Introduction to Italian Rapier

David and Dori Coblentz Contents

Introduction...... 1

Fundamental Concepts...... 2 The Rapier...... 2 Hand Positions...... 3 Standing in First Position...... 4 Salute...... 4 Guard...... 5 Lines of Attack...... 5 Placement of the weapon...... 6 Guards of third and fourth...... 6 Invitation...... 7 Engagement...... 7 Central...... 8 Offense...... 8 Defense...... 8 Measure...... 8 Tempo...... 9 Attacks in Time...... 9 Counterattacks...... 9 Countertime...... 10

Footwork...... 11 Advance...... 11 Retreat...... 11 Cross step forward...... 11 Cross step backward...... 11 Jump Back...... 12 Lunge...... 12 Fixed-Foot Lunge...... 12 Recover Forward...... 13 Reprise...... 13 Advance Lunge...... 13 Gain on the Lunge...... 13 Passing Lunge...... 14 Running Attack...... 14 Offense...... 15 Simple Attacks...... 15 Straight Thrust...... 15 Disengagement...... 17 Glide...... 18 Counterdisengageent...... 19 Cuts...... 21

Defense...... 22 Simple Parries...... 22 Circular Parries...... 22

Compound Attacks...... 24 Feints...... 24 Actions on the Blade...... 25 Blade Seizures...... 25 Beats...... 25

Contraries...... 27 Counterattacks...... 27 Arrest...... 27 Time Thrust...... 27 Arrest with Reassemblement...... 28 Inquartata...... 28 Passata Sotto...... 29 Front foot void to the right...... 29 Left Handed Parries...... 29 Countertime...... 30 Feint in Time...... 30 Appendix 1 - Summary of Single Rapier plates in Capoferro...... 32 Plate 7...... 32 Plate 8...... 34 Plate 9...... 36 Plate 10...... 37 Plate 11...... 38 Plate 12...... 40 Plate 13...... 42 Plate 14...... 43 Plate 16...... 45 Plate 17...... 46 Plate 18...... 48 Plate 19...... 59 Plate 20...... 51 Introduction

This document aims to distill the fundamentals of Italian rapier fencing into a form that a be- ginner can easily read and understand while still being detailed enough for a more advanced fencer looking to gain a broader overview of the system.

I have chosen to organize this material in a similar format to a number of traditional Italian fencing texts such as Parise, Barbasetti, and Gaugler. The systems described by these texts are rooted in the rapier theory of the 17th century, but presented in a clearer and less ambiguous way that I believe is easier for a modern audience to a follow. While useful for understanding historical texts, we must still be careful to remember that the primary rapier texts of the period have considerably more variation in usage of terms than modern fencing texts do. Many terms, like contratempo (countertime) were still in the process of being defined and many of the authors from this time had slightly different preferences regarding their use. In general, I have chosen to use more modern definitions of these terms, while trying to preserve some of the nuances found in earlier texts.

Rather than breaking up the material into separate sections on theory and practice as many earlier texts did, I have attempted to cover the most important technical actions in the system and to describe a theoretical framework that can be applied to virtually any situation. The appendix includes an example how all of these pieces can be put together to describe a number of the practical applications of Italian rapier which are found in Ridolfo Capoferro’s 1610 text on the rapier, Gran Simulacro dell’Arte e dell’Uso della Scherma (Great Representation of the Art and Practice of Fencing)

Readers familiar with Capoferro and other Renaissance fencing authors will notice that I’ve in- cluded a great deal on dui-tempi parries as well as feints, which tend to be deemphasized in the primary texts. While counterattacks should clearly be emphasized in rapier fencing, learning to parry correctly is equally important. The simple parry is the most natural response that a begin- ning fencer makes against an attack, and, without training, the parry is likely to be so large, or poorly timed that the fencer becomes more susceptible to feints. Training these concepts early develops a confidence in the parry and the ability to use it in more complex tactical situations (e.g. countertime). It also helps develop a keen sense of the differences in timing between defensive and counter-offensive actions, which helps the student to recognize the most appropriate and effective situations to employ the counterattack.

Throughout this document, I have chosen to describe everything from a right-handed perspec- tive. Left-handed fencers should simply reverse instances of “right” and “left” as appropriate.

1 Fundamental Concepts

The Rapier

A rapier is a single-handed sword primarily used for thrusting, but with the ability to cut as well. It typically has a complex guard consisting of a knuckle guard, a crossbar, and several rings to protect the hand. The guard extends past the crossbar and up the blade for several inches. This portion of the guard, between the crossbar and the end of the guard, is called the ricasso. The appropriate length of a rapier is proportional The parts of a rapier to your body. The entire length of the weapon, from pommel to tip should be about twice the length of your arm.

A rapier blade has two edges, a true and a false edge. The true edge is on the same side of the weapon as the knuckle guard. When you hold the rapier, the true edge will be in line with your knuckles. Most parries should be done with the true edge.

The length of the blade is divided Holding a rapier into three parts. The part closest to the tip is called the weak, the next is called the middle, and the part closest to the guard is called the strong. The strong and medium are primarily used for parrying or engaging the opponent’s weapon. Cuts should be made with the weak of the blade; thrusts are delivered with the point of the blade.

To properly hold the rapier, place your index finger between the ricasso and the left arm of the crossbar. Set your thumb on the false edge of the ricasso and curl your middle, ring, and little fingers lightly around the grip. The pommel should rest at about the center of the wrist.

