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Going down the tubes

Ecce the first English translation of Alfonso Falloppia’s neat little fencing treatise from 1584.

https://www.wiktenauer.com/wiki/Alfonso_Falloppia

With its emphasis on finding the sword, controlling the centre line, and disengaging, this is one of the earliest works that can unambiguously be termed “rapier” fencing – as we use the term today.

Alfieri’s Pike (1641)

I have added the first English translation of Alfieri’s pike drill treatise of 1641 here:

https://wiktenauer.com/wiki/Francesco_Fernando_Alfieri

With this, each of Alfieri’s treatises has been translated into English and released in some form or another.

Interestingly in the final chapter Alfieri promises a subsequent treatise on the sabre (which, sadly, it appears he never delivered). Single-edged swords had existed in Italy for several centuries previously: namely the storta (falchion), and costoliere (backsword), and indeed the so-called Anonimo Riccardiano (MS Ricc.2541 – late 16th century) is arguably optimised for a such weapons. However, Alfieri’s La Picca represents the first Italian treatise to employ the term “sabre” – predating the first technical instructions on the use of the sabre (Marcelli 1686) by over 40 years.

Alfieri uses the plural sable, the singular of which would be sabla. This is phonetically identical to the Polish word szabla, as opposed to the later Italian sciabola.

Altoni (c.1540) lists fully 9 ways of equipping a cape

Since we have begun to equip the hand and arm, not without reason, I will start to speak of defensive arms. I will commence with the cape, because it has many similarities in parrying with the dagger which was discussed earlier. Also, because it is a garment often worn these days, that can be employed by anyone.

I placed before the various types of arms that can be gripped or worn on the arm, in categorising the arms set out in Book One. Because in truth the cape can either be placed in the hand or on the arm, either alone or together, in one manner being held, in the other worn on the arm. This can be performed in various ways, which will be described with as much brevity as possible.

Wishing therefore to grip or wear the cape, you can employ several methods:

· The first is to hold it in the middle, covering your fist, without otherwise wrapping it, allowing the hood to drape inside your arm, as a counterweight.

· The second is to hold it by the point of the hood and to wrap it around your arm from the inside.

· The third is, wearing the cape with it loose, to grab the top of it over your left shoulder with your first two fingers, letting it fall over your arm; or else to put both your arms behind your lower back, returning your left arm to its position having gathered all of the cape.

· The fourth is, wearing the cape with it folded back over your left arm, to grab the hem from the inside, letting the part covering the top of your right arm fall, while keeping the left side close to your back, gathering it over your arm or in your fist as you prefer.

· The fifth method is to grab the cape around the middle of the two front parts with each hand, before flipping your right hand, back and over your head, thereby doubling the cloak over your left hand, using this hand to wrap it around your arm and fist.

· The sixth method is to grab the cape by the left hem from the front, with your left thumb on the outside, letting it fall to the side, gathering it with your left arm behind your back, while putting your hand to your sword.

· The seventh method is, having it folded over at your left side (not over your arm as I said earlier but over your left shoulder), to let it fall from your right side. Placing your left arm along your lower back, not from the inside but from the outside, gathering it over your arm while putting your hand to your sword.

· The eight method is similar to the seventh in wrapping it around the arm, different in the manner in which it is found. In that instance the cape was positioned forward. In this the right side is placed under your arm with your hand on your sword, while the left hem is over the left side of your right shoulder. From this position, the hem which is over your shoulder should be grasped with your left hand, pulling it down while drawing your sword, rotating your left arm up and to the inside behind your back, to wrap the cape around your arm.

· All of the above methods can be performed quickly and suddenly. However if you have time, such as those who must fight on the duelling field, or someone who leaves the room in anger to undertake some matter, the following is a very fine and useful method.

