Fiore Dei Liberi: 14Th Century Master of Defence
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The Cavé in French Swordsmanship Patrick T
COLUMBIACLASSICALFENCING.COM The Cavé in French Swordsmanship Patrick T. Morgan Introduction French fencing masters wrote about the cavé (pronounced cahv-ay) as a distinct fencing action. In French, caver means to cave in or collapse. The cavé thus described how a fencer would change or position his wrist or body to create a sharp angle—“caving in” from, say, a straightened position— for a specific fencing purpose, whether offensive or defensive. Sensibly, then, the cavé is sometimes referred to as angulation today. But that term doesn’t always cover all the ways the French writers used the cavé. This is because, as explained below, you can also cavé by using no angulation. Three General Ways to Cavé For the French, there were three ways to cavé. From the on-guard position, you could cavé (1) at the hips or (2) with your rear leg. You could also (3) cavé the wrist of your sword arm, which itself was possible in three different ways. These methods were variously defensive or offensive. Importantly, these were not recommendations so much as taxonomy: as we’ll see, some of these ways of “cavé-ing” could get you killed. 1. The Cavé at the Hips Danet discussed the “cavation” of the body in the second volume of L’Art des Armes. The cavé of the hips is one of two types of esquive—that is, a movement or displacement of the fencer’s target area to evade a thrust—that Danet identified. As Danet described it, the cavé at the hips occurs by “lowering the shoulders and completely straightening the right knee” (en baissant les épaules, & dépliant tout-à- fait le genou droit). -
Draft Outline
ENGLAND FENCING COACH EDUCATION SCHEME (2009) SABRE LEVELS 1 TO 4 SL 1-4 (Jan 09) v2 LEVEL 1 SABRE – GENERIC AND TECHNICAL CONTENT Introduction. The Level 1 Coach Award is considered a high enough qualification to allow you to assist a more qualified coach in the salle and to deliver pre-prepared and planned lessons unsupervised. The emphasis of this award is teaching beginners in groups either in a taster session or as part of a beginners’ programme. This means being able to impart basic and new information assuming no prior knowledge on the part of the students. Your students should understand how fencing movements and blade actions work within the conventions and rules of the weapon. Coaching, that is enhancing and developing basic skills by improving timing, distance and speed of execution, as well as a greater tactical awareness, will be expected in the Level 2 award. Even candidates for Level 1, however, are expected to show a logical progression of each of the strokes in the syllabus not just a completed action in isolation. You must be able to break the stroke down into parts to allow students to learn the required skills. The Level 1 Award. An EF Level 1 Sabre coach may assist a more qualified coach in the delivery of fencing sessions and/or deliver without direct supervision pre-planned and prepared fencing sessions for groups at foundation level (ie taster sessions and beginners’ courses) Aim. The aim of a Coach Development course is to prepare a candidate for assessment for the award of an England Fencing Coach qualification at their chosen Level and weapon/s. -
Interpretation of Fiore Dei Liberi's Spear Plays
Acta Periodica Duellatorum, Hands On section, articles 131 Interpretation of Fiore dei Liberi’s Spear Plays Jakub Dobi Ars Ensis [email protected] Abstract – How did Fiore Furlano use a spear? What is the context, purpose, and effect of entering a duel armed with a spear? My article- originally a successful thesis work for an Ars Ensis Free Scholler title- describes in detail what I found out by studying primary sources (Fiore’s works), related sources (contemporary and similar works), and hands-on experience in controlled play practice, as well as against uncooperative opponents. In this work I cover the basics- how to hold the spear, how to assume Fiore’s stances, how to attack, and