2 Hand Positions

There are four primary hand positions in Italian rapier fencing and three secondary hand positions. The primary hand positions are first, second, third, and fourth.

• In first position the palm is turned to the right so that the knuckle guard faces upwards. • In second, the palm is turned down so that the knuckle guard faces the right. • In third, the palm is turned to the right so that the knuckle guard points downwards. • In fourth, the palm is turned up so that the knuckle guard is points to the left.

Hand in first position Hand in second position

Hand in third position Hand in fourth position The secondary hand positions are called first-and-second, second-and-third, and third-and- fourth.

• In first-and-second, the hand is turned halfway between first and second so that the knuckle guard points diagonally upwards to the right at about a 45 degree angle. • In second-and-third, the hand is turned halfway between second and third so that the knuckle guard points diagonally downwards to the right. • In third-and-fourth, the hand is turned halfway between third and fourth so that the knuckle guard point diagonally downwards to the left.

Hand in first and second position Hand in second and third position Hand in third and fourth position

3 Standing in First Position

First position is the position that you stand in before and after a lesson or a bout, or during periods of rest. Stand straight up, with both feet together and your head turned towards your opponent. Your feet should be at right angles with the heels together, the right foot should be pointing forward and your left foot should point directly to your left. Place your sword at your left side pointed downwards as though it were in a scabbard. Curl your left hand into a fist and rest it on your left hip.

Salute

A salute is done before and after a lesson or a bout to show respect to your opponent and any- one who may be observing. A full salute can be performed the following way:

• Starting from first position, raise your sword, as if pulling it from a scabbard and extend your arm so that your sword is pointed directly at your opponent with your hand in second position. Now bend your arm back until the sword is pointed straight upwards with the guard of the weapon just below your chin, then extend it back towards your opponent, this time with your hand in fourth position. • Salute any opponents on your left by partially extending your arm to the left with your hand in third-and-fourth position, then bring it back until it is vertical again. • Finally, salute any opponents on your right by partially extending your arm to the right with your hand in second-and-third position, then return the weapon to your side and stand in first position. In less formal situations you can salute only the person in front of you.

First position Step 1 Step 2 Step 3 Step 4

Step 5 Step 6 Step 7 Step 8 4 Guard

The guard is the position that you stand in when fencing in order to be able to quickly attack, parry, or counterattack. Starting from first position, assume the guard position in two movements.

1. Raise your weapon and extend it straight forwards with your hand in second position (like in the salute). 2. Now all at the same time, step forwards with your right foot about two shoe lengths. Bend your knees a bit while relaxing your right arm slightly and turning your hand to third position. Raise your left arm so that it is in front of your chest. When you are finished, your feet should be at right angles with the heels in line and about two shoe lengths apart. Your weight should be centered a little more over your left foot than your right foot. Your left leg should be bent and your right leg should be nearly straight with only a slight bend. Your torso should be profiled and inclined slightly backwards so that your left shoulder is directly above your left leg. Your weapon arm should be somewhat, but not all of the way, extended with the hand in third position and in line with your right flank. Your weapon should be pointed forwards and be parallel to the ground. Your left hand should be in front of your chest, relaxed and with the palm pointed downward, and with the left elbow kept back.

Coming on guard part 1 The guard position Lines of Attack

There are four lines in Italian rapier, which are determined by where your sword arm is. Anything above your arm is your high line; anything below it is your low line. Anything to the left of your arm is your inside line and anything to the right is your outside line. If you were to move your sword arm to your inside, then an attack to your chest arriving over your arm would be in the outside high line.

Lines of Attack 5 Placement of the weapon

Conceptually, there are three different positions that your weapon can be in: invitation, engagement, and central. Practically speaking, although these positions can be assumed with the blade and body in many different configurations, the most commonly used placement of the blade to effect invitation or engagement are the guards of third and fourth. Each guard is performed the same way whether it is used for an invitation or an engagement.

Guards of third and fourth

Starting from the on guard position, the guard in third is assumed by moving your forearm and weapon to the right of the flank and rotating your hand to second-and-third position. Your forearm and weapon should form a straight line and your tip should be pointed at your opponent’s left A guard in third shoulder. An invitation in third exposes your inside (high and low) line, and an engagement in third closes your outside high line.

The guard of fourth is made by moving your forearm and weapon to your inside while rotating your hand to third-and-fourth hand position. Your forearm and weapon should form a straight line and your tip should be pointed at, or just to the right of, your opponent’s right shoulder. An invitation in fourth exposes your outside high line and an engagement in fourth closes your inside high line.

When you move to form a guard, your forearm and weapon should move together as one unit. If the wrist is bent or the tip of the weapon is left pointing at the opponent’s center, the guard will not adequately protect the line that it is intended to protect.

A guard in fourth

6 Invitation

For an invitation, your weapon and arm are moved so that you deliberately expose a specific portion of target to your opponent. In general, when you make an invitation, you should also protect another portion of your target so that you limit your opponent’s options for attacking you.

Engagement

While an invitation deliberately exposes target to your opponent, an engagement works by closing off a target area by moving the arm and weapon so as to protect a portion of target. When the line is “closed” to your opponent in this way, s/he can no longer make a direct attack in that line. Any time you cover one section of target, you are simultaneously exposing another. You could also think of an engagement as Dori engages in third simply being a type of invitation where you are forcing your opponent to attack you with a line change (disengagement) rather than with a direct attack (straight thrust). Depending on the situation and where your opponent’s blade is, you can make an engagement with or without blade contact. In an engagement with contact, the strong or medium of your blade should be placed over the weak of your opponent’s blade, so it is dominated and pushed to the side. An engagement without contact is very similar, except the blade Dori engages in fourth is placed just over the weapon and the line is closed without touching the blade.

