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Elizabethan Period Decorated Rapier. A rapier with a pointed diamond-section double-edged blade, ricasso extending to about 6cm with a stylised maker's mark with evidence of inlay, same maker's mark to the horizontal ring; bent quillons with inlay, an additional reinforcement knuckle bow to the lower part of the hilt, cylindrical pommel. 1.3 kg, 1.01m (39 3/4').
The rapier was a dueling weapon whose form was developed from cut and thrust swords. Its use was more brutal and forceful than the light sport fencing that we know of today. Originally, starting about 1470, any civilian sword was often referred to as simply a “rapier”, but it quickly took on the meaning of a slender, civilian thrusting sword. Renaissance Weapons: The Rapier The rapier is a single-handed European sword commonly carried as a sidearm during the Late Renaissance era. It is characterised by its long tapering blade and complex hilt, which protects the hand of its wielder with a series of sweeping metal bars, rings or shells. One of the most deadliest weapons of the Elizabethan Weapon was the Rapier. The rapier was the favorite among the swords that were in practice. Although the sword was wider, it was, slender, and more sharply pointed. Hence trained soldiers preferred rapier the most.
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- Swords were not the only weapons used during the early period of the Elizabethan era.(More..)
POSSIBLY USEFUL
- In Romeo and Juliet by William Shakespeare, The officer mentions these three weapons when he gives the order to stop the fight between the Capulets and the Montagues.(More..)
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KEY TOPICS
Swords were not the only weapons used during the early period of the Elizabethan era.[1] The problem at that time, in terms of arms, was that weapons from the medieval period were still used and wielded by trained military men, thus showing a necessity for the immediate advancement of Elizabethan era weapons. [1]
Weapons, where would the human race be without them? One particular period in which weapons were of great significance, was an age in European history spanning the sixteenth and seventeenth centuries, known as the Elizabethan Era. [2] The closest undoubted living relatives of English are Scots zetomarijuana essay outline sih and. 26-3-2008 Everyday life in Tudor England - The City of London in the time of Queen Elizabeth I and Shakespeare The Elizabethan Era Information a brief history of elizabethan era in england on the types and uses of plants commonly grown during the Elizabethan period. [3] Everyday life in Tudor England - food, occupations, games, pastimes, religion, fashion, manners, and education in abstract on thesis the the elizabethan period time of Queen Elizabeth I and Shakespeare A central hub for information on all aspects of Tudor and Elizabethan fashion: Historians often depict it as the. [3]
During the reign of Elizabeth I, England enjoyed a time of seneca essay prosperity and stability that led to a the elizabethan period resurgence of learning and a. [3] Tudor period - The Tudor period is the period between 1485 and 1603 in England and Wales and includes the Elizabethan period which ends with the completion of the reign of Elizabeth I in 1603. [3] The Elizabethan period of literature took place during the English Renaissance during the reign of Queen Elizabeth I of England (1558-1603). [3] KEY TOPICS Ranging from 1558 to 1603, this was during the reign of Queen Elizabeth I. The Elizabethan Era, also known as the Elizabethan Age or Elizabethan Period, is said to be the golden age of English history, with a quite diversified public life, a rise in the fine arts, and numerous advancements in many technological and scientific fields. [3] The Elizabethan period in costume design refers to that time encompassed by the reign of Queen Elizabeth I (from 1558 - 1603) during the Renaissance. [3] The Elizabethan period covers the reign of Queen Elizabeth I. She ruled England during 1558 to 1603. [3] Presentation on theme: 'The man, the myth, the legend. Elizabethan period 1558 - 1603 England ruled by Queen Elizabeth I, daughter of Henry VIII and Anne Boleyn. [3] Historic records show that 'The Elizabethan Period in England had a daily life based on social order: the monarch as the highest, the nobility as the second rank, the gentry as third, merchants as fourth, yeomanry as fifth, and laborers as sixth' (Elizabethan Era). [3] Since Queen Elizabeth the first was the last ruler from Tudor era, it will be perhaps more appropriate to say that it covers era from foundation of Tudors dynasty and goes beyond the Elizabethan period right into the Jacobean era. [3] Edmund Spenser (c. 1552-99) was one of the most important poets of the Elizabethan period, author of The Faerie Queene (1590 and 1596), an epic poem and fantastical allegory celebrating the Tudor dynasty and Elizabeth I. Named after the Queen, who inspired writers such as William Shakespeare to write some of the most famous works of English literature, in the Elizabethan period authors focused on writing plays, sonnets, letters, epistles, and speeches. [3] Elizabethan period The Elizabethan era (1558-1603) is generally recognized as a time of English greatness. in 1588 English was established as the lone sea power and opened up possibilities for economic development that came from international trade and, eventually, colonialism. [3] Sections on William Shakespear, Famous. 16-11-2010 English project about the Elizabethan period This feature is not available right now. [3] Renaissance period began in the period 15th century, in England! as you are relating it to Elizabethan period. [3] The Renaissance reached its height in England during the Elizabethan Period (1558-1603). [3]
Broadswords were favoured in the Elizabethan period of England. [4]
Hoe wordt je essay for toefl samples een perfecte gentleman, heerser, term paper on marketing plan soldaat of 'lover’? Visit this site dedicated to providing information about the facts, history and people of the Elizabethan Period.Fast and accurate facts about the Elizabethan Period. [3] Elizabethan period started from 1558- 1603 (i.e 16 and early 17th century). [3] General Introductions to the Renaissance Overview of the 16th Century - Norton Topics Online Renaissance - The Annenberg/CPB Project The Renaissance - Michael S. The Elizabethan homework doesn t help learning era is the epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (1558-1603). [3] The Elizabethan importance and influence of the parthenon in ancient greece era is the epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (1558-1603). [3]
Educational resource about education and the schooling of children during the elizabethan times The Childhood & Education of William education and the schooling of children during the elizabethan times Shakespeare The Elizabethan era is the epoch in the Tudor period of the History of England during the reign of Essay hastings year of the battle Queen Elizabeth I (1558-1603). [3] During the Elizabethan Era in England, the period associated with the reign of Queen Elizabeth I (1558-1603) that is often considered to be a golden age in English history, people were in transition between the Middle Ages and modern times. [3] The Jacobean era refers to the period in English and Scottish history that coincides with the reign of James VI of Scotland (1567-1625), who also inherited the crown of England in 1603 as James I. The Jacobean era succeeds the Elizabethan era and precedes the Caroline era, and is often used for the distinctive styles of Jacobean architecture, visual arts, decorative arts, and literature which characterized that period. [3]
Elizabethan E‧liz‧a‧be‧than / ɪˌlɪzəˈbiːθ ə n◂ / adjective SH relating to the period 1558-1603 when Elizabeth I was queen of England Elizabethan drama -- Elizabethan noun The Earl of Essex was a famous Elizabethan. [3] Elizabeth I, bynames the Virgin Queen and Good Queen Bess, (born September 7, 1533, Greenwich, near London, England--died March 24, 1603, Richmond, Surrey), queen of England (1558-1603) during a period, often called the Elizabethan Age, when England asserted itself vigorously as a major European power in politics, commerce, and the arts. [3] Elizabethan already means the period between 1558 and 1603 corresponding to the reign of Elizabeth I. Therefore the period 1952 to the date of her death would not be called Elizabethan as that would just be confusing. [3] Christmas was preceded by a four-week period called Advent in which Elizabethans prayed and fasted, or refrained from eating certain foods at certain times. [3] It was the corner of 94th st a period of peace between the English Reformation and the battles between Protestants and Catholics The Elizabethan periodElizabeth, Mary’s half sister, became queen when Mary died in 1558. [3] Elaborate gowns, lavish parties, palaces full of gold and silver- these are just a few thoughts that come to mind when one hears the term 'Elizabethan Era'; however, there is more to this period than what meets the eye. [3] In this period, the Renaissance, or rebirth, spread throughout Europe ('Elizabethan Age'). [3] The period is named after the ruler of England during the time-period, Queen Elizabeth I. The Elizabethan Era took place during the Renaissance, which was a period from the 14 th to the 17 th century in Europe. [3]
