Universal Parry and Great Blow
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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). -
SUCCESSFUL DEFENDING CHAMPIONS Al MORALES U.S
SUCCESSFUL DEFENDING CHAMPIONS Al MORALES PAUL PESTHY U.S. Sabre Champion U.S. Epee Champion POSITION OPENS FOR PRO olume 19 Number 1 fENCING DEMONSTRATIONS Welcome to the 1967-1968 fencing season of the AHA. We eagerly look forward to a John R. West, general manager of National ;1 IJl f 11 lCIl 11 f El1CJl10 bonner fencing year culminating in the 1968 School Assemblies Agency, has announced Official Organ of the Amateur Fencers League of Americo Olympics scheduled for October in Mexico that his organization is seeking a fencing Management City. couple to put on demonstrations of the sort 'vV. L. Osborn, Publisher J. R. de Capriles, Editor on a year-around basis, starting in September P.O. Box 144 41 Fish Hawk Drive, Oak Hill, In the post year, your Notional Officers 1968. Terre Haute, Ind. Middletown, New Jersey 201-671-5872 have concentrated on publicizing the sport Feature Editors: Miguel de Copriles, Claribel Sounders and Rolph Goldstein. of fencing and encouraging participa The team, which could be either a married Assistant Editor: William J. Latzko tion primarily at the student level as it couple or two men, would sign up for one Advertising Office: 5 Great Oak Lone, Pleasantville, N.Y. is from these ranks that future champions or more tours to demonstrate fencing at Telephone: 867-9191 will emerge. Promotional brochures have schools and colleges throughout the U. S. National School Assemblies has been in busin Policy Board been developed and made available to any N. Lewis, Chairman; J. R. de Capriles, W. J. Latzko, body interested in fencing. -
The Seven Sabre Guards for a Right Handed Fencer
The Seven Sabre Guards for a Right handed fencer. st “Prime” 1 Guard or Parry (Hand in Pronation “Quinte” 5th Guard or parry (Hand in Pronation) “Seconde” 2nd Guard or Parry (Hand in Pronation) “Sixte” 6th Guard or Parry (Hand in half Supination) “Tierce” 3rd Guard or Parry (Hand in Pronation) th “Offensive Defensive position” 7 Guard of Parry (Hand in half Pronation) Supination: Means knuckles of the sword hand pointing down. Half Pronation: Means knuckles pointing towards the sword arm side of the body with the thumb on top of the sword handle. Pronation: Means knuckles of the sword hand pointing th “Quarte” 4 Guard or Parry (hand in Half Pronation) upwards. Copyright © 2000 M.J. Dennis Below is a diagram showing where the Six fencing positions for Sabre are assuming the fencer is right handed (sword arm indicated) the Target has been Quartered to show the High and Low line Guards (note the offensive/defensive position is an adaptation of tierce and quarte). Sixte: (Supinated) To protect the head Head Quinte: (Pronation) To protect the head Cheek Cheek High Outside High Inside Tierce: (½ Pronation) to Prime: (Pronation) to protect the sword arm, protect the inside chest, and chest, and cheek. belly. Seconde: (Pronation) Fencers to protect the belly and Quarte: (½ Pronation) To Sword-arm flank protect chest and cheek Flank Low Outside Low Inside Belly The Sabre target is everything above the waist. This includes the arms, hands and head. Copyright © 2000 M.J. Dennis Fencing Lines. Fencing lines can cause a great deal of confusion, so for ease I shall divide them into four separate categories. -
Middlesex University Research Repository an Open Access Repository Of
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Turner, Anthony N. ORCID: https://orcid.org/0000-0002-5121-432X (2016) Physical preparation for fencing: tailoring exercise prescription and training load to the physiological and biomechanical demands of competition. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/18942/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
AUDATIA Armour Expansion Pack Rulebook
deck and place it next to the Character’s Action deck. Half-Sword Strikes can only be played from the ap- Audatia 5. Take the Armour Accoutrement card and place it to propriate Half-Sword Poste. the area where you will place your Virtues. Armour Expansion Half-Sword Stretto Remedies can only be played if the 6. Go to Setup Process (See Audatia Duel Deck Rules player has first: Armour developed into the full knightly suit of plate steel in the late 1300s and Sheet). early 1400s; right when Fiore dei Liberi was writing Il Fior di Battaglia. Thanks to metallurgical developments in Milan in the 1380s, it became possible to make • Parried with a Half-Sword Parry, tempered steel plates that were both tough, and hard. Fiore’s Art naturally Using the Armour • has gone into Half-Sword grip after Parrying, or includes a lot of material on Armoured combat. When wearing armour, you • has gone into Half-Sword grip after after being Parried. trade some speed and a little mobility for a lot of protection. But armour is You can discard Half-Sword Action cards as if they vulnerable to some specific attacks. These rules are based on Fiore’s work on were normal Action cards, including to the Salute. armoured combat and also model the increase in protection and fatigue. Half-Sword Stretto Counter-Remedies can be used as normal Stretto Counter-Remedies and vice versa. When in Armour, whenever you would be hit by an To add the Armour Expansion Pack to Audatia, you Attack and therefore lose the game, your opponent need two Audatia Duel Decks, and for a fair fight, instead takes a random card from your hand to be two Armour Expansion Packs. -