7 Central

If your weapon is halfway between the guards of third and fourth so that the tip points directly at your opponent, you are in a central position. From this position, no line is protected or exposed more than any other. The on guard position described earlier is an example of a central position. Another is when your arm is fully extended and pointed directly at your opponent’s target, in this position, your weapon is considered to be “in line.” In general, if your opponent wishes to attack you while you are in either of these two positions, the attacker will be forced to either deviate your blade from its position in line or remove his or her body from your line while making an attack or risk being hit as well.

Offense

Offense is the act of attacking your opponent. An attack can be either simple or compound based on the number of movements it requires. An attack made in one movement is a simple attack, and attacks consisting of two or more movements are compound attacks. Different -foot work can be used for an attack - for instance, a simple attack could be performed while station- ary, with a lunge, with a passing lunge, or with a running attack.

Defense

Defensive actions are actions that prevent your opponent’s attack from hitting you. These can be done either by moving your body out of the way of the attack or by using your weapon or off hand to parry (deflect or block) the attack. The attack made immediately following a parry is called a riposte.

Measure

Measure refers to thr distance that you must travel in order to reach your opponent’s torso with your sword. At its simplest, you are in close measure if you can hit your opponent’s chest simply by extending your arm. Wide measure is when you can reach the opponent’s chest with a lunge, and you are out of measure if you would have to take a step in order to reach your opponent’s chest with a lunge.

Measure becomes slightly more complicated if you take into account your opponent’s arm. From out of measure, you might be able to hit the arm with a lunge. From wide measure, you could hit the arm simply by extending, and the body with a lunge, and from close measure, both the arm and the body could be hit without a lunge.

One of the keys to success in fencing is being able to enter measure in such a way that you have

8 an advantage over your opponent. There are three ways that you can seek measure: you can advance forward while your opponent remains still, you can allow your opponent to advance while you remain still, or measure can be reached while both of you are moving.

It is important to realize that measure is not equal for everyone. If your opponent is taller or has a longer lunge than you, wide measure for them is going to be substantially longer than it is for you. It is important to be able to instantly assess whether you or your opponent is in measure.

Tempo

In fencing, tempo refers to the best moment to initiate an action, such as an attack, counterattack, or parry and riposte. Any movement that you make, especially in measure, is a potential tempo in which you can be attacked. A single, continuous movement is said to be one tempo, regardless of the speed of the movement. For instance, a slow lunge and a fast lunge, are one tempo, but a parry and a riposte are two tempi.

Attacks in Time

An attack is said to be “in time” if it is madeduring the tempo of your opponent’s movement. For instance, if your opponent attempts to engage your blade, and you attack with a disengagement in the middle of his movement, your attack is called a disengagement in time. In general, you should try to attack your opponent “in time” as they tend to be most vulnerable when they are in the middle of doing something else. For example, you could initiate an attack in time as your opponent tries to advance into measure, engage your blade, attack your, or recover from a failed or parried attack.

Counterattacks

A counterattack is a specific type of action in time in which the tempo that you use to attack is your opponent’s attack. For this to be successful, the amount of time required to execute your counterattack should be less than the time required for your opponent to complete their attack. By the time the opponent has finished their attack, they should be hit.A counterattack has both an offensive and a defensive element: hitting the opponent and not getting hit. Hitting the opponent can be done with either a thrust or a cut. Not getting hit can be accomplished by: using your weapon to deflect the attack, moving your body out of the way of the incoming attack, or using your unarmed left hand to deflect the attack.

9 Countertime

Sometimes the tempo that your opponent makes is a trap. Deliberately making a movement in order to provoke your draw your opponent’s attack in time, which you are already prepared to defeat, is called countertime. For example, you could attempt to engage your opponent’s blade in fourth so that they try to attack you with a disengagement in time.As they make their attack, you could either parry in third and riposte, or counterattack with a time thrust or a passata sotto. Another example of countertime would be to make a feint, and as your opponent attempts to counterattack with an arrest you could again either defeat the arrest with a parry and riposte or another counterattack.

10 Footwork

Footwork allows you to properly seek measure with your opponent and to successfully attack when you have reached it. Proper footwork is vital to success as a fencer. In practice, empha- sis should be placed on proper form, making small, precise steps, and explosive lunges. Your movements should be smooth so that you don’t bob up and down as you move. As you develop proficiency, you should constantly push yourself so that your footwork is tighter and faster and your lunges are longer and faster.

In all of these actions, your feet should be kept close to the ground. Lifting your foot too high will make your movements look clunky and slow. Don’t drag your feet on the ground though, that will ultimately slow you down as well.

Advance

The most common method of moving towards your opponent is the advance. To make an advance, lift your right foot, move it forward about one shoe length and set it down heel first. Then, bring your left foot forward so that you end in the same position that you started in.

Retreat

To retreat, lift your left foot first and move it straight backwards are far as necessary (typically about one shoe length), then lift your front foot, toe first and bring it back so that you end in the same position you started in.

Cross step forward

A cross step is another method of stepping forward. To do a cross step, carry your left foot forwards until it is about a shoe length in front of your right foot. Your foot should remain pointing to the left as it is brought forward and set on the ground. Next, your right foot comes forward and is set down so that you end back in the guard position. Make sure that your upper body and shoulders do not rotate as you make the cross step backwards.