The Victorian era and the early 20th century idealised the Elizabethan era, the Encyclopædia Britannica maintains that ' he long reign of Elizabeth I, 1558-1603, was England's Golden Age War, Government and Society in Tudor England, review of Poem analysis masquerade bronx essay Elizabeth’s Wars: The technology of warfare. 13-5-2014 Transcript of Weapons and Warfare in the Uk top essay obesity childhood Elizabethan Era. [3] WEAPONS ELIZABETHAN ERA At the time, England had been under a constant threat of war with Spain and France The reason for weapons Anyone who had enough money to have a weapon had owned one. [5] THE GREAT SWORD The Cannon had been used for many years before the Elizabethan era, but by this time they were largely relied upon as a primary weapon. [5] The canon proved a most helpful change in Elizabethan era weapons since it could be used both at land and on sea. [1] Although the musket was created in 1520, the Queen only saw it fit for her men to use it in the 1590s, thus making firearms the new Elizabethan era weapons and changing the face of England's weaponry forever. [1] To catch up with the needs of war, the army of the Elizabethan era tried to employ weapons that were modern and up to date. [1]
Since weapons at that particular time in the era mainly composed of those used in the medieval period, the battle axe, dagger, halberd, longbow, mace, pike, spear, and the crossbow, specifically the arbalest, were some of the other choices in weaponry. [1] A quarterstaff is an English weapon that was used during the medieval period and up to the 18th Century. [4] Because of this, as well as the great variation of late-16th and 17th century swords, some like Tom Leoni simply describe the rapier as a straight-bladed, two-edged, single-handed sword of that period which is sufficient in terms of both offense and defence, not requiring a companion weapon. [6] It is a common weapon in period artwork, and there are many surviving examples in museums. [4] The weapons that were used had inspired many of the weapons that are still used in our time period. [5] Battle Axe Lance Stiletto The weapons that were made in this time period had helped us in our lives today. [5] Over the Medieval period, weapons were advancing and the elegant rapier began to be obsolete as the musket became popular. [7]
The crossbow was not the only medieval weapon replaced by recent innovations in weaponry during the Elizabethan era. [1]
When Elizabeth I (1533-1603) was crowned queen in warfare in elizabethan england 1558, England was, compared to other European nations, a poor and backward country. 15-4-2011 Elizabethan Weapons and Warfare the weapons changed with technology and the musket had just been introduced into Elizabethan warfare. [3] The Victorian era and the early 20th century idealised the Elizabethan era, the Encyclopædia Britannica maintains that ' he long reign of Elizabeth I, 1558-1603, was England's Golden Age During the Tudor period, the use of glass when building houses was first used, and became widespread, it was very expensive and difficult to make, so the panes were made small and held together with a lead lattice, in casement windows. [3] The Role of Elizabethan Women - Education - The Nobility The Elizabethan era brought the Renaissance, the roles of women during the elizabethan era new thinking to England The Elizabethan era is the the roles of women during the elizabethan era epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (1558-1603). [3] Please try again later The study of industrialization and capitalism 2-12-2013 Characteristics of the Elizabethan Age By: The Elizabethan era is the epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (1558-1603). [3] The Elizabethan era is the epoch in the Tudor period of the History of England during the reign Bullying position paper of Queen Elizabeth I (1558-1603). [3]
The Elizabethan Era lasted from 1558 to 1603, during the reign of Queen Elizabeth I. This period was a time of growth and expansion in the areas of poetry, music, and theatre. [3] Historians studying the Elizabethan Era, the period associated with the reign of Queen Elizabeth I (1558-1603) that is often considered to be a golden age in English history, have focused mainly on the lives of the era's wealthy nobles. (Nobles were the elite men and women who held social titles.) [3] The Elizabethan Era was a flourishing period in English literature, particularly drama, that coincided with the reign of Queen Elizabeth 1. [3] Created by Shanell and Cashia The Era of Drama and Theatre, Poetry, and Prose Fiction During this time period was the reign of Queen Elizabeth 1 Elizabethan Era 1588-1603 London, England Included writers such as William Shakespeare, Christopher Marlowe, Edmund Spenser, Francis Bacon, John Lyly, and Sir Philip Sydney. [3] Everyday life in Tudor England - food, occupations, games, pastimes, religion, fashion, manners, and education in the time of Queen Elizabeth I and Shakespeare 2-10-2011 The Elizabethan Age is the time period elizabethan age associated with the reign of Queen Elizabeth I (1558-1603) and is often considered to be a golden age in English. [3] During this period England had a centralized, well organized, and effective government, largely a result of the reforms of Henry VII and Henry VIII. When the Queen of England began her reign in 1953, her countrymen declared a new Elizabethan Age. [3] England during this period had a centralised, well-organised, and effective government, largely a result of the reforms of Henry VII and Henry VIII. Daughter of Henry VIII and Anne Boleyn, the Elizabethan era was a period of flourishing English playwrights and seafaring adventurers. [3] England during this period had a centralised, well-organised, and effective government, largely a result of the reforms of Henry VII and Henry VIII. During Golden Age of Elizabethan Era (1558-1603), what was the resident’s life like? What made the era special actually? Historically, there were numerous facts and vital information about the customs and culture of the epoch for us to explore. [3]
This era in English cultural history is sometimes referred to as 'the age of Shakespeare' or 'the Elizabethan era', the first period in English and British history to be named after a reigning monarch. [3] Of course, the play was the thing for Elizabethan literature and though Shakespeare is the most famous person to have written in this period, he is not the only major Elizabethan playwright of note. [3] Jacobean period Furniture The early Jacobean furniture period, which inspired much of the early American furniture of the pilgrims (in America Jacobean style furniture is often called Pilgrim furniture), was similar to Elizabethan furniture in that it was still largely made of oak, and of a solid, sturdy construction. [3] Georgian Period in America In internal decoration, the elaborate detail of Elizabethan and Jacobean work gave way to a dignified and formal treatment. wall panelling oak panelling designs, commonly of oak, covered the walls from floor to ceiling. [3] Elizabethan Village Life Elizabethan Village Life changed with the seasons - the busiest being during harvest and hay making periods. [3] Fine arts received support and encouragement from the Queen that was unparalleled by any other English monarch; and as a result, the authors and works of this time period came to be known as Elizabethan. [3] The Elizabethan Age contrasts sharply with the previous and following reigns, it was a brief period of internal peace between the English Reformation and the religious battles between Protestants and Catholics and then the political battles between parliament and the monarchy that engulfed the remainder of the seventeenth century. [3] Elizabethan Age may be viewed especially highly when considered in light of the failings of the periods preceding Elizabeth's reign and those which followed. it was a brief period of internal peace between the English Reformation and the religious battles between Protestants and Catholics and then the political battles between parliament and the monarchy that engulfed the remainder of the seventeenth century. [3]
The roles of women during the elizabethan era Historians often depict it …. 18-4-2016 Shakespeare’s writing career coincided with a renaissance in English drama - a period when a performance at one of London’s new playhouses was the. [3] The Elizabethan Era took place during the Renaissance, which was a period from the 14 th to the 17 th century in Europe. [3] This period, known as the Elizabethan Era, took place during the European Renaissance period, which is said to have occurred from approximately 1300 to 1700. [3] Elizabethan Era Furniture • Renaissance ideas were entering Britain during this period. [3] Elizabethan Era Weaponry War during the Elizabethan era, as well as in any other period of time, was almost inevitable. [2] During the Elizabethan era, people looked forward to holidays because opportunities for leisure were limited, with time away from hard work being restricted to periods after church on Sundays. [3] Over the period of time, it has grown to include information about logically extending to era before Elizabethan era and period after elizabethan era. [3] People in the Elizabethan era demonstrated the heavy sexism during that period in history. [3] English literature was patronised and flourished as never before during the Elizabethan era spanning over a period of forty-five years from 1558. [3] Strictly speaking, English Renaissance theatre may be said to encompass Elizabethan theatre from 1562 to 1603, Jacobean theatre from 1603 to 1625, along with the economics of the profession, the character of the drama changed towards the end of the period. [3] This time period was ruled by the esteemed Queen Elizabeth I and is also called the Elizabethan Era. [3]