how to defend yourself. I also argue that the spear is not, in fact, a preferable weapon to fence with in Fiore’s system, at least not if one uses it in itself. It is however, a reach advantage that has to be matched, and thus the terribly (mutually) unsafe situation of spear versus spear occurs. As a conclusion, considering context and illustrations of spear fencing, I argue that the spear is only to be considered paired with other weapons, like dagger, or sword. In fact, following Fiore’s logic, we can assume he used the spear to close the distance to use a weapon he feels more in control with. Keywords – Fiore, Furlano, Liberi, Italian, duel, spear, Ars Ensis I. PROCESS OF RESEARCH The article itself is largely devoted to trying to point out the less obvious points to make about this specific style of spear fencing. -
Martial Arts from Wikipedia, the Free Encyclopedia for Other Uses, See Martial Arts (Disambiguation)
Martial arts From Wikipedia, the free encyclopedia For other uses, see Martial arts (disambiguation). This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011) Martial arts are extensive systems of codified practices and traditions of combat, practiced for a variety of reasons, including self-defense, competition, physical health and fitness, as well as mental and spiritual development. The term martial art has become heavily associated with the fighting arts of eastern Asia, but was originally used in regard to the combat systems of Europe as early as the 1550s. An English fencing manual of 1639 used the term in reference specifically to the "Science and Art" of swordplay. The term is ultimately derived from Latin, martial arts being the "Arts of Mars," the Roman god of war.[1] Some martial arts are considered 'traditional' and tied to an ethnic, cultural or religious background, while others are modern systems developed either by a founder or an association. Contents [hide] • 1 Variation and scope ○ 1.1 By technical focus ○ 1.2 By application or intent • 2 History ○ 2.1 Historical martial arts ○ 2.2 Folk styles ○ 2.3 Modern history • 3 Testing and competition ○ 3.1 Light- and medium-contact ○ 3.2 Full-contact ○ 3.3 Martial Sport • 4 Health and fitness benefits • 5 Self-defense, military and law enforcement applications • 6 Martial arts industry • 7 See also ○ 7.1 Equipment • 8 References • 9 External links [edit] Variation and scope Martial arts may be categorized along a variety of criteria, including: • Traditional or historical arts and contemporary styles of folk wrestling vs. -
Critical Review !1/!76
Guy Windsor Critical Review !1/!76 Recreating Medieval and Renaissance European combat systems: A Critical Review of Veni Vadi Vici, Mastering the Art of Arms vol 1: The Medieval Dagger, and The Duel- list’s Companion, Submitted for examination for the degree of PhD by Publication. Guy Windsor Ipswich, July 2017 !1 Guy Windsor Critical Review !2/!76 Table of Contents Introduction 3 The Primary Sources for the Submitted Works 20 Methodology 37 Results: The Submitted Works 42 Conclusion 60 Works Cited 69 !2 Guy Windsor Critical Review !3/!76 Introduction The aims of this research on historical methods of combat are threefold: historical knowl- edge for its own sake, the reconstruction of these lost combat arts, and the development of pedagogical methods by which these arts can be taught. The objectives are to develop and present working interpretations of three particular sources, Fiore dei Liberi’s Il Fior di Battaglia (1410) Philippo Vadi’s De Arte Gladiatoria Dimicandi (ca 1480) and Ridolfo Capo- ferro’s Gran Simulacro (1610). By “working interpretations” I mean a clear and reasonably complete training method for acquiring the necessary skills to execute these styles of swordsmanship in practice: so a technical, tactical, and pedagogical method for each style. The methodology includes transcription and translation (where necessary), close reading, tropological analysis, practical experiment, technical practice, and presentation of findings. The results include but are not limited to the three publications submitted for examination, which are: Veni Vadi Vici, published in 2012, which is a transcription, translation and commentary on De Arte Gladiatoria Dimicandi: this has been extensively corrected and updated, and re- submitted for a second examination after which it will be published. -