Cross step backward

The cross step back is simply the reverse of the cross step forward. Carry your right foot behind your left and then bring your left back as well so that you end in your original guard position.

11 Jump Back

A jump back is nearly the same as the cross step back except that both feet end up leaving the ground at the same time.

Lunge

The lunge is the most common means of delivering an attack in Italian rapier fencing. From the guard position: Begin by extending your arm and raising it to shoulder height. As your arm reaches full extension, your torso should start to lean progressively forward. Then, lift your right foot, toe first and start to step forward. Next, straighten your left leg so that it pushes your body explosively and violently forward. As your left leg is straightened, snap your left arm backwards so that it is fully extended behind The lunge you. Finally, your right foot should land toe first just as, or just before your weapon reaches its target.

In the lunge position, your arm should be fully extended and about shoulder height. Your body should be profiled and leaning forwards so that there is a straight line down your back to your left foot. Your right knee should be even with the middle of your right foot, your left leg should be completely straight and your left foot flat on the floor.

To recover from the lunge, bend your left leg and push off of your front foot so that you return to guard. As you are returning to guard, relax your sword arm back to its guard position and bring your left hand back in front of your chest.

Fixed-Foot Lunge

From close distance, you can make an attack almost identical to the lunge, but without moving your front foot. Begin by extending your arm, and then shifting your upper body forwards so that your The fixed-foot lunge

12 weight rests over your right leg. The end result should look very similar to a lunge, but with your feet a little closer together. Remember to start with your feet about two shoe lengths apart when you are in guard. If they are too close together the fixed foot lunge will feel awkward and throw you off-balance.

Recover Forward

Another way to recover from the lunge is to return to guard by bringing your left foot forward.

Reprise

A reprise is a second attack initiated from the lunge. To do a reprise, recover forward and then lunge again. As you recover forward keep your knees bent, your body low, and your sword arm fully extended throughout the action.

Advance Lunge

An advance lunge is a method for closing distance with an attack. To do an advance lunge, make an advance while extending your sword arm. As soon as you finish the advance, immediately lunge. The entire sequence should be performed smoothly and without pause so that you accelerate forwards during the action.

Gain on the Lunge

Gaining on the lunge is another method for closing distance with an attack. To gain on the lunge, bring your left foot forward so that it is just behind your right foot, and then lunge. This can cover as much or more distance as an advance lunge.

This could also be combined with an advance lunge: as you make the advance, bring your left foot all of the way up to your right foot and then lunge.

13 Passing Lunge

The end result of a passing lunge looks very similar to a lunge except that your left foot is in front instead of your right. To make a passing lunge, extend your arm and start shifting your weight forwards so that it is over your right leg. As you reach full extension, push off of your right leg and carry your left leg forwards so that you end in a lunge position. In a passing lunge, your left hand is typically brought forward instead of flung backwards. It can either be used to protect you from an opponent’s counterattack or riposte, or to The passing lunge grab their weapon or arm.

To recover, you can either recover forward as you would from a normal lunge and then make half of a cross step back so that you end in guard, or you can bring the left foot back to it’s position with the recovery.

Running Attack

A running attack is very similar to a passing attack, but with more forward momentum. When you push off of your right foot it should leave the ground, so that both feet our momentarily in the air. Your attack should land just before or as your left foot hits the ground. To recover, con- tinue forward with cross steps until you are past your opponent and out of distance. This type of attack should be made at an angle to your opponent in order to avoid a collision.

14 Offense

Simple Attacks

A simple attack is an offensive action performed with a single blade movement. A simple attack can be performed with a thrust or with a cut. For now, we will focus only on attacks made with the point. Many of these attacks can be performed with different types of footwork - a lunge, a fixed foot lunge, a passing lunge, or a running attack. For the sake of clarity, the descriptions will assume that a lunge is being used.

Straight Thrust

A straight thrust is used when your opponent has exposed their target with an invitation. As your arm reaches full extension, rotate your hand to either second or fourth position so that your true edge is pointed towards your opponent’s weapon. At full extension, your weapon and arm should form a slightly obtuse angle. If your hand is in second position, your arm should be just to the outside of your shoulder with your tip pointed at its target. If your hand is in fourth position, it should be slightly to the inside. This angle, and the orientation of your sword is called opposition. It keeps your target protected as you attack so that your opponent can’t just stick their arm out and hit you. As you hit your opponent, you blade should bend upwards.

A lunge with opposition in second

15 To make this an action in time, begin your attack the instant your opponent changes to an invitation (either from an engagement or another invitation). Your attack should hit at about the moment your opponent would have finished making the invitation.

A lunge with opposition in fourth

Examples:

Fencer Opponent Invites in third Delivers a straight thrust to the chest on the inside line with the hand in fourth position Receives the hit

Fencer Opponent Invites in fourth Delivers a straight thrust to the chest on the outside line with the hand in second position Receives the hit

16 Disengagement

A disengagement refers to freeing your weapon from your opponent’s engagement, (or attempted engagement or parry) so that you change the line that your point is directed to by traveling either under or over your opponent’s blade (most commonly under).

You can attack with a disengagement when your opponent has protected their target by engaging your sword. To make a disengagement, free your blade by moving your tip under your opponent’s blade and back to the other side. As you do this, begin extending your arm so that it reaches its full extension by the time your tip reaches the other side of your opponent’s blade, and then smoothly finish the lunge.

Throughout the attack, your tip should travel continually forwards towards its target. The movement should be made primarily with your fingers and wrist and kept as tight as possible. Keep your hand in third position as you free the blade, and then rotate your to either second or fourth position just as you reach full extension.