Using Shakespeare as a primary source, this essay explores the place of the rapier in Elizabethan society and attempts to uncover the importance and meaning that this weapon had in period. [8] Over the course of the Elizabethan period rapier blades became increasingly narrower and longer. [8] Elizabethan Armor The armor of the Elizabethan period was used mainly for decoration in parades and ceremonies - not for protection purposes in war. [9]
One everyday cultural object of Elizabethan society that it is worthwhile to study is the rapier, the weapon used to such tragic effect in the duel between Mercutio and Tybalt in Romeo and Juliet. [8] The Fall of Antigone Elizabethan Weapons. a paper on stress. [10] Elizabethan Weaponry The Elizabethan Age - Elizabethan Weapons The medieval Feudal system had ended by the Elizabethan era. [9] Elizabethan Weapons - The Rapier Skill in Fencing during the Elizabethan era was a requirement of all Upper class Nobility. [9] Elizabethan Era Weapons of different kinds,arms,crossbow,Swords, Muskets matchlock mechanism. [10] Medieval Warfare - open battles and castle sieges, warfare in elizabethan england armour, weapons and warfare in elizabethan england military The long short and the tall technology of the Middle Ages. [10]
Many weapons from the Medieval period were therefore still of use. [9]
To learn more about the clothing of the Elizabethan time period, we have provided you with the following information. [11] England in the Middle Ages vietnam war - tet offensive concerns the history of England during the medieval period, from the end warfare in elizabethan england of the 5th century through to the start of the Early Modern period. [10]
POSSIBLY USEFULIn Romeo and Juliet by William Shakespeare, The officer mentions these three weapons when he gives the order to stop the fight between the Capulets and the Montagues.[12] The superiority of English warfare - the weapons used during war - proved itself time and again, and added to England's supremacy as a nation. [1] It was a characteristic Frankish national weapon at the time of the Merovingians from about 500 to 750 AD and is known to have been used during the reign of Charlemagne (768 - 814). [4] The crossbow or the arbalest, however, was ordered by Queen Elizabeth I to be replaced by what perhaps was the most advanced weapon that was ever used during her reign: the musket. [1] Mostly Guards and soldiers had carried these weapons but even some peasants would carry around a small weapon for protection Who had owned these weapons? THE DAGGER There were many types of weapons such as: The dagger was a two edged long blade that was mainly used when a fighters sword had been lost. [5] A stiletto is a short knife or dagger with a long slender blade of various designs primarily used as a stabbing weapon. [4] Books offering instruction on the use of weapons described the dagger being held in the hand with the blade pointing from the heel of the hand and used to make downward jabs. [4] Even though the slender blade of rapier enables the user to launch quick attack at a fairly long and advantaged distance between the user and the opponent and the protective hilt can deflect the opponent's blade when he or she uses rapier as well, the thrust-oriented weapon is weakened by its bated cutting power and relatively low maneuverability at a closer distance, where the opponent has safely passed the reach of the rapier's deadly point. [6] Long after these larger weapons came into use, the arming sword was retained as a common sidearm, eventually evolving into the cut & thrust swords of the Renaissance. [4] A sword is a long, edged piece of forged metal, used in many civilisations throughout the world, primarily as a cutting or thrusting weapon and occasionally for clubbing. [4] The word rapier was not used by Italian, Spanish, and French masters during the heyday of this weapon, the terms spada, espada, and épée (or espée ) being instead the norm (generic words for 'sword'). [6] The term rapier generally refers to a thrusting sword with a blade longer and thinner than that of the so-called side-sword but much heavier than the small sword, a lighter weapon that would follow in the 18th century and later, but the exact form of the blade and hilt often depends on who is writing and when. [6]
The English terms 'morning star' (a rigid haft topped with a spiked ball), and even 'mace' (a bludgeoning weapon similar to a morning star), which properly refer to non-chained weapons, have also been used to refer to the military flail. [4] Modern authors have used multiple conflicting names for this weapon: the 'mace and chain' is the equivalent of the German 'morningstar and chain' referred to above, but the latter term is rarely used in English. [4] The term francisca first appeared in the book Ethymologiarum sive originum, libri XVIII by Isidore of Seville (c. 560 - 636) as a name used among the Spanish to refer to these weapons 'because of their use by the Franks'. [4] In Anglo-Saxon warfare soldiers usually formed a shield wall and used heavy weapons like Danish axes, swords and spears. [4] Unlike the bow or spear, the sword is a purely military weapon, and this has made it symbolic of warfare or naked state power in many cultures. [4]
The military flail or simply flail is a weapon commonly attributed to the Middle-Ages but for which only a limited amount of historical evidence currently exists for most of this era. [4] The musket remained an indispensable weapon since it was introduced and throughout the rest of the era. [1] The weapon was known from the 12th century and has appeared in the armaments of Germany and England. [4] The advancement of armor, that was made different throughout the Middle Ages, and having a variety of weapons gave England an advantage against the Spanish in Battle. [7] The quarterstaff proper was a common weapon in England, where it is featured in the Robin Hood legend as the favourite weapon of Little John. [4] The dagger was a common murder weapon, used by commoners or vengeful aristocrats who wished to remain anonymous. [4] Using rapier with its parrying dagger is the most common practice, and it has been arguably considered as the most suited and effective accompanying weapon for the rapier. [6] Rapiers are single-handed weapons and they were often employed with off-hand bucklers, daggers, cloaks and even second swords to assist with defense. [6] Many newer movies, like The Princess Bride and La Reine Margot have used rapiers rather than later weapons, although the fight choreography has not always accurately portrayed historical fencing techniques. [6] With such design features, the rapier is optimized to be a thrusting weapon, but cutting or slashing attacks were also recorded in some historical treatises like Capo Ferro's Gran Simulacro in 1610. [6] The English word 'rapier' generally refers to a primarily thrusting weapon, developed by the year 1600 as a result of the geometrical theories of such masters as Camillo Agrippa, Ridolfo Capoferro and Vincentio Saviolo. [6] English fencing authors of the 16th to 18th Centuries insist that the quarterstaff is the most effective of all hand weapons and devote lengthy portions of their works to its use. [4] In spite of the lack of frequent historial reference to use of flails, the weapon (sometimes called mace and chain or ball and chain) was a stock figure in Victorian Era Medievalist literature and thus has become entrenched in popular medieval fantasy and thus the neomedievalist imagination. [4] This use of the spear spurred the development of the lance as a distinct weapon which was perfected in the medieval sport of jousting. [4] Today, the francisca remains in popular use as a throwing axe in competitions and as a weapon for re-enactors of medieval warfare. [4] Across Europe, the weapon changed based on culture and the fighting style that was prescribed; be it Italian, Spanish, or some other instruction on the weapon's use, so that lengths, widths, hilt designs and even the lack or placement of an edge or edges differed at the same time. [6] A simple weapon to manufacture, the quarter staff has a long history of use, and a wide cultural dispersion. [4] The names given to many swords in mythology, literature, and history reflect the high prestige of the weapon. [4] The weapon combined the weight and power of an axe with the versatility of a sword. [4] Due to the poor quality of powder that was often used in these weapons and their crude construction, they were not effective missile weapons, as early examples often lacked sufficient power to punch through light armour. [4] The half-pike, also known as a boarding pike, was also used as a weapon on board ships until the 19th. [4] The francisca (or francesca) is a throwing axe used as a weapon during the Early Middle Ages by the Franks. [4] The horseman's pick was a weapon of Islamic origin used by cavalry during the Middle Ages in Europe. [4]