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. -
Fiore Dei Liberi: 14Th Century Master of Defence
ARMA Historical Study Guide: Fiore Dei Liberi: 14th century Master of Defence By John Clements Unarguably the most important Medieval Italian fighting treatise, the work of Fiore Dei Liberi forms a cornerstone of historical fencing studies. Like many other martial arts treatises from the Medieval and Renaissance eras, we must look analytically at the totality of the author’s teachings. In doing so we come to understand how, rather than consolidating information compartmentally, its manner of technical writing disperses it throughout. In circa 1409, a northern Italian knight and nobleman, Fiore dei Liberi, produced a systematic martial arts treatise that has come to be considered one of the most important works of its kind on close-combat skills. Methodically illustrated and pragmatically presented, his teachings reveal a sophisticated and deadly fighting craft. It is one of the most unique and important texts in the history of fencing and of our Western martial heritage. Master Fiore’s manuscript is today the primary source of study for reconstruction of Italian longsword fencing, combat grappling, and dagger fighting. It currently constitutes the earliest known Italian fencing manual and one of only two so far discovered from the era. Along with dagger and tapered longsword (spadone or spada longa), his work includes armored and unarmored grappling, poleax, mounted combat, and specialized weapons as well as unarmored spear, stick, and staff. His spear (or lance) fighting on foot is a matter of holding sword postures while thrusting or deflecting. His longsword fencing techniques include half- swording, pommel strikes, blade grabbing, disarms, trapping holds, throws, groin kicks, knee stomps, defense against multiple opponents, timed blows to push or leverage the adversary off balance, and even sword throwing. -
Object of the Objec Points (In the Time Eliminatio Epee and First Fence
Basics of Competitiion Object of the Bout The object of a fencing bout (“game”) is to effectively score 15 points (inn direct elimination play) or five points (in preliminary pool play) before your opponent, or have a higher score than your opponent when the time limit expires. Points are received by making a touch in the opponent’s target area. Direct elimination matches consist of three three‐minute periods with a one‐minute break between each in epee and foil. In saber, each the first period lasts for eight touuches and the second period ends when the first fencer scores 15 points. Penalties Penalties are divided into four categories. Category One All Category One penalties are interdependent. Upon the first occurrence of an offense during a bout, the fencer is warned and receives a yellow card. Committing any additional offense during the bout will result in the offender receiving a red card and the opponent receiving a penalty touch. Category Two All Category Two penalties are also interdependent. A fencer is given a red card upon first and any subsequent infraction during a bout. Both Category One and Two infractions result in the annulment of a touch made by the offending fencer while committing the offense. Category Three Category Three penalties may be assessed for infractions against safety or the order of the competition. Such infractions can result in penalty touches (red card) or expulsion (black card) from the competition. Category Four The Category Four penalties involve unsportsmanlike conduct, using fraudulently modified equipment, collusion or brutality. The infractions result in automatic expulsion (black card) from the competition. -
Swordsmanship and Sabre in Fribourg