Against an engagement in fourth, an attack with a disengagement would be made to the outside high line with the hand in second position. Against an engagement in third, the disengagement would be made to the inside high line with the hand in fourth position.

Instead of going all of the way back to the high line, you could also disengage from the high line to the low line (or vice versa). This is called a half disengagement. For instance, from the engagement in fourth, a half disengagement would go to the outside low line.

Disengaging without an attack - simply changing lines can be a useful tool for controlling distance. If your opponent has engaged your weapon and is in distance, you could safely retreat by making a disengagement as you retreat and either returning your blade to a neutral position, or re-engaging your opponent’s sword.

To make this an action in time, begin your attack the instant your opponent attempts to engage your weapon. Your attack should hit at about the moment your opponent would have finished making the engagement.

Examples:

Fencer Opponent Engages in third Attacks with a disengagement to the chest on the inside line with the hand in fourth position Receives the hit

17 Fencer Opponent Invites in fourth Attacks with a disengagement to the chest on the outside line with the hand in second position Receives the hit

Glide

If your opponent is in a neutral position - either the on guard position, or with their blade in line. They can be hit with a glide. Starting from your engagement, extend your arm while maintaining contact and opposition with the opponent’s blade. If you made your engagement without blade contact, then you should make contact just as you start to extend. As your extend, rotate your hand to second or fourth position depending on where your opponent’s blade is.

To make this an action in time, engage the opponent’s weapon as soon as they place it in a neutral position, then finish with your attack by glide. When a glide is performed as an action in time it requires two distinct movements, the engagement and glide should not be combined into one.

Examples:

Fencer Opponent Places the weapon in line Makes an engagement in third and attacks with a glide to the chest on the outside with the hand in second position, maintaining blade contact throughout the attack. Receives the hit

Fencer Opponent Places the weapon in line Makes an engagement in fourth and attacks with a glide to the chest on the inside with the hand in fourth position, maintaining blade contact throughout the attack. Receives the hit

18 If your opponent does not engage your blade properly, you can also make a glide against their engagement instead of your own. This is called a forced glide. The most common time to use this technique is if your opponent engages your blade, but angles their point so that it is directed back to the center of your body. This type of engagement gives up the mechanical advantage of an engagement in exchange for the possibility of a faster riposte. If you extend with strong opposition, you will be able to gain control of their weak as you glide along their blade.

Examples:

Fencer Opponent Makes an incorrect engagement in third, with the point angled inwards Makes an attack by glide to the chest on the outside with the hand in second position, gaining control of the line with strong opposition to the right Receives the hit

Fencer Opponent Makes an incorrect engagement in fourth, with the point angled inwards Makes an attack by glide to the chest on the inside with the hand in fourth position, gaining control of the line with strong opposition to the left Receives the hit

Counterdisengagement

A counterdisengagement is used in opposition to your opponent’s disengagement. Like a disengagement, its primary use is as an attack, but you can do them without attacking asell. w Since a counterdisengagement is made in response to your opponent’s disengagement, it is always performed as an attack in time. One example of a situation in which you can perform the counterdisengagement is this: starting from your engagement, your opponent frees their blade and attempts to engage your weapon. Follow their blade around in a circle so that you end up on the side that you started on. At the same time, extend your arm so that it is fully extended by the time you finish your circle. As you reach full extension, finish your lunge smoothly, so that the entire attack happens in one, smooth movement.

19 You could also use a counterdisengagement to close distance with your opponent safely. Sup- pose you have engaged, or attempted to engage your opponent’s blade in fourth. Your opponent retreats while freeing their sword and attempting to engage in third. ouY can make a counter-clockwise counterdisengagement as you advance forward to maintain distance while controlling your opponent’s weapon.

Examples:

Fencer Opponent Engages in third Frees weapon with a disengagement, but does not attack Follows the opponent’s blade in a clockwise movement, finishing with a lunge with the hand in second position. Receives the hit

Fencer Opponent Engages in fourth Frees weapon with a disengagement, but does not attack Follows the opponent’s blade in a counterclockwise movement, finishing with a lunge with the hand in fourth position. Receives the hit

20 Cuts

While Italian rapier is heavily thrust oriented, the weapon can used for cutting as well. Cuts should be made primarily with the true edge of the weak of your weapon. To be effective, a cut must include both percussive and slicing elements. Cuts can be delivered using force primarily from the shoulder, the elbow, or the wrist. A cut from the shoulder would be slower, but stronger than a cut from the elbow, which would be slower and stronger than one from the wrist. When you attack with a cut, your arm should reach full extension, just before, or just as your right foot lands in your lunge. This allows your body to add to the force of your cut as your legs propel you forwards and pushes your cut into your opponent. The primary targets for a cut in rapier should be the head, the left and right cheeks, and the sword arm.

A cut delivered from right to left is called a mandritto. A cut from the left to right is called a riverso. A vertical downward cut is called a fendente. A circular cut is a cut made by turning the blade at your wrist like a wheel. The point of the weapon travels in a circular movement, and the final cut can be either a mandritto, a riverso, or a fendente.

21 Defense

Parries with the sword are made by deflecting the opponent’s weapon to the side so that it does not hit you. Blade contact should be made with (gennerally) the true edge, strong against weak to ensure that you are properly protected. The placement of the weapon for a parry in third or fourth should look identical to the engagement for the same line.