A weapon intended to be used in man-to-man combat is called a melee weapon. [4] A notable example of a bombard is the large Mons Meg weapon, built around 1449 and used by King James II of Scotland. [4] Javelins, including barbed angons, were used as an offensive weapon from behind the shield wall or by warriors who left the protective formation and attacked the enemy as skirmishers. [4] The Welsh, particularly the North Welsh, used the javelin as one of their main weapons. [4] Projectiles used in these weapons were varied, with many utilizing a variety of different ammunition. [4] This weapon was mainly used in Early Modern Europe during the 16th and 17th centuries. [6] This weapon could also be used as a means of killing an active adversary, as during a grappling struggle. [4] They were a knight's backup weapon to be used in hand to hand fighting, and as such one of their last lines of defence. [4] It was used by both infantry and cavalry; the horseman's weapon had a shorter shaft. [4] One of the earliest weapons fashioned by human beings and their ancestors, it is still used for hunting and fishing. [4] Spears were one of the most common personal weapons from the Stone Age until the advent of firearms. [4] They were one of the most common weapons found. These spears included throwing javelins, as well as pikes for thrusting. [4] Quick to manufacture, and needing less smithing skill than a sword, it remained the main weapon of the common soldier. [4] The arming sword was overall a light, versatile weapon capable of both cut and thrust combat; and normally boasts excellent balance. [4] Time after time these weapons had proved themselves adding to England's power as a nation. [5] Described in English as a sparth (from the Old Norse sparðr) or pale-axe, the weapon featured a larger head with broader blade, the rearward part of the crescent sweeping up to contact (or even be attached to) the haft. [4] At Agincourt, English longbowmen are recorded as using lead mauls, initially as a tool to drive in stakes but later as an improvised weapon. [4]
Variants of this basic weapon continued in use in Scotland and Ireland into the 16th century. [4] Century, after the adoption of stirrups and a high-cantled saddle, the spear became a more powerful weapon. [4] As the 16th century progressed, the term arquebus came to be clearly reserved for the lighter forkless weapon. [4] The term rapier can be confusing because this hybrid weapon can be categorized as a type of broadsword. [6] The word 'rapier' is a German word to describe what was considered to be a foreign weapon. [6] Pallavicini, a rapier master in 1670, strongly advocated using a weapon with two cutting edges. [6] Since a medieval spear required only a small amount of steel along the sharpened edges (most of the spear-tip was wrought iron), it was an economical weapon. [4] Originally a Frankish weapon, the winged spear was also popular with the Vikings. [4] The thrusting spear also has the advantage of reach -- being considerably longer than other weapon types. [4] It is commonly thought that falchions were primarily a peasant's weapon Use of the longsword in attack was not limited only to use of the blade, however, as several Fechtbücher explain and depict use of the pommel and cross as offensive weapons. [4] A fat pommel (often decorated) secures the grip to the weapon and provides some weight to balance the long blade. [6] Although attempts have been made to suggest that the sparr had a distinctive shaped head, illustrations and surviving weapons show there was considerable variation and the distinctive feature of the weapon was its long haft. [4] In the long run, the weapon could make the user permanently hard of hearing. [4] Occasionally the weapons of such form were made in Antiquity and Early Middle Ages, but the regular and massive usage of bardiches started in the late 14th century. [4] With the advent of protective plate armour during the Middle Ages, the dagger became increasingly useful as a good close in weapon for stabbing through the gaps in armour. [4] The stiletto, also called a misericorde ('mercy'), began to gain fame during the High Middle Ages, when it was the secondary weapon of knights. [4] During the Middle Ages metal Armour and chain mail protected against the blows of edged weapons and blocked arrows and other projectiles. [4]
These rules for conventional warfare are spelled out by the Law of War and cover acceptable weapons, treatment of prisoners, torture, surrender, and much more. [7] Later war hammers often had a spike on one side of the head, thus making it a more versatile weapon. [4] Walter William Skeat suggested that 'rapiér' may derive from raspiére, a poker, and that this may be a contemptuous term developed by older cut-and-thrust fencers for the new weapon. [6] Arbalests were sometimes considered inhumane or unfair weapons, since an inexperienced arbalestier could use one to kill a knight who had a lifetime of training. [4] Portuguese and Spanish conquerors also made use of the weapon. [4] In Capo Ferro's Gran Simulacro, the treatise depicts how to use the weapon with the rotella, which is a significantly bigger shield compared with the buckler. [6] A mace is a simple weapon that uses a heavy head on the end of a handle to deliver powerful blows. [4] In the 16th century bardiche became a weapon associated with streltsy, Russian guardsmen armed with firearms. [4] It was the favoured weapon for men-at-arms fighting on foot into the sixteenth century. [4] Throughout the 16th century, a variety of new, single-handed civilian weapons were being developed. [6] The mace was the usual weapon of the cavalieri, essentially mercenary armies of Northern Italy hired by Italian city-states and throughout Europe starting in the 14th Century. [4] Daggers often fulfill the role of a secondary defence weapon in close combat. [4] Historically, knives and daggers were always considered secondary or even tertiary weapons. [4] Before the 1400s, daggers were actually a peasant's weapon. [4] They are recorded as a weapon of Tudor archers as late as 1562. [4] They also remain a common sight in many schools of martial arts that study weapons. [4] Maces, being simple to make, cheap and straightforward in application, were common weapons. [4] A crossbow is a range weapon that shoots projectiles (called bolts or quarrels) consisting of a bow mounted on a stock. [4] When the wheel lock was introduced, wheel-lock shoulder arms came to be called arquebuses, while lighter, forkless matchlock and flintlock shoulder weapons continued to be called calivers. [4] In 1382, rebellious citizens of Paris seized 3,000 mauls from the city armoury, Later in the same year, Froissart records French men-at-arms using mauls at the Battle of Roosebeke, demonstrating it was not only a weapon of the lower classes. [4] At the Battle of Villalar, rebel troops lost the battle badly partially due to having a high proportion of arquebusiers combined with the battle taking place in a rainstorm which rendered the weapons almost useless. [4]
Crossbows were eventually replaced in warfare by more powerful gunpowder weapons, although early guns had slower rates of fire and much worse accuracy than contemporary crossbows. [4] Throughout the Middle-Ages, agricultural flails were sometimes employed as an improvised weapon by peasant armies conscripted into military service or engaged in popular uprisings. [4] Much like the crossbow, the weapon could be employed by relatively poorly-trained troops. [4] While with a crossbow or bow a soldier could conceivably kill silently, this was of course impossible with an explosion-driven projectile weapon like the arquebus. [4]
MEDIEVAL WEAPONS FIREARMS During the English warfare, England had proved to be successful in all endeavors, military expeditions and conquest. [5] THE RAPIER During this time, mostly medieval weapons were used even though new and more advanced weapons were made. [5] Like many medieval weapons, maces have been used in blazons, either as a charge on the shield or as external ornament. [4] Long war hammers were pole weapons (polearms) meant for use against riders, whereas short ones were used in closer quarters and from horseback. [4] In the Middle Ages the Welsh and the English were famous for their very powerful English longbows, used to great effect in the civil wars of the period and against the French in the Hundred Years' War, with notable success at the battles of Crécy (1346), Poitiers (1356) and Agincourt (1415). [4] Although associated with the Franks, it was also used by other Germanic peoples of the period including the Anglo-Saxons. [4]
Rapiers are also often featured in various video games, in particular Role-playing games set in the medieval and Renaissance periods. [6] The basic intent and physics of swordsmanship have remained fairly constant through the centuries, but the actual techniques vary among cultures and periods as a result of the differences in blade design and purpose. [4] Despite the rapier's common usage in the 16th-17th centuries, many films set in these periods (many starring Errol Flynn ) have the swordsmen using épées or foils. [6]
Despite its low accuracy, the versatility and manoeuvrability of the mangonel ensured that it was the most popular siege catapult used during the medieval period. [4] A mangonel was a type of catapult or siege machine used in the medieval period to throw projectiles at a castle's walls. [4]
'According to the Elizabethan times that the play was written in and the general hierarchies within Venetian society men hold all the power and women are considered to be of low intellect' (Berggren 55). [7] Othello by William Shakespeare is a story in which the women characters are treated in the unfair way that women of the time of the Elizabethan times were treated. [7] In Elizabethan theater, William Shakespeare, among others, composed and staged plays in a variety of settings that broke away from England's past style of plays. [7]
The values, attitudes and beliefs that Shakespeare reveals in the opening and closing scenes of Othello, are the exact to the ones accepted by the Elizabethans of the sixteenth century. [7] During the Elizabethan Era, most marriages were arranged, and some couples would be introduced to each other on their wedding day itself! (William Shakespeare info) Many of times marriages were done so that both families could 'benefit' in some way, such as status or wealth ( Linda Alchin). [7] The Elizabethan era has always been referred to as the Golden Age, a time when England reportedly proved successful in all its endeavors, including its military expeditions and conquests. [1] The kind of musket employed in the Elizabethan era used the matchlock mechanism, which tried automatic ignition through the use of a lighted match. [1] CANNON Back in the Elizabethan era, Armour was mainly used for decoration in parades and ceremonies. [5]