NWFC MEMBER HANDBOOK Updated 5-1-18 Table of Contents
ASPIRE - INSPIRE - PERSPIRE NWFC MEMBER HANDBOOK Updated 5-1-18 Table of Contents ABOUT NWFC 7 OUR MISSION 7 ABOUT US 7 NONPROFIT 7 Fred Meyer Community Rewards & AmazonSmile 7 Employer matching 7 Personal donations 7 Areas of support include 8 BRIEF HISTORY 8 CLASSES 9 YOUTH: AGES 4-13 9 Youth Intro to Fencing 9 Mini Fencers (Ages 4-6) 9 Youth One (Ages 7-12) 9 Youth Two (Ages 7-12) 9 1 ASPIRE - INSPIRE - PERSPIRE Youth Two With Lessons 9 Homeschool 9 ADULT: AGES 13+ 10 Adult Intro to Fencing 10 Evening Epee 10 CORE = COmpetitive + REcreation 10 COMPETITIVE: AGES 14+ 10 TERM COMMITMENTS 10 Youth Two with Lessons & Competitive 10 ACTIVITIES BEYOND CLASSES 12 OPEN BOUTING 12 PRIVATE LESSONS 12 CAMPS 13 International Foil and Epee Winter Camp 13 Youth Camp - 5 days - summers 13 International Foil and Epee Camps - summer, 6 days plus tournament 13 Pre Nationals Camp - 5 days, the week before Summer challenge 13 Adult Camp - November, 3 days and Memorial Day weekend, 3 days 13 EVENTS 13 Fencing Soiree evenings 13 Game Nights 14 Star Wars Nights - December 14 Armory Clinics 14 MEMBERSHIP 15 BENEFITS 15 REQUIREMENTS 15 US Fencing Membership 15 RESIDENT MEMBERSHIPS 15 SPECIAL MEMBERSHIPS 16 Guest 16 2 ASPIRE - INSPIRE - PERSPIRE Associate 16 CODE OF CONDUCT 16 Sportsmanship 16 Scoring/Referees 17 No Discrimination 17 Payments 17 Physical Safety 17 COMMUNICATION AND ONLINE RESOURCES 18 NWFC COMMUNICATION 18 COACHES CORNER 18 Fencer evaluations: Twice a year, fencers schedule time with their coach to review progress, set training and competition goals, and map out future plans. -
Downloaded and Shared for Private Use Only – Republication, in Part Or in Whole, in Print Or Online, Is Expressly Forbidden Without the Written Consent of the Author
The International Armizare Society Presents: Beginning Armizare An Introduction to Medieval Swordsmanship Gregory D. Mele © 2001 - 2016 Beginning Armizare: An Introduction to Medieval Swordsmanship Copyright Notice: © 2014 Gregory D. Mele, All Rights Reserved. This document may be downloaded and shared for private use only – republication, in part or in whole, in print or online, is expressly forbidden without the written consent of the author. ©2001-2016 Gregory D. Mele Page 2 Beginning Armizare: An Introduction to Medieval Swordsmanship TABLE OF CONTENTS Foreword 4 Introduction: The Medieval Art of Arms 5 I. Spada a Dui Mani: The Longsword 7 II. Stance and Footwork 9 III. Poste: The Guards of the Longsword 14 IV. Learning to Cut with the Longsword 17 V. Defending with the Fendente 23 VI. Complex Blade Actions 25 VII. Parrata e Risposta 25 Appendix A: Glossary 28 Appendix B: Bibliography 30 Appendix C: Armizare Introductory Class Lesson Plan 31 ©2001-2016 Gregory D. Mele Page 3 Beginning Armizare: An Introduction to Medieval Swordsmanship FOREWORD The following document was originally developed as a study guide and training companion for students in the popular "Taste of the Knightly Arts" course taught by the Chicago Swordplay Guild. It has been slightly revised, complete with the 12 class outline used in that course in order to assist new teachers, small study groups or independent students looking for a way to begin their study of armizare. Readers should note that by no means is this a complete curriculum. There is none of the detailed discussion of body mechanics, weight distribution or cutting mechanics that occurs during classroom instruction, nor an explanation of the number of paired exercises that are used to develop student's basic skills, outside of the paired techniques, or "set-plays," themselves. -
Federazione Italiana Scherma Federation