The riposte following a parry can be made with only an extension, or a lunge. You can also make a gathering step as you make the parry and then riposte with a lunge to cover more distance. Since a parry and riposte requires two blade movements to complete, the opponent has an instant to react after they have been parried. Your riposte may need to take their movement into account. For instance, if they recover immediately and retreat, you might use a gathering step as you parry and then lunge with your riposte to cover the extra distance.

Simple Parries

Simple parries travel the shortest path from one invitation or engagement to another. For instance, from the guard of fourth, you could make a simple parry of third, and from the guard of third you could make a simple parry of fourth.

Circular Parries

Circular parries travel in a circular path so that they end in the guard that they start in. From the guard of third, you could make a circular parry of third by making a clock-wise circle with your weapon and forearm and returning to third. From fourth, you would make a counter clock-wise circle and return to fourth.

Examples:

Fencer Opponent Engages in third Attacks with a disengagement to the chest on the inside line Makes a simple parry of fourth and ripostes with a straight thrust or glide to the inside line. Or Makes a circular parry of third and ripostes with a straight thrust or glide to the outside highline, or a straight thrust to the outside low line Receives the hit

22 Fencer Opponent Invites in fourth Attacks with a straight thrust to the chest on the outside line Makes a simple parry of third and ripostes with a straight thrust or glide to the outside highline, or a straight thrust to the outside low line Or Makes a circular parry of fourth and ripostes with a straight thrust or glide to the inside line. Receives the hit

23 Compound Attacks

Feints

A feint is a simulated attack intended to provoke a response from your opponent (typically a parry). As the opponent moves to parry your attack, you can change the direction of your attack to end in the line exposed by the parry. A feint typically consists of two (or at most three) movements.

The most typical use for a feint is to make a simulated attack to provoke your opponent’s parry. As they parry, make a disengagement and finish your attack in the new line. When you feint, extend your arm fully, as if you were going to make a simple attack, either direct, by disengagement, or by glide. Though your arm is extended, your body should be kept back so that you have not committed to your attack. Keep your hand in third position, and then as your opponent parries, make a small disengagement under their blade and rotate your hand to either second or fourth position as you lunge so that you attack with opposition. If the opponent makes a circular parry, follow their blade around in a circle so that you end up in your original line. This movement is called a deceive.

The final action of a feint can be made with a lunge, a passing lunge, or a running attack. The initial movements of a feint can made with or without an advance. You can also string multiple feints together, though these are particularly vulnerable to counterattacks.

Examples:

Fencer Opponent Engages in third Simulates an attack by disengagement to the inside high line Attempts a simple parry of fourth or a circular parry of fourth Eludes the parry of fourth with a disengagement under the blade to the outside high or low line Or Eludes the parry of third with a clockwise deceive to the inside line Receives the hit

24 Fencer Opponent Engages in fourth Simulates an attack by disengagement over the blade (cut-over) to the outside high line Attempts a simple parry of third or a circular parry of fourth Eludes the parry of third with a disengagement under the blade to the inside line Or Eludes the parry of fourth with a counter-clockwise deceive to the outside high or low line Receives the hit

Actions on the Blade

Actions on the blade are compound attacks that remove your opponent’s weapon from its position in line during your attack. These are most useful when your opponent is on guard in central, or has placed their weapon in line. These attacks are typically started from out of measure and performed with an advance, though it is possible to start them from correct distance as well.

Blade Seizures

To do a blade seizure, start from out of distance and engage your opponent’s blade as you step into measure. Once you are in measure, finish your attack with a glide. When you start the blade seizure make sure that your arm moves first to seek the engagement before you start your advance. If your body leads the action, you will be stepping into distance while your body is exposed, leaving you open to a counterattack.

Beats

A beat is a blow of measured violence, made with the strong or medium of your blade against the weak or medium of your opponent’s blade intended to dislodge it from its position in guard or the line of attack. The beat should be immediately be followed with a simple attack or feint. A beat is named for the line in which your blade encounters the opposing steal. For instance, starting from an invitation in third, you can make a beat in fourth by rotating your hand to third and fourth position and your weapon and forearm to your left to deliver a sharp blow to the opposing steel, followed by a swift attack.

25 A simple beat travels the shortest distance to encounter the opposing steal in an opposite line. For instance, starting from an invitation in third, you could make a simple beat in fourth, or starting from an invitation in fourth, you could make a simple beat in third.

A change beat starts from your engagement and ends up an opposite line. Starting from an engagement in third, you could make a change beat in fourth by releasing your opponent’s weapon, traveling under it in a circle and delivering a sharp blow to the left with your hand in third and fourth position.

A circular beat is similar to a change beat but starts from your invitation instead of your engagement and ends with your blade in the position you started in. For instance, from your invitation in fourth, you can make a circular beat in fourth by traveling in a circle under your opponent’s blade and delivering a blow to the left with your hand in third and fourth position.

26 Contraries

Counterattacks

Arrest

An arrest interrupts the opponent’s atack by attacking directly into it with opposition. In order for this to work, you must be able to make your attack significantly faster than your opponent can.

If your opponent is making a simple attack, your arrest can only work if you are already in a position of advantage, or if your opponent makes an error in their attack. For instance, if you have engaged your opponent’s blade in fourth, you could make an arrest with your hand in second the instant that your opponent tries to free their blade to start their disengagement. If you time it properly, you attack will land, and the opposition of your attack will keep you safe from -be ing hit.