The Elizabethan era was the Queen Elizabeth I's reign which was from 1558-1603. [7] Queen Elizabeth played a huge role in the Elizabethan era ('Queen'). [7]
During the early years of the Elizabethan era, swords were the choice in weaponry. [1] During the Elizabethan era, people were entertained by sources of entertainment, such as plays, music, and poetry. [7] Elizabethan England ended in a rich cultural harvest and real physical misery for people at the two ends of the social scale, respectively. [13]
This also happened to be when Elizabethan Theatre began to grow and playwrights like Shakespeare composed many plays that changed the way of the old style theatre ways. [7] William Shakespeare played an enormous role in the Elizabethan theatre; his unique writing style in 'The Taming of The Shrew' influenced modern day literature. [7]
Massed men carrying pole weapons with pointed tips (spears, pikes, etc.) were recognised early in the history of organised warfare as effective military units. [4] Most cultures mainly fought with pole weapons, swords, and axes at arm's length if not already utilizing bows, spears, slings, or other long-range weapons. [4] The bayonet of a modern rifle (especially sword bayonet or knife bayonet), when attached, can still be regarded as a form of pole weapon. [4] Today, the military use of pole weapons is restricted to ceremonial guards, such as the Papal Swiss Guard or Yeomen of the Guard. [4] Pole weapons are relatively simple to make, and easy for most people to use as they were often derived from hunting or agricultural tools. [4] A bec de corbin is a type of pole weapon that was popular in medieval Europe. [4] Early ranged weapons include weapons such as javelins, throwing axes the bow and arrow, and medieval siege engines like catapults, ballistas and trebuchets. [4] The other hand-operated ranged weapons of the time had their own drawbacks. [4] The javelin is a light spear designed primarily for casting as a ranged weapon. [4] A spear is a pole weapon consisting of a shaft, usually of wood, with a sharpened head. [4] A pole weapon or polearm is a close combat weapon in which the main fighting part of the weapon is placed on the end of a long shaft, typically of wood. [4] The morningstar is a medieval weapon consisting of a spiked club resembling a mace, usually with a long spike extending straight from the top and many smaller spikes around the particle of the head. [4] A war hammer is a late medieval weapon of war intended for close combat action, the design of which resembles the hammer. [4]
Pommel Knives & Daggers Edge vs. Point Single vs. Double edged Weapons Timeline: New Stone Age: pre-4000 BC Stone knives: 2-4 in. long Bronze Age: 4000 BC - 600 BC straight or tapered, spear pointed, small hilts Iron Age: post 600-400 AD Continuation of bronze forms, forged rather than cast. [14] Rifleman's knife Folding knives Bowie knife 'Arkansas Toothpick' Swords Short vs. Long Point vs. Edge Bronze Age Mostly short weapons: Typically short stabbing sword, small hilts. [14]
In this era, many new weapons were created, old ones revived and modified, and. [2] Rapier becomes : Smallsword, suitable as male jewelry and duel, but not as real combat weapon. 19th Cent. [14] The Blair government was also a strong supporter of the United States' position that military action should be taken against Iraq if UN weapons inspections were not resumed under new, stricter conditions, and committed British forces to the U.S.-led invasion of Iraq that began in Mar., 2003. [15]
Elizabethan definition, of or relating to the reign of Elizabeth I, queen of England, or to her times: What happened prior, to change respect to fear? The reign of Elizabeth (1558 - 1603) saw England emerge as the leading naval and commercial power of the. [3] Elizabethan drama was the dominant art form that flourished during and a little after the reign of Elizabeth I, who was Queen of England from 1558 to 1603. [3] Elizabethan literature, body of works written during the reign of Elizabeth I of England (1558-1603), probably the most splendid age in the history of English literature, during which such writers as Sir Philip Sidney, Edmund Spenser, Roger Ascham, Richard Hooker, Christopher Marlowe, and William Shakespeare flourished. [3] There’s always history behind a theater, right? Right! The Elizabethan Theater was part of an age where body of works reign while Elizabeth I was queen (1558-1603). [3]
Elizabethan Religious Settlement - The Elizabethan Religious Settlement, which was made during the reign of Elizabeth I, was a response to the religious divisions in England during the reigns of Henry VIII, Edward VI and Mary I. This response, described as The Revolution of 1559, was set out in two Acts of the Parliament of England, as for the governance of the Church, all but one of the Marian bishops refused to consecrate a new Archbishop of Canterbury. [3] The term 'Elizabethan theatre,' however, covers only the plays written and performed publicly in England during the reign of Queen Elizabeth (1558-1603). [3] The term, 'Elizabethan Era' refers to the English history of Queen Elizabeth I’s reign (1558-1603). [3] Queen Elizabeth II is the second monarch with the name, and the first, Queen Elizabeth I, already has 'dibs' on the 'Elizabethan Age', which is part of the 'Tudor Era'. [3] The Elizabethan Prayer book was introduced for the first time on June 24, 1559. 1560 - On July 6, the Queen of England signed the Treaty of Edinburgh between England, France and Scotland. 1561 - Queen Elizabeth the First signed a Treaty at Hampton Court promising to support the French Huguenots. 1562 - Queen Elizabeth cancelled the meeting with Mary, Queen of Scots on July 15, the reason - the Queen of Scots attacked French Protestants. [3] Elizabeth ruled in a time of religious turmoil; both the Catholics and Protestants fought to be the official religion of England. (Elizabethan World View). [3] This Elizabethan Religious Settlement was to evolve into the Church of England and it was expected that Elizabeth would marry and produce an heir to continue the Tudor line. [3] Possibly, but I think it may be known by something like 'the second Elizabethan era/age’ or perhaps 'the modern Elizabethan era/age’ since we Brits already have a well-known 'Elizbethan age’, the age of Elizabeth I; the age of Shakespeare. [3] No matter how effective Elizabethan visual rhetoric was at masking the vulnerabilities of an unmarried and heirless, aging female monarch ruling a factious commonwealth in 'an age of religious wars and assassinations,' Elizabeth I could not escape reality. [3] Sorry, but the 'Elizabethan Era' is actually a reference to Elizabeth the first. [3] Often referred to as the golden age in English history, the Renaissance brought new light to the citizens ('Elizabethan Era'). [3] English literature from 1603 to 1625 is properly called Jacobean, after the new monarch, James I. Even familiar materials, such as wood and silver, were worked more deeply in intricate, architecture in the Jacobean era was a continuation of the Elizabethan style with increasing emphasis on classical elements like columns. [3] English literature from 1603 to 1625 is properly called Jacobean, after the new monarch, James I. From 1558 to 1603, England was under the rule of Queen Elizabeth I. The Elizabethan era is the epoch in English history marked by the reign of Queen Elizabeth I (1558-1603). [3]
RANKED SELECTED SOURCES(16 source documents arranged by frequency of occurrence in the above report)
1. (148) Elizabethan Period (United Kingdom, 1558 - 1603)
2. (97) Medieval Weapons
3. (20) Rapier - Wikipedia
4. (16) The Elizabethan Era Essay Examples - Download Free or Order Unique Paper | EliteEssayWriters
5. (13) Elizabethan Era Weapons,arms,crossbow-Swords, Muskets matchlock mechanism
6. (13) Warfare of Elizabethan Times - 677 Words | Bartleby
7. (11) List of books and articles about Elizabethan England | Online Research Library: Questia
8. (9) Weapons in the Elizabethan Era by Alicia Black on Prezi
9. (4) Warfare in elizabethan england
10. (4) Blade Weapons
11. (4) elizabethan_weaponry.doc
![Elizabethan Rapier Elizabethan Rapier](/uploads/1/1/9/7/119714368/533129008.jpg)
13. (1) Resource Guide to Elizabethan Era Costumes | Costume Craze
14. (1) Weapons - Elizabethan Museum
15. (1) United Kingdom - Elizabethan society | Britannica.com
16. (1) Matchlock 'Handgonne' Pistol - Elizabethan Times
A Manual on the use of the Rapier
First Edition
March 1993
William E Wilson
Copyright 1993,1994 William E Wilson
A note to the Reader
The purpose of this manual is to give you the information necessary tobegin the study of the Art of Defense with rapier. Whether you are a periodfencer in the Association of Historical Fencing, the Society for CreativeAnachronism, or any other group studying rapier, or simply a student of thehistory of defense, this manual should be of some benefit. The manual isthe culmination of nineteen years of fencing experience and study of periodtexts in English, Italian and French. Interspersed throughout the text aremodern pictures showing various techniques and copies of original woodcuts.I hope that this book is of worth to you and that it will enrich and strengthenyour use and study of the rapier. You may also find more information at mymain Elizabethan fencing page.