You should fold the cape, several times depending on its size, so that it fits from your elbow to your wrist, leaving the hood out. Then place the cape over your arm, allowing the hood to hang to the inside with the top of the cape, before folding the hood over your left elbow, run it along the length of your arm, and the point of the hood with your left hand. This method is very useful and elegant, however as stated to employ it takes time.

Coming soon

On the military fencing of Giovanni Alberto Cassani (1603)

http://hroarr.com/article/teaching-training/brief-notes-fencing-military-treatise-giovanni-alberto-cassani-1603/

Examples of soldiers or fencers of African origin in the Renaissance are not uncommon. But the earliest reference to a black fencing Master in Europe I’m aware of was a Master Pedro in 1581. He is recorded at the Battle of Salga, in the Portuguese Azores on 25 July 1581, during the War of Portuguese Succession, where the islanders successful defeated the invading Spanish forces. Gaspar Frutuoso records that the Spanish Captain Filipe Artal was slain by the defending Captain Francisco Dias and a black companion of his “named Master Pedro, because he was Master of a fencing school.” (chamado mestre Pedro, por ser mestre de escola de esgrima).

"How to become a complete fencer To become a complete fencer, taking lessons from a Master does not suffice. Instead you should seek to play daily, with various fencers, always if possible practising with those who know more than you. This is because a fencer with great practical ability becomes perfect in this craft.” Ridolfo Capoferro (1610)

More on the HEMA shoes debate

"Some masters of fencing, and others of dance, make their students wear heavy shoes lined with lead. Having them labour in this manner, they say that once the shoes are removed, and replaced with more normal and usual ones, they find their actions lighter and more nimble." Giuseppe D'Alessandro (1723)

Full translation of Alfieri's first treatise, on the flag, published in 1638.

http://sword.school/articles/la-bandiera/

Alfieri talks tough

"If the enemy waits then he should be pressured, put into obedience and deceived; teaching the enemy, the threatener of life, that he is not worthy of the pleasure of living." Francesco Ferdinando Alfieri, La Bandiera (1638)

Jacopo Monesi’s dialogue from 1640 in complete translation

http://sword.school/wp-content/uploads/2017/03/Monesi-Translation-1.pdf

https://www.amazon.com/Treatise-Subject-Fencing-Marco-Docciolini/dp/1910462012?_encoding=UTF8&psc=1

"But if you do not have the heart for these more difficult attacks I exhort you not to adorn yourself with weapons, everything depending on judgement, skill and confidence in your actions." Camillo Palladini (c.1600)

CONSTANT VIGILANCE!!

Observation six. This admonition will be useful to those who continually carry a sword. Never leave the house, nor put your sword to your belt, without first taking it out of its scabbard.

Firstly this is to ensure that it draws, secondly to see whether the point has been removed, as happened to a German gentleman.

His servant, corrupted with money by one of his enemies, had blunted the point of his sword, whereupon the gentleman, donning the sword without warning, left his house and was attacked and killed without being able to employ his sword.

Camillo Palladini (c.1600).

Letter Petrarch to Cardinal Francesco Colonna, sent on 23rd November 1343.

"Of all of God's miracles 'which alone are miracles' nothing He put on earth is more marvellous than man. Of everything I saw today, which I refer to you in this report, the matter that stands out the most regards a marvellous woman from Pozzuoli, strong of body and spirit. Her greatest virtue is without a doubt that she has maintained her virginity despite living in close contact with men of arms; in fact it is said that the soldiers avoid assaulting her, even only in jest, held back more by fear of her than by the respect one must have for a woman. In fact Maria dresses as a warrior and not as a girl; she has a strength comparable to that of a veteran; she does not occupy herself with cloths, with needles, with mirrors, but with arrows, with bows and with lances: her face has no signs of amorous kisses or of the lascivious bites of lovers, but of wounds obtained in battle; she bravely scorns death. With her close companions she has been in war for years, a war that has already claimed many victims on both sides. She has fought often, alone or in the company of a few others, but until now she has always come out the victor of every conflict. She launches herself furiously into the mix of battle, sets-off eagerly, attacks the enemy with courage, prepares ambushes with guile. She endures with incredible patience hunger, thirst, cold, heat, tiredness and lack of sleep. Day and night, indefatigably she dons arms and she rests her limbs on a bed or on a shield as if it were a bed. These continuous exertions have altered her appearance in a short space of time. I had met her years ago when she was still a girl but today, when she stepped forward and greeted me, dressed for war and at the command of a small group of soldiers I was taken aback. Then beneath that helmet I recognised her femininity."

