Spanish fencer is able to quickly change the position of the hand to align the true edge as needed while fencing.

Swetnam’s Postulate

Filed as Classical Fencing, Destreza (Spanish swordplay), Fencing, Geek Stuff, General, Historical Fencing, Italian Rapier, Opinion with 14 replies

(9/28/2009)

“…yet regard chiefly the words rather than the Picture.” ~ Joseph Swetnam

First, a postulate is to maintain or assert that something is self-evident.  It is part of the fundamental element or basic principle of a logical argument.

Second, a primary source is an original text (like a fencing manual) or an object (like a sword).  We will use a primary source to draw conclusions about a topic.  A fencer might study the book of Salvator Fabris to understand Italian rapier.  Darkwood Armory might study a rapier from the original time period to understand how to create a training weapon for fencers today.

In our case, a primary source is important in identifying the origin of the information we want to interpret.  Primary sources are given greater value than secondary sources.  A secondary source is information or discussion of the primary source that is not originated from the primary source.  For example, you could argue that our recreation of Destreza based on an English translation is a tertiary source because it is based on a secondary source (the English translation).

This becomes tricky in a fencing manual when we consider the images.  For example, Ridolfo Capoferro’s work has been subjected to some intense scrutiny in this regard and I have been involved in some heated discussions about the position of the feet, the nature of offline steps, and the gaining of the weapon.  While the plates in the text are very important we need to remember Joseph Swetnam’s advice.

“…yet regard chiefly the words rather than the Picture.”

I call this Swetnam’s Postulate.  Unless the fencing master himself is listed as the artist, the images are not a primary source of information but rather a secondary source.

Interpreting a Text

When interpreting a fencing text, I use a hierarchy of sources in which item 1 is given the highest priority and item 7 the lowest.

1. The text in the original language is a primary source.
2. Swetnam’s Postulate - Unless we can prove the master created the images, the artwork is a secondary source.
3. The translated text is a secondary source.
4. Masters in the same tradition, weapon, and time period can provide insight to technique.
5. Masters in the same tradition, weapon, and a different time period, can also provide insight.
6. Masters in the same tradition with similar weapons (for example classical Italian fencing) can provide insight.
7. My own experience or experimentation.

For example… If Capoferro indicates that I should travel directly forward on the line of direction, I should obey the text even when it contradicts (or seems to contradict) the images rather than reinterpret the author’s instructions based on my understanding of pictures created by an artist.  If other sources within the tradition also seem to confirm Capoferro’s text, rather than a picture that could arguably be on the line or off it, this provides us additional incentive to trust the author’s voice.

Likewise, as an interpreter, I need to be aware of my fencing biases and try to avoid item 7 as much as possible.  When I change ‘canonical‘ technique or add technique of my own this needs to be clearly stated in my interpretation.  (In this sense, I use the term ‘canonical‘ to indicate a deviation from the original text or texts.)

For example, at WMAW 2009 I applied principles from Ettenhard’s book in order to create new techniques appropriate for left-handed fencers.  When I demonstrated these variations to the class, I made certain to explain that these were my variations and not Ettenhard’s original work.

By expressing some dissatisfaction with the images in his book and asking the reader to give his words precedence over the plates, Swetnam reminds us that the author’s voice is the first and primary source of information an interpreter should consider.

Fencing Blogs

Filed as Classical Fencing, Fencing, General, Historical Fencing, Italian Rapier with 1 reply

(9/6/2009)

With WMAW next week, I am going to do the blog equivalent of a punt and direct you to the fencing blogs of some friends of mine.

Chris Holzman is a classical Italian fencer whose book The Art of Dueling Sabre is coming out very soon from Swordplay Books.  His work is absolutely first rate and the book is hotly anticipated.

Swordplay Books

Chris has a cooking blog here:
Fencers+Knives+Heak = Cooking

Kevin Murakoshi is a classical Italian Provost at Arms and a coach at the Davis Fencing Academy.  His blog contains a lot of images from the Fencing Masters program examinations as well as notated rapier lessons.
Gumby Fencer

Both David Coblentz and Dori Coblentz are classical Italian Instructors at Arms and David maintains a blog primarily focused on Italian rapier with some videos here:
The Coblog

You can expect more swordplay articles from me after WMAW.

~P.

Spanish Fencing Notation Part 3 - Fighting Distance

Filed as Classical Fencing, Destreza (Spanish swordplay), Fencing, General, Historical Fencing, Italian Rapier with 18 replies

(8/31/2009)

LINK TO ARTICLE 1

LINK TO ARTICLE 2

Other Martial Traditions

In Aikido the term “Ma-ai” refers to the distance (or interval) between two adversaries.  Distance in Aikido is set by your adversary’s ability to strike you.  If the adversary holds a weapon like a knife, Ma-ai distance is increased to account for the greater range of the threat.

By contrast, in the Italian fencing tradition distance is typically understood as the distance your attack must travel to strike the adversary.

Close Distance or Narrow Measure- Without moving the feet the adversary may be struck by extending the weapon arm.

Correct Distance or Wide Measure- The adversary may be struck with a lunge.

Out of Distance - The adversary cannot be struck without moving forward.

The key difference between the Japanese measure and the Italian one is the emphasis it places on the conflict.  The practitioner of Aikido evaluates the distance needed to defend oneself and the Italian evaluates his own ability to strike.  Each martial artist will evaluate offensive and defensive measure, but the measure which is codified provides us an indication of the focus of the art.

The Spanish break distance down into two separate categories using both the concepts of defensive distance used in Aikido and offensive distance used in Italian fencing.  Like the Aikido practitioner, the first measure of concern to a Spanish fencer will be the defensive distance.