FEDERAZIONE ITALIANA SCHERMA Stampa: 27/04/2013 18:12 FEDERATION INTERNATIONALE D'ESCRIME Fioretto maschile a squadre Gran Premio Assoluti ANCONA - Camp. Italiani serie C FM-SCM Denominazione Sigla Località Classific 1 A.S.D. POL. PODJGYM AVELLINO AVGYM AVELLINO 2 -12,00 2 A.S.PICCOLO TEATRO MILANO A.S.D. MIPIT MILANO 3 -6,00 3 P.G.S. - I.M.A. A.S.D. BOLOGNA BOIMA BOLOGNA 4 -2,00 4 CLUB SCHERMA FIRENZE A.S.D. FICSF FIRENZE 5 -3,00 5 ACCADEMIA SCHERMA PESCARA ASD PEACC PESCARA 6 -8,00 6 G.S. ARIBERTO CELI MESSINA A.S.D. MECEL MESSINA 7 -9,00 7 CLUB SCHERMA VIAREGGIO A.S.D. LUCSV VIAREGGIO 8 -13,00 8 FIORE DEI LIBERI CIVIDALE UD UDFDL CIVIDALE DEL FRIULI 9 -4,00 9 PENTAMODENA A.S.D. MOPEN MODENA 10 -7,00 10 COMENSE SCHERMA S.S.D. A R.L. COCOM COMO 11 -1,00 11 G.S. "P. GIANNONE" CEGIA CASERTA 12 -11,00 12 ACCADEMIA SCHERMA SPOLETO A.S.D. PGSPO SPOLETO 14 -5,00 13 FOGGIA FENCING ATENEO DI SCHERMA FGFEN FOGGIA 16 -10,00 Pagina 1 di 1 Mod.P.10 SW a cura della TE.S.I.S. di Saverio Tedeschi - Var.SS 115 n.23 - Modica (RG) - Italy - [email protected] - 333-3497135 FEDERAZIONE ITALIANA SCHERMA Gran Premio Assoluti FEDERATION INTERNATIONALE D'ESCRIME Fioretto maschile a squadre ANCONA - Camp. ItalianiStampa: serie C27/04/2013 FM-SCM 18:12 Cod.Soc. Società Sigla Sq.1 Sq.2 Sq.3 Punt. Diff. Stocc. -
Armizare, 1409 an Examination of Fiore Dei Liberi
Raziskava o Fioreju dei liberi in njegovih razpravah, ki opisujejo L`arte dell`armizare, 1409 An examination of Fiore dei liberi and his treatises describing L`arte dell`armizare, c. 1409 • D AVI D M . C V E T B.Sc., Founder and Head Instructor Academy of European Medieval Martial Arts, 927 Dupont St., 2nd floor, Toronto, ON M6H 1Z1, Canada; e-mail: [email protected] Izvleček Excerpt Zapuščini Fioreja dei Liberi, nastali pred Fiore dei Liberi’s legacy created 600 years ago is 600 leti, je v 21. stoletju izkazana čast s skrb- honoured in the 21st century with the careful recon- no rekonstrukcijo in ponovno oživitvijo boril- struction and resurrection of the fighting art he de- ne veščine, ki jo je opisal v svojih razpravah z scribed in his treatises entitled “Flos Duellatorum” naslovom Flos Duellatorum in Fior di Battaglia. and “Fior Battaglia”. This paper will explore the Ta spis raziskuje moža po imenu Fiore in pred- man who bore the name Fiore and conduct a brief stavlja kratko primerjalno analizo treh različic comparative analysis of the three versions of the razprave. Te razprave veljajo za pomembne te- treatise. The treatises are considered important cor- melje današnjih raziskav in rekonstrukcij zgo- nerstones in today’s research and reconstruction of dovinskih borilnih veščin zahoda zaradi svoje historical Western fighting arts given their collection zbirke ilustracij, ki neverjetno jasno pričajo o of illustrations possessing remarkable clarity in con- izročilu te veščine, vsako ilustracijo pa spre- veying the concepts in the art, and the informative mljajo informativna besedila. text accompanying each illustration. -
The Academy of the Sword: Illustrated Fencing Books 1500
er'he .9fcademy of the Sword ILLUSTRATED FENCING BOOKS 1500-1800 3· I ~ Or~en.Hlcht: parade vonficu.n'de unten THE METROPOLITAN MUSEUM OF ART efhe !Academy #the Sword ILLUSTRATED FENCING BOOKS 1500-1800 Donald]. LaRocca THE METROPOLITAN MUSEUM OF ART, NEW YORK This publication is issued in conjunction with the exhibi Black-and-white photography by Susanne Cardone tion "The Academy of the Sword: Illustrated Fencing and Paul Lachenauer of The Photograph Studio, Books, 1500-1800," held at The Metropolitan Museum of The Metropolitan Museum of Art Art, New York, fromJune 9, 1998, to fall of 1999. Printed and bound by Malloy Lithographing, Inc., This publication is made possible byJoseph A. Suarez, Esq., Ann Arbor, Michigan The Armor and Arms Club of New York, and the Grancsay Fund. Cover illustration: Anthon Friedrich Kahn, Anfangsgriinde der Fechtkunst ... (see page 18) Published by The Metropolitan Museum of Art, New York Library of Congress Cataloging-in-Publication Data John P. O'Neill, Editor in Chief LaRocca, Donald]. Barbara Cavaliere, Editor The academy of the sword: illustrated fencing Sean Flaherty, Production books 1500-1800 / Donald]. LaRocca. Design by Robert Weisberg p. cm. Exhibition heldJune 1998 through the fall of 1999 Copyright © 1998 by The Metropolitan Museum of Art, at the Metropolitan Museum of Art. New York ISBN 0-87099-894-3 (pbk.) 1. Fencing in art-Exhibitions. 2. Fencing Second printing 1999 Textbooks-Illustrations-Exhibitions. 3. Illustrated books-New York (State)-New York-Exhibitions. All rights reserved. No part of this publication may be 4. Metropolitan Museum of Art (New York, N.Y:). -