The Third Editionof my book was published by Chivalry Bookshelf. Copies are still available from a number of sources but I have been returned the full rights to the book and over the Summer of 2011 will make the book available as an ePub book (first on Kindle) and then as a print on demand. Thenew edition of the book will be greatly expanded with many new pieces ofinformation from historic manuals and expanded drills with lots of photographsof the moves. If you have any other questions about the manual pleasecontact me.
A version of this page is available in Chinese at: http://dejavu.blogdns.org/node/114
.
Yours in Service,
.
Yours in Service,
William E Wilson
This work is dedicated to my Lady for without her I would not have theinspiration to complete such a task.
I would like to thank the following people for their inspiration and helpin this endeavor: Gary McClellan, E. Paul Fischer, Joe Bethancourt, JohnCraft, Michael Cook, Richard Rouse and Patri Pugliese.
INTRODUCTIONIt should be noted that most of the illustrations from the manual havebeen left off the site. Xilisoft video converter ultimate 7.7 3. If you would like the full manual please call ScottieArmory and order one. Thank you.
INTRODUCTION
'A Discourse most necessarie for all Gentlemen that have in regarde theirhonours touching the giving and receiving of the Lie, whereupon the Duello& the Combats in divers sortes doth insue and many other inconveniences,for lack only of the true knowledge of honor, and the contrarie: and the rightunderstanding of wordes, which heere is plainly set downe, beginning thus..'
Vincento Saviolo
The true Art of Defence (fence) arose during the decline ofthe Middle Ages and the resultant decline in the usage of heavy armor andweapons. Previously, it was believed that during the Middle Ages, offensewas based on brute force and the strength of ones' arm versus. the qualityof an opponent's armor. However with the discovery of medieval manualsof fence we know that this was not true.
With the rise of civilian combat at the end of the 15th C middle classgentlemen relied more on their skill and agility than strength to win theday. Over time, while noblemen practiced at the banners, keeping alive theuse of sword, lance and heavy armor, the burgesses and artisans of the risingmiddle class learned their skill from travelling masters. With theonset of the age of enlightenment and the new found independence of manytowns and cities, schools of defense were founded where those possessing thepluck, skill and money could take schooling in the new Art of Fence.
The change in civilian combat from armor cleaving and heavier weapons (poleaxe, lucerne hammer, longsword) to lighter swords formulated fundamental changesin fighting strategy. The superiority of the point asserted itself and withcultivation of the use of the point came fencing proper. Thus, the use ofthe rapier became paramount to civilian combat.
The earliest and most famous schools of fence (after which all other schoolswere patterned) came from Spain and Italy. While the Italians discovered thatsimplification led to perfection of Fence, the Spanish moved towards makingfencing a mysterious science. The Spanish masters were required to know geometryand natural philosophy. Carranza (1569) is a prime example of the SpanishSchool of Fencing. The Italian schools soon surpassed the Spanish. In fact,Italian masters were in demand all through Europe and England.
The early masters did not teach a settled method of fighting, but taughtthe 'tricks' they had learned throughout their lives. These early duelistssuch as Manciolino and Marozzo were typical of the 15th and 16th Century masters.The early texts by these men deal more with dissertations on the rules ofhonor than actual fencing.
Morozzo (early 16th C) is generally believed to be the first writer ofnote on the art of fencing. Agrippa, DiGrassi, and others of the time taughtmore practical applications of fence and less on philosophy. It was alsoat this time (end of the 16th and the start of the 17th Centuries) that thethrust became the prevalent mode of attack. DiGrassi helped to change thelook and feel of rapier fencing in England. His new techniques espoused ascientific approach that was elegant and simple. In general we may say thatAgrippa is the originator of the rapier and DiGrassi as the precursor ofthe smallsword.
As noted earlier, until the 16th Century, the Italian and Spanish werethe principal instructors of fencing. The French first used Italian mastersand later German. Sainct Didier is the first French author on the Art of Fence.Didier attempted to classify the various modes of attack and defense; albeithis teachings were unscientific and dangerous to the user. It would be manydecades before the French were considered the leaders in the art of fencing.Modern fencing is more of an offshoot of 17th and 18th Century smallswordfencing than that of rapier. To gain a feel for how the rapier is actuallyused it is prudent to study the period texts dealing with rapier. Althoughmany of the attacks and defenses are similar, I would venture to say thatthese modern techniques would be very dangerous to the user if employed withan actual rapier in rapier combat.
Returning to Italy, Vigianni is the finest example of a master of fenceduring the late 16th Century. He professed the thrust superior to the cutand classified the many thrusts minutely. He also introduced the lunge. Duringthis period, the Germans were also considered great masters. However, theirfavored weapons were not the rapier or small sword, but the dusek and theschwerdt (cutting weapons more resembling sabres than rapiers). All Germantexts dealing with rapier appear to be translations of French or Italianworks. (NOTE: in recent discussions with Stefan Dieke of Germany Iam not so sure that this is completely true. The Germans infused muchof their own philosophy in rapier in their country.)
By the early 1600's, the art of fencing had a firm foundation. Many schoolsexisted in Europe and England and masters such as Bonetti, Saviolo, Fabris,Capo Ferro and Silver taught in the finest of the schools. These mastersprofessed principles that were not complicated by philosophy or anatomy.
OF HONOR AND HONORABLE QUARRELS
A study of the art of using a rapier in the Renaissance style would notbe complete without looking at the mindset of the time. In order to fullyappreciate the art of dueling ,the philosophy of the duel must be understood.To help in this area I will discuss the philosophy of the duel as practicedin France, England, Spain and Italy. A brief return to the history of theduel will also be made. Honor was of utmost concern to cavaliers and gentlemenof the period. And it was to uphold honor that the duello was at times resortedto. For a full study of the duel I would suggest that you read 'The Duel'by Billacois.