If your opponent’s attack consists of several movements, such as a feint, you can arrest on the first movement in order to stop their attack. For instance, if your opponent makes a feint to your outside high line, expecting you to parry in third, you could instead make an arrest to the outside low line with your hand in second to interrupt the attack. If you opponent feints to your inside high line expecting you to parry in fourth, you could arrest to the inside high line with your hand in fourth.

Time Thrust

A time thrust is very similar to an arrest in that it is an attack into your opponent’s attack. The primary difference is timing. With a time thrust, you would wait until the last possible instant of the opponent’s final attack before making your counterattack. Because of this it typically does not require a lunge as your opponent will have already closed the distance, though it requires exceptional timing to be successful.

For instance, if you have engaged your opponent’s blade in fourth and your opponent attacks your outside high line with a disengagement, you would wait until their attack is almost finished and then extend your arm with your hand in second, so that you deflect the attack and hit just as their lunge is completed.

27 Arrest with Reassemblement

With a rapier, the easiest response to an attack to the leg is withdraw the leg and hit the opponent in the arm or the head as they come forward. You can do a reassemblement in one of two ways. You can pull your right foot back to your left foot, straighten your legs, and lean your upper body forwards so that you can hit your opponent with a thrust to their face or arm, or even a cut to their wrist. Or, you could pull your right foot all of the way behind you as you lean forward. After you hit, you should recover backwards to An arrest with reassemblement by gathering the front foot back minimize the risk of running onto your opponent’s sword if it is still in front of you.

Inquartata

An inquartata is used against attacks to your inside line. As the attack comes towards you, move your body out of the way by bringing your left foot forwards and to your right. Your left foot should end up about one and a half shoe lengths to your right and be pointing directly at An arrest with reassemblement by passing back with the front foot your right foot. As you step, extend your arm with your hand in fourth, so that you hit your opponent as they come forward. If your opponent is left handed, the thrust should be directed to the outside low line.

The inquartata

28 Passata Sotto

A passata sotto works by ducking underneath your opponent’s blade, and is best used against attacks to your outside high line. You can do this with a running attack, a passing lunge, a lunge, or even a backwards lunge. As you lunge, turn your hand to second and bend your body as far forwards as possible so that you hit your opponent just under their sword arm and their attack goes over your head. Instead of throwing your arm back with your lunge, bring your left shoulder forward The passata sotto and place your left arm under your sword arm to protect your outside low line.

Front foot void to the right

An attack to the inside line could also be avoided by stepping forwards and to the right with your right foot so that your body is shifted out of the way of the incoming attack.

Left Handed Parries

Parrying with the left hand can be effective when used well. Off hand parries should not be used against cuts for obvi- ous reasons. The opponent’s blade should be pushed aside with the left hand, and at the same time, the sword arm should be extended so that the opponent is hit by the time their attack finishes. The blade can be deflected upward and to the left, downward and to the left, to the right over the sword arm, or to the right under the sword arm. The parries over and un- A-left handed parry with a passing lunge der the sword are particularly useful.

29 Countertime

Countertime actions are performed by deliberately provoking a counterattack from your opponent that you are already prepared to defeat. The counterattack can be defeated with a parry and riposte in countertime, or a counterattack in countertime.

Examples:

Fencer Opponent Attempts a blade seizure in fourth Counterattacks with a disengagement in time Defeats the counterattack with a parry in third and riposte to the outside high line in countertime Or counterattacks with a time thrust in third in countertime Or Counterattacks with a passata sotto in countertime Receives the hit

Fencer Opponent Engages in third Feints by disengagement to the inside high line Counterattacks with an arrest to the outside high line Defeats the counterattack with a parry in third and riposte to the outside high line in countertime Receives the hit

30 Feint in Time

The feint in time is used to oppose actions in countertime.

Examples:

Fencer Opponent Attempts a blade seizure in fourth

Feints by disengagement to the outside high line Attempts a parry in third in countertime

Or Counterattacks with a passata sotto in countertime Defeats the parry in third with a disengagement counterclockwise under the blade to the inside line Or Defeats the passata sotto with a parry of second and riposte by glide to the outside low line Receives the hit

Fencer Opponent Invites in third Feints by disengagement to the outside high line Feints an arrest to the outside high line Attempts a parry of third in countertime Defeats the parry in third with a disengagement counterclockwise under the blade to the inside line Receives the hit

31 Appendix 1

Summary of Single Rapier plates from Capoferro’s text

Plate 7

Fencer C Fencer D Engages in Fourth Attacks with a disengagement to the chest Counterattacks with a thrust in second to the left eye, with or without lunging Receives the hit

32 Fencer C Fencer D Engages in Fourth Feints by disengagement to the chest Counterattacks with a thrust in second, with a lunge Parries to the outside with the true edge and ripostes with a thrust to the chest. Or Parries to the outside with the false edge and ripostes with a cut to the face Receives the hit Recovers back to a guard of low fourth

33 Plate 8

Fencer C Fencer D Engages in Fourth Attacks with a riverso to the leg Withdraws the right leg and cuts the arm with a stramazzone Or Withdraws the right leg and thrusts to the face Receives the hit

Fencer C Fencer D Engages in Fourth Attacks with a riverso to the face followed by mandritto fendente to the head Receives the hit

34 Fencer C Fencer D

Engages in Fourth

Attacks with a disengagement to the face

Counterattacks with a thrust to the face in second while passing forward and using the left hand to grab the opponent’s sword arm