The Most Common Mistakes Beginning Rapier Students Make - Their Consequences and How to Avoid Them
The Most Common Mistakes Beginning Rapier Students Make - Their Consequences and How to Avoid Them. by Tom Leoni ©2005 As with most demanding disciplines, fencing has its set of common beginners’ mistakes. Having practiced, taught and observed historical fencers of all levels for over a decade, I have compiled a list of the more obvious and recurring ones. Interestingly, these are mistakes that, if not cured early, crystallize into bad habits that are very hard to amend later on. These mistakes are in both understanding and performance - often in both at the same time (the former being a prerequisite for the latter). I have outlined each point so as to list the mistake, the negative consequences deriving from it and my recommendations on how to correct it. Although I have purposely confined this discussion to the rapier, please note that many of these mistakes/habits are applicable to other fencing disciplines. Also, please note that the actions and situations I describe imply a somewhat formalized training intent based on historical sources. Many who enjoy swords casually and do not have the opportunity to train more formally may not identify with these points. Mistake: Obsessing too much about ideal rapier length. Consequences: Illusion that technical or theoretical shortcomings are "the rapier’s fault," resulting in failure to address them. Correction: Get a well-balanced rapier that works for you and then give it no more thought. Masters such as Alfieri and Capoferro specify that a rapier should be proportionate to the height of the fencer - it should comfortably stand under the armpit. -
Fiore Dei Liberi Studies Documentation Master Llwyd Aldrydd, OP
Fiore dei Liberi Studies Documentation Master Llwyd Aldrydd, OP Introduction Fiore dei Liberi’s combat manual is the oldest surviving description of a complete European combat system. Earlier manuals such as Royal Armouries MS I.33 (circa 1320) and the Dobringer manuscript description of the Liechtenaur school focused solely on sword techniques. Fiore describes a complete, consistent, combat system building from wrestling, then adding a dagger, then adding longer range skills with a sword, longsword, pike, and spear. He describes applying the techniques to opponents in armor and while mounted on a horse. Each new scenario builds upon the earlier one and adds a few new, but consistent, movements that the new weapon or situation allows. Most of what is known about Fiore as a person is extrapolated. He was Italian and born around 1350. He traveled extensively, studying swordplay from German and Italian masters. His technique clearly builds on, adapts, and updates or rejects, techniques described in Liechtenaur. But while the Germans are focused on grabbing and holding the initiative in a fight, Fiore advocated a counter-tempo approach where the opponent would initiate a combat pass and the skilled master would interrupt the attack – generally by stepping into the opponent before the attack can develop – and steal the initiative while the opponent is locked into his original attack. Primary Source Material Fiore authored one book describing his combat system which he started in 1409. Four copies of that manuscript are known to have survived to the present day. Each was hand copied, so there are subtle differences between the four and it is debated which differences were intentional – representing a change of mind on a technique – and which are scribal transcription errors.