How and why then did the duel develop? What factors promulgated the dueland what affected the duel in France, England, Spain and Italy?
To start, it is prudent to give a formal definition of duel. A definitionof the word duel may be stated thus: 'An encounter between two or more individualswith equal numbers on each side that results in combat where both partiesare equally armed. The purpose of which is to settle a point of honor betweenthe parties involved. The duel was strictly organized and the rules of theduel agreed upon before the onset of the combat itself.'
Duels in France (and also in other countries) were much different thanbrawls, private battles, jousts or tournaments and took one of two forms:judicial and extra-judicial. It may be said that the judicial duel was thedescendant of the trial by combat of the Middle Ages. These types of duelswere presided over by a sovereign and were formal affairs held in speciallocales.
To illustrate the judicial duel I will give a synopsis of the account ofthe combat at Moulins, France on February 17, 1538. During this duel Lionde Barbencois (Sieur de Sarzay) did combat François de Saint-Julien(Sieur de Veniers). A quarrel had been in progress for many years betweenSarzay and a gentleman by the name of Sieur de La Tour-Landry. Sarzay hadsworn that La Tour-Landry had fled like a coward during the battle of Praviain 1525 (where Sarzay was not even present). La Tour-Landry's honor was placedin jeopardy by this and demanded that Sarzay give the source of this information.Sarzay related that he had gotten the information from Veniers who vehementlydenied the accusation of supplying the information; thus giving Sarzay theLie. Now, the quarrel changed from Sarzay and La Tour-Landry to Sarzay andVeniers. Thus the duel was not held to clear La Tour-Landry of the chargeof cowardice on the field but to dispel the suspicion of a lie. Gossip true,but a lie. In this duel, Sarzay was the injured party since he was accusedof lying. After the challenge was given the King was petitioned for a field.
Francois I did choose a courtyard for the duel in a town near where themen lived (Moulins). During the combat both Veniers and Sarzay fought withmore courage than skill. At one point the defender was injured on the heel(enough to cause bleeding) and the King called a stop to the duel. He declaredno winner or loser and that La Tour-Landry was doing his duty on the dayof the battle at Pravia. Right or wrong the fight was over.
To start a judicial duel it was the responsibility of the injured partyto call out the opponent. In the early part of the 1600's the call or challengewas made by throwing a glove, dagger or favor at the feet of the opponentas was done in Medieval times. By the end of the 1600's this practice wasabandoned in favor of an oral challenge (in front of witnesses) or by a cartel(a written challenge). After the challenge was given, the Crown would bepetitioned for a field. Basically requesting that the dispute be settledby force of arms.
The field was an open area typically a courtyard or open field where therewas enough room to hold the combat and also allow for the judges and spectators.Judicial duels were announced and well attended. Each combatant would havea grandfather who would be the spokesperson and one or more seconds. Thegrandfathers would come to the terms of the combat (weapons to be used, armorto be worn if any, time of the combat, etc) and they would also check forhidden weapons, armor and amulets of protection (witchcraft was believedto be used at the time, both for protection and to cause injury or harm toone's opponent). The seconds would either fight on the side of or for theparties involved. It also may be said that they were there for moral support.Typically the duel would end when one party had been injured, when one orboth had been killed or when the sun set. At times the Crown would call anearly end to the duel without even the spilling of blood.
The extra-judicial duel was a private affair and it is this type of duelthat most think of when discussing duels in general. The extra-judicial duelwas a criminal offense and was held in contempt of the law.
As private affairs the extra-judicial duel was not announced and so didnot draw the crowds like a judicial duel would. In the 1600's the Catholicchurch even went so far as to threaten excommunication for those individualstaking part in duels. They also stated that anyone killed in a duel couldnot be buried in hallowed ground. In practice this normally was not enforcedbut throughout the 1600's the voice of the church against duels increased.
Duelling as a practice had its climax at the period towards the end ofthe 1500's and then small peaks during the early and mid- 1600's. Pre-warand post-war times seemed to be the periods conducive to dueling. But whatprompted men to duel? Except for duels for fun, Billacois isolated five primarycauses for duels: duels fought over women, by men belonging to rival clansor factions, over public office, following differences or legal cases concerningfamily or seigiorial inheritances, and because of rivalry over precedenceor honorific distinctions. Typically the duel did not result from one isolatedincident but as the culmination of the quarrels between two individuals orgroups.
The temperament and philosophy also differed between the countries of England,Italy, France and Spain. It is believed that duelling and the use of therapier originated in Italy. At least the most favored teachers and textswere Italian in origin. Spain is also thought to be an early contender. TheFrench and English took to the use of the rapier very quickly. In Englandhowever, there were movements to keep the rapier out of the country. Elizabethwent so far as to have the gatekeepers of London break off all rapiers overa yard in length. Silver, a prominent English swordmaster, berated the Italianteaches and taught that their practices were dangerous and that all Englishswordsmen should follow and adhere to good English traditions.
'Paradoxes of defense, wherein is proved the true grounds of fightto be in the short ancient weapons, and that the short sword hath advantageof the long sword or long rapier. And the weakness and imperfection of therapier-fights displayed. Together with an admonition to the noble, ancient,victorious, valiant, and most brave nation of Englishmen, to beware of falseteachers of defence, and how they forsake their own natural fights: witha brief commendation of the noble science or exercising of arms.' 'The reason which moved me to adventure so great a task, is the desireI have to bring the truth to light, which hath long time lain hidden in thecause of contempt, while we like degenerate sons, have forsaken our forefather'svirtues with their weapons, and have lusted like men sick of a strange ague,after the strange vices and devices of Italian, French and Spanish Fencers,little remembering, that these apish toys could not free Rome from Brenniussack, nor France from King Henrie the Fifth his conquest.'
Silver was a seasoned military man and taught the use of the sword, not therapier. However, the Italian schools flourished, the most famous of whichwas Bonetti's school at Blackfriars in London (opened in 1576). Unlike othercountries, the English resorted more to the informal duel than the judicialduel. However, the English did not exhibit the fervor for the duel as didthe French. Some believe that the English use of animal fights and theiruse of theater sublimated the thirst for vengeance. It is also believed thatthe English view of blood being worth money and that spilling blood was awaste could also have been a reason for not taking part in duels. 'In England,where Puritanism, capitalism, free enterprise and freedom of thought wereimportant in a society which was otherwise very hierarchical, only isolatedand more or less anti-social individuals felt the need to fight duels.' (Billacoisp. 32). Looking at Shakespeare one may see in many of the plays the thoughtsof the time on duelling and things Italian.Spain at an outward level was similar to England in that few resorted tothe duel although history shows that the judicial duel was a legal enterprisefor many years. One would think that with the temperament of the Spanish (theirvalues and thoughts on honor), that the duel would have found its ElysianFields. Period documents do not back up this belief. In fact, the word duelloand its normal forms do not occur very often in legal documents of the time.
The duel in Spain was legal only when a field was granted by royal decree.Although the granting of a field was a relatively easy accomplishment, stillthe duel was not resorted to as in France or Italy. Those that took partin illegal duels were subject to stiff penalties such as banishment or execution.Like England the need for duelling may have been abated by the abundanceof other blood sports (animal fights, bullfighting) and cane fighting. Oneother note is that it was common practice to hire an assassin to performa murder over slights taken:
'Murder is quite normal in this country on several grounds whichare even authorized by custom . . . These things can only be avenged by killing.They say the reason is that after such insults it would not be just to riskone's life in single combat with equal arms, where the offended party mightdie at the hand of the aggressor; and they will wait twenty years for vengeanceif they cannot carry it out before then.' (Billacois p. 38)So duelling in Spain did not take on the dimensions that it did in other countries.