Receives the hit

35 Plate 9

Fencer C Fencer D Engages in Fourth Feints by disengagement to the face Attempts to counterattack with a thrust in second while passing forward and using the left hand to grab the opponent’s sword arm. Disengagement underneath the opponent’s sword and thrusts to the chest while making an inquartata Receives the hit

36 Plate 10

Fencer C Fencer D Engages in Fourth Attacks with a riverso to the face Counterattacks with a thrust in fourth to chest, underneath the sword Receives the hit

Fencer C Fencer D Engages in Fourth Pull’s back the sword as if to attack with a riverso to the face Attempts to Counterattack with a thrust in fourth to the chest, underneath the sword Makes a beating parry of fourth and ripostes with a riverso to the face or a thrust to the chest Receives the hit

37 Plate 11

Fencer D Fencer C Invites in a high transverse fourth with the point aimed at the opponent’s left shoulder Steps forward to engage in fourth Passes in second underneath the opponent’s sword Receives the hit

Fencer D Fencer C Engages in third Feints by disengagement to the face with the hand in fourth Attempts to parry Rotates the hand to second and passes underneath the opponent’s sword Receives the hit

38 Fencer D Fencer C Engages in fourth Feints by disengagement to the face with the hand in third Raises sword in attempt to parry Rotates the hand to second and passes underneath the opponent’s sword Receives the hit

Fencer D Fencer C Engages in fourth Attacks with a disengagement to the face Attack in contratempo by passing underneath the opponent’s sword with the hand in third Or Parries third, then rotates hand to second and passes underneath the opponent’s sword Receives the hit

Fencer D Fencer C Engages in third Attempts to engage in fourth Attack by passing underneath the opponent’s sword with the hand in third Receives the hit

39 Plate 12

Fencer D Fencer C Engages in low fourth Attacks with a disengagement to the chest Counterattacks with a passing lunge while parrying the disengagement with both hands and thrusts in third to the chest Receives the hit

40 Fencer D Fencer C Engages in low fourth Feints by disengagement to the chest Attempts to counterattack with a passing lunge while parrying the disengagement with both hands and thrusts in third to the chest Rotates hand to second and lowers and withdraws the sword to clear the opponent’s blade and cuts with a riverso to the face while void- ing to the right Or Parries the attack, and then passes forward with the left leg and thrusts to the chest while holding the sword in both hands Receives the hit

41 Plate 13

Fencer C Fencer D Engages in third Attacks with a disengagement to the face Deflects the attack to the outside by parrying with the left hand over the arm, then passes forward with the left leg and thrusts to the flank with the hand in second while grabbing the opponent’s sword arm with the left hand Receives the hit

42 Plate 14

Fencer D Fencer C Engages in fourth Attacks with a disengagement to the face Counterattacks under the sword by lowering the body and lunging underneath the sword with the hand in second Receives the hit

43 Fencer D Fencer C Engages in fourth Attacks with a disengagement to the face Parries in third with the point high, then rotates the hand in second and strikes under the arm while passing forward and grabbing the opponent’s sword arm Receives the hit

Fencer D Fencer C Engages in fourth Attacks with a disengagement to the face Parries in third with the point high, then rotates the hand in second and strikes under the arm while passing forward and grabbing the opponent’s sword arm Withdraws the right leg, parries to over the right arm with the off hand, and strikes underneath opponent’s arm with the hand in second. Or Withdraws the right leg, parries under the arm with the off hand, and strikes either the chest or the face with the hand in second. Receives the hit

44 Plate 16

Fencer D Fencer C Engages in third Attacks with a disengagement Counterattacks with a thrust in fourth, with or without a lunge Receives the hit

Fencer D Fencer C Engages in third Disengages, beats in fourth, and then attacks with either a thrust to the face, or a riverso to the arm Receives the hit Recovers back to a guard of third

45 Plate 17

Fencer B Fencer C Engages in third Attacks with a disengagement with the hand in fourth Strikes the opponent in the face, near the ear, while making a diagonal step to the right with the right foot, to avoid the opponent’s attack Receives the hit

46 Fencer B Fencer C Engages in third Feints by disengagement with the hand in fourth Strikes the opponent in the face, near the ear, while making a diagonal step to the right with the right foot, to avoid the opponent’s attack Parries with the left hand over the right arm, passes forward and strikes in second while grabbing the opponent’s sword arm. Receives the hit

47 Plate 18

Fencer B Fencer C Engages in third Attacks with a disengagement to the face Passes forward and strikes with a thrust to the face in fourth Receives the hit

Fencer B Fencer C Engages in third Feints by disengagement to the face Passes forward and strikes with a thrust to the face in fourth Makes an inquartata and strikes in the chest Receives the hit

48 Plate 19

Fencer D Fencer C Engages in third Attacks with a disengagement to the face Avoids the hit by crossing the left leg behind the right (an inquartata) and thrusts to the face with the hand in fourth Receives the hit

49 Fencer D Fencer C Engages in third Disengages in order to engage in fourth and strikes in fourth with a pass forward Or Disengages, makes a beat in fourth, and cuts the face with a riverso Receives the hit Recovers back to a guard of third

50 Plate 20

Fencer D Fencer C Engages in third Attacks with a disengagement Parries in fourth while making an appel (foot stamp), then passes forward a strikes in second to the face while grabbing the opponent Or Parries in fourth and ripostes in fourth without passing or grabbing the sword arm. Receives the hit

51 Fencer D Fencer C Engages in third Attacks with a disengagement Attempts to parries in fourth Disengages to the outside and thrusts to the face in second (test says counterdisengagement, but may be wrong) Receives the hit Recovers back to a guard of third