Masters often implore us to be graceful. Altoni suggests this is not entirely out of necessity, but can nonetheless serve a practical purpose, to settle us psychologically, and helps us to manage the stress and emotion of a lethal duel.

"We will begin the sword alone with some general advice for duels, which addresses beauty and gracefulness more than necessity. However among this there are some considerations which add elegance and awareness and are very important, because without them it is impossible to operate with any degree of accomplishment... When two arrive in the field, one bears the denouncement, and the spirit to defend himself, the other to attack. Nonetheless both should move straight to confront each other, without wasting time or losing ground, almost rushing scornfully in a matter of such importance. They should set off in good order so that in whichever spot they meet, or are reached by their enemy, they find themselves in the guard and posture they intended, which comes to them as planned. Because if the two come together, somewhat impassioned, to vent disdain or quarrel with words, they will struggle to do so, without trepidation, or some stirring. We must imagine what happens to those who come together, wishing to violently end each others' lives, entrusted to us by nature. This leads some to lose their vision, some remain bewildered and cannot remember what they intended to do. Some become furious, and nobody remains unmoved, much more so than similar sensations felt in a theatre, in the presence of many people, focused on what you alone say and do. To prevent inflaming this emotion, and losing or labouring your breath, is your movement, which as I said should be well-ordered and if possible effortless. With this almost calming and reassuring you, you should push forward, advancing when you see your enemy is near. When performed at the right time this signals courage, and judgement more than passion, disheartening your enemy by moving so comfortably. At the outset you should keep your eyes firmly on your enemy, taking confidence in yourself and scrutinising his movements and intentions. However as he moves closer you should no longer watch him but his sword, from which you should never lift your sight, observing the parts which can harm you, such as the point, except when it moves past you. If you hear noises or spoken words, this is no reason to shift your view, thus giving your enemy an opening in which to harm you, or losing the opportunities which present themselves, since it is almost impossible to concentrate on several things at once. In particular, men often come to fight those who cultivate, and put greater effort into winning men over with, words rather than actions. Therefore whether you come to this deed by vocation or necessity, you should remember that before and after words are useful, and very often necessary. But during the action it is better to rely on your hands and not your tongue." Francesco di Sandro Altoni (c.1540)

Footwork, circles, and Marozzo’s segno

Achille Marozzo (1536)

Frederico Ghisliero (1587)

Camillo Palladini (c.1600)

Marco Docciolini (1601) Marozzo’s segno was a didactic aid to footwork, however the “Mastro Generale” leaves just a few tantalising indications as to its use (see http://marozzo.com/2012/09/14/the-segno-del-passeggiare-in-marozzo/). In the earliest days of internet HEMA, any use of circles or offline footwork in Italian works was reflexively labeled as a “Spanish” or “Destreza” influence. In fact a number of 16th and early 17th century Italian treatises employ circles as pedagogical tools. Most notably Docciolini refers to his figure extensively throughout his book: “By means of this figure, we will instruct on the guards and the counterguards, and especially on the passage of our steps, which is the most difficult and most important aspect of this endeavor, not having even been touched upon by those who have written up until now.” The figure of Docciolini (a Florentine) is very similar, but not identical, to that of Camillo Palladini (a Bolognian teaching in Rome). This suggests the use of such diagrams was widespread in the peninsula and not characteristic of any singular lineage, and that arguably the study of other extant sources might give insight into the applications of Marozzo’s own segno.

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