Acta Periodica Duellatorum, Hands-on section, articles 103 Hands-on section, articles Sweat and Blood: Swordsmanship and sabre in Fribourg Mathijs Roelofsen, PhD Student, University of Bern [email protected], and Dimitri Zufferey, Independant Researcher, GAFSchola Fribourg, [email protected] Abstract – Following a long mercenary tradition, Switzerland had to build in the 19th century its own military tradition. In Cantons that have provided many officers and soldiers in the European Foreign Service, the French military influence remained strong. This article aims to analyze the development of sabre fencing in the canton of Fribourg (and its French influence) through the manuals of a former mercenary (Joseph Bonivini), a fencing master in the federal troops (Joseph Tinguely), and an officer who became later a gymnastics teacher (Léon Galley). These fencing manuals all address the recourse to fencing as physical training and gymnastic exercise, and not just as a combat system in a warlike context. Keywords – Sabre, Fribourg, Valais, Switzerland, fencing, contre-pointe, bayonet I. INTRODUCTION In military history, the Swiss are known for having offered military service as mercenaries over a long time period. In the 19th century, this system was however progressively abandoned, while the country was creating its own national army from the local militias. The history of 19th century martial practices in Switzerland did not yet get much attention from historians and other researchers. This short essay is thus a first attempt to set some elements about fencing in Switzerland at that time, focusing on some fencing masters from one Swiss Canton (Fribourg) through biographical elements and fencing manuals. -
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. -
The Concealment of Violence in the History of Fencing: Semantics, Codification, and Deterritorialization
The Philosophical Journal of Conflict and Violence Vol. II, Issue 2/2018 © The Authors 2018 Available online at http://trivent-publishing.eu/ The Concealment of Violence in the History of Fencing: Semantics, Codification, and Deterritorialization Elise Defrasne Ait-Said Cognition and Action Group (UMR 8257, Université Paris-Descartes), France Abstract: Depending on historical periods and individual perspectives, fencing has been defined in various ways. Indeed, fencing has been regarded as an art, and/or a science, and/or a sport, and/or a game. This paper shows that those various attempts to define fencing throughout history are strategies aiming to conceal the founding violence of fencing (although these strategies do not prevent the emergence of further forms of violence). The study demonstrates that these strategies pertain to semantics, to regulation and codification of fencing, and to more recent phenomena which are linked to the deterritorialization of the practice of fencing. Keywords: Jules Barbey d'Aurevilly; Gilles Deleuze; Roger Caillois; Deterritorialization; Duelling; Fencing; Game; History; Sport; Violence. The PJCV Journal is published by Trivent Publishing. This is an Open Access article distributed in accordance with the Creative Commons Attribution Non Commercial (CC-BY-NC-ND 4.0) license, which permits others to copy or share the article, provided original work is properly cited and that this is not done for commercial purposes. Users may not remix, transform, or build upon the material and may not distribute the modified material (http://creativecommons.org/licenses/by-nc/4.0/) The Concealment of Violence in the History of Fencing: Semantics, Codification, and Deterritorialization Elise Defrasne Ait-Said Cognition and Action Group (UMR 8257, Université Paris-Descartes), France Abstract: Depending on historical periods and individual perspectives, fencing has been defined in various ways. -
Grade 2: Foil, Epée, and Sabre
Grade 2: Foil, Epée, and Sabre. The Fencers “pledge of honour”, by taking part in a fencing competition, fencers “pledge their honour” to observe the rules for competitions and the decisions of the Judges, and to be respectful towards the President and members of the jury. All Fencers and Spectators at a competition: 1. Must remain orderly. 2. Must not disturb the smooth running of the competition. 3. Must not go near the Piste during the bouts. 4. Must not give advice to the Fencers. 5. Must not criticise or insult the President or the Judges. 6. Must not applaud before the President has awarded a hit. 7. Must not attempt to influence the president in any way. 8. Must be respectful towards the President, Judgers and All Officials. 9. Must obey at once all orders and commands given by the President. 10. Must at all times act with courtesy and sportsmanship. Before a bout commences, fencers must salute the President, Judges and each other. At the conclusion of a bout, each fencer must observe the normal courtesy of shaking hands with the opponent. Dimensions of a piste Foil, Epée, and Sabre On Guard Lines 2 2 2 Metres 3 Metres Metres 3 2 Metres to End Metres Metres to End 2 Metres line. line. Wide. Centre line 1.5 to 2 Liners indicating last 2 Metres of the Piste. 1.5 to 2 Metre Metre run off run off 14 Metres Long. Copyright © 1996 M.J. Dennis The Parts of a Foil: Tang Martingale Guard or “Coquille” Button Screw Foible Forte Pommel Handle Pad Hilt Blade Parts of an Epee: Inside Guard socket Handle Guard or “Coquille” Button or Tip Pommel Forte Foible Screw Pad Tang Hilt Blade With a non-electric Epee a martingale must be fitted, and the inside guard socket removed.