The Measure of Proportion (Defensive Distance or Place)

(En español - Medio de Proporcion )

This is the closest distance to the adversary in which you may still effectively observe and react to possible threats.  The Measure of Proportion should consider the weapon being used by the adversary and their physical stature.  It is very unlikely that two opponents will have exactly the same Measure of Proportion.

When Pacheco defined the Measure of Proportion he used the relationship between the two weapons as his guide.  He advocates setting the distance so that when the adversary extends his arm at full reach, the point of his weapon reaches no further than the cross of your own weapon.  If two opponents have equal bodies and equal swords, they will share the same Measure of Proportion.

If the opponent has a longer weapon, how you set your own distance should change and your goal becomes to prevent the adversary from closing the distance so that their threat passes the cross of your weapon.  The physical size of the adversary is also considered when setting the distance.  For example, an opponent with long legs will have a long lunge and the Measure of Proportion will change to compensate.

When your weapon is longer than the adversary’s your goal in setting distance is to close measure enough to maintain your own Measure of Proportion while violating the defensive distance of your adversary and continually keeping them threatened.

Ettenhard, one of Pacheco’s students, later provides a more nuanced description of this distance which is based on a principle rather than setting defensive measure based on the cross of the sword.

To choose the Measure of Proportion is to determine a proportionate and convenient distance from which the Swordsman can recognize the movements of his opponent, since for whatever determination of his, there should proceed, of body like of arm and Sword: Of body, by means of footwork: and of Sword, by means of the formation of the Technique.

Restated, the Measure of Proportion must be chosen so that the fencer can recognize a threat from the adversary.  You can anticipate the adversary’s actions if you provide yourself enough distance (and therefore time) to recognize motions of the sword or body.

The Measure of Proportion and the Circle

It is important to remember that all the aspects of the Spanish Circle are defined by setting the Measure of Proportion.

You should also note that when two adversaries have a different Measure of Proportion, they will have different preferred Diameters and the circle each wishes to create will be defined differently.  This indicates again that arbitrarily “walking the circle” isn’t a reflection of the canonical Spanish tradition.  Each fencer will attempt to create a more favorable circle which describes the possible footwork and counter-footwork in a fencing action.

As a common practice “walking the circle” would require not only two identical opponents with identical weapons, but also a choreographed plan in which neither fencer took advantage of the shorter distance gained when the adversary steps along the circle (as shown in Part 2).   Instead the opponent would need to continually step away from the adversary to artificially preserve the ideal distance in the circle.  Walking around a circle while within the striking distance of a non-cooperative adversary would be dangerous.

In order to close distance by stepping along the circle, the action should either control the adversary’s weapon as you move forward or take advantage of a Movement provided by the adversary (such as the thrust into the diagonal reverse shown in Part 1).

The Proportionate Measure (Offensive Distance or Place)

(En español - Medio Proporcionado )

This is the distance that must be covered to deliver a specific attack.  For example the Proportionate Measure of thrusts will be different when using a pike, a sword, and a dagger.  By using some of Euclid’s work we can provide a demonstration of which attack and position of the arm has the greatest reach.

The Right Angle

Carranza demonstrates here that the Line from B to A has the greatest reach.  This line is called the Right Angle and provides us with effective offense, counteroffense, and defense.

If the blade is lifted from the Right Angle, as shown in the line from B to G, we have entered the Obtuse Angle and our reach has decreased.

If the blade is lowered from the Right Angle, as shown in the line from B to F, we have entered the Acute Angle and our reach has decreased again.

The thrust typically has the most reach and will have the most favorable Proportionate Measure.  In order to reach the correct distance to execute the thrust you may need to gain control of the adversary’s weapon and step along the Square (Transverse Step) or along the Circle (Curved Step).  If the adversary prepares a cut, you can strike with a thrust into his preparation and then quickly retreat.  By fencing with an extended arm, the Spanish fencer enjoys an advantage in the number of Movements (and therefore Time) when working against an adversary that cuts.

The Spanish cuts (both full circular cuts and the half cuts) are usually actions that occur when the blade has already moved from the Diameter because of a defensive action or because the adversary has deviated your weapon.  These typically have less reach than a thrust but correctly executed can be very powerful.  Ettenhard indicates that cuts to the head are more common and that horizontal cuts to the body are dangerous and unusual in practice.  Because the Proportionate Measure of a cut is larger than that of a thrust, you should never use the cut as your initial action.  The greater number of Movements in the cut expose you to counterattack by the thrust.  (Remember that an advantage in the count of Movements is also an advantage in Time.)

The Disarm (Movement of Conclusion) requires you to be close enough to seize the adversary’s hilt with your left hand.  This typically requires passing forward with your rear foot and the distance you must travel to successfully execute a disarm can actually carry you to the opponent’s Line of Infinity.  Because the Proportionate Measure is greater for the disarm, there is a greater degree of danger involved for a fencer executing the disarm.

Final Notes

Remembering the Terms - The two terms Measure of Proportion (Defensive Distance) and Proportionate Measure (Offensive Distance) can easily be confused.  At the risk of being slightly silly, I offer the following mnemonic to help remember the difference between the two.

“When asked of his defense, the aggressive fencer ate his opponent.”

• You can remember defensive measure because it has an ‘of’ in the term - Measure of Proportion
• You can remember offensive measure because it has an ‘ate’ in the term - Proportionate Measure

Angle as Position - The angle of the weapon (Acute, Right, or Obtuse) is a common way of describing the position of the weapon in space.  You will see the same anglular terms used to describe position in Destreza texts for different weapons, such as the single sword and even Montante.