It appears that Italy may be termed the birthplace of the duel. It is fromItaly that the majority of the period texts may be found. Italian teacherswere the rage in the 16th and early 17th Centuries. The outgrowth of thechivalric sciences (dating back to the 1300s in Italy) grow in preponderanceuntil 1560. Masters such as Giovanni da Legnaro, Muzio, Possevino and otherdoctors of duels wrote voluminous works on dueling and honor. Although theduel was prevalent up until the mid-1500s, it saw a rapid decline toward theend of the century. The duel was even looked back on as one would look backon a golden era:
A generation later. . . recall that golden age when the duel was'more practiced in Italy than anywhere else in Europe' and when renowned closedfields welcomed any man with an affair of honor to settle; but 'today' theduel is no longer practiced in this way.' (Billacois p. 42)It appears that the decline in the use of the duel, judicial or extra-judicial,occurs at about the same time that there was a shift philosophically fromscienza cavalleresca (chivalric science) to the use of the pareri, opinionsor discussions on points of honor. To quote again from Billacois:
gentlemen both great and small 'make declamations about duelsand denounce present-day softness, but if they are offered the opportunityfor a duel, they dodge it with some subtlety taken from chivalric science,a science which they have turned into a state secret.'So it was that even Italy did not resort to duelling in such murderous proportioneven though they gave to the other countries of Europe masters of fence andarms and general codes of honor. It is the French who 'recklessly engagedin duels' and who we may look to when we study or think of duelling in general.It has been stated that the French practiced duelling because of their nationalcharacter.
And now, as a final question: Who should learn the right and proper useof the rapier? To quote Saviolo:
'The reason as I take it, is because that amongst Knights, Captains,and valiant Soldiers, the Rapier is it which sheweth who are men of armesand of honor, and which obtaineth right for those which are wronged: andfor this reason it is made with two edges and one point, and being the weaponwhich ordinarily Noble men, Knights, Gentlemen and Soldiers wear by theirside, as being more proper and fit to be worn then other weapons: thereforethis is it which must first be learned, especially being so usual to be wornand taught.'
YE TRUE FYGHT
The duelist, to be proficient, must master not only the use of the singlerapier but also rapier and dagger, rapier and cloak, rapier and buckler andcase of rapiers. However, prior to picking up a weapon the stance and footworkmust be mastered. For, without a proper guard (stance, ward) and footworkthe scholar of defense will be at the mercy of a more experienced opponent.
For the examples, illustrations and descriptions given in this manual,all references are for a right handed fencer unless otherwise noted. Pleasereverse all instructions if you are left handed. Please also note that thepictures used in this book are for reference only. When engaging in combat,you must wear correct protective gear. You must also select proper weaponsto use for your study. I would suggest Del Tin Practice rapier bladesmounted on a proper hilt for the time period you are studying. It mustbe noted that the individuals in the illustrations are not wearing completeprotective clothing. The reason for this is to more easily illustrate thetechniques.
The Guard
In preparation to learning the guard, it is important to learn the partsof the rapier. The rapier is composed of five basic parts: the blade, guard,quillions, knuckle guard, handle and pommel. On some weapons there may notbe a guard or knuckle guard. To fully understand the parts of the blade Iwill give a brief description of each and what their purpose is.
Blade -- The blade is used for offense and defense. It has a tip and twoedges. The blade is typically divided into three major sections: the forte,the foible, and the tang. The tang is the section that goes through the handleand should be of sufficient strength to not break during combat. The forteis the strongest part of the blade closest to, and forward of, the guard.This portion of the blade is used for parrying. The foible is the part ofthe blade closest to the tip (point) and is used for cuts.
Guard -- Guards (also termed hilts) come in a variety of forms. They mayalso be missing from the weapon. The guard typically is present to protectthe hand from cuts and thrusts. As a beginner you should choose a guard thatwill protect your hand well. A cup hilt or swept/cage hilt rapier would bea wise choice.
Quillons and Knuckle bows -- On some weapons the quillions and knucklebows/guards are attached. Some weapons do not have knuckle bows. These partsof the weapon are used mainly for defense. The knuckle bow protects the hand(typically the knuckles) and the quillions are used for parrying and catching(binding) the opponent's blade.
Handle -- The handle is the portion of the weapon that you hold on to.The handle should be made out of a good hardwood that is resistant to cracking.It should be shaped in such a fashion to provide a comfortable grip. Roundhandles are not suggested. The handle is also called the grip.
Pommel -- The pommel screws onto the tang (opposite end of the blade fromthe tip) and holds all of the parts of the weapon together. You should nothave a permanently attached pommel.
As mentioned previously your guard and your footwork are paramount in learningthe Art of Defense. There are many different guards that may be used. Probablyas many as there were masters. In this manual we will study four basic guards:high (Historical Italian Prima Guardia), low (Historical Italian Terza Guardia),broad (closest to the Historical Italian Seconda Guardia), and what I termthe inside ward (historical Italian Quarta Guardia).
Before studying the guards, it is prudent to study the stance and the grip.The stance is your base and all movement will originate from it. To startyour stance, face your opponent with your right foot forward, the toe ofsaid foot pointing at your adversary. The left foot should fall behind abouta shoulders' width with the toes pointing out perpendicular to the frontfoot. The knees should be slightly bent with the knees over the insteps ofthe feet and the body held upright. Depending upon which ward you will use,the right arm will be in a slightly different position. Your off-hand willbe held loosely in front of your chest with the edge of the hand facing youropponent. Do not push your hand out too far from the body or it may be cutor thrust. This is the stance.
The grip is made by taking the rapier loosely in hand and by placing theindex or the index and middle fingers above the quillion and wrapping theremaining fingers and thumb around the grip. Placing only the index fingeraround the quillion will give you a little more reach whereas placing twofingers above will give you more strength in griping the blade. The bladewill be held with the palm facing down. This will allow the pommel to restup against the wrist, putting counter-pressure on the blade, helping to keepthe tip of the sword from dipping towards the ground. The following is adescription of the various wards.
The high guard (ward, first) in the author's opinion may put a beginningfencer in jeopardy. However, an adept may use it to advantage. The ward isobtained by holding the arm straight out from the body with the knuckles ofthe hand up or by holding the blade up over the head with the point towardsthe opponent. Allow the point to drop slightly below the hand. There is atendency to fatigue the hand and arm with this ward.
The broad ward or second is where the weapon is held off to the right ofyour body and slightly above parallel to the ground at shoulder height. True second is held with the sword in front of the body. This ward may notseem to offer much protection but it helps to draw your opponent in closerso that you may offend them. This ward guards well against cuts while stilloffering protection from thrust by the blade or the off-hand.
The low ward (Historical Italian Terza Guardia (third), di Grassi BaseWard) is made by keeping the elbow within a hands' breadth of the body andby holding the weapon with the point towards your adversary and with theblade aimed at your opponent's right shoulder, parallel to the groundor dipping towards your opponent's groin or knees. The amount that your swordpoint dips is up to your personal tastes. This ward guards from thrusts orcuts to the right side. This is the least fatiguing of the wards.
The inside ward (Historical Italian Quarta Guardia) is also made with theright foot forward and the blade is held at an oblique angle with the guardover your left hip and the point angling upwards to the left pointing overyour opponent's shoulder. This ward is used as a starting point for launchinga punta riversa (reverse thrust).
All of these wards may also be made with the left foot forward. Some ofthese stances are best used with daggers, bucklers or cloaks in the off-hand.Putting the left foot forward when only employing a single rapier and nooff-hand weapon brings your body closer to your opponent's blade, thus placingyourself in jeopardy of being offended. It also takes your blade furtherback away from your opponent. One move that can be used from this positionwith some chance of success is the pass followed by a slight lunge. Thesetactics will be discussed later.
Once you have mastered the stance, the next step is to master movement.The period manuals cover a number of different methods for taking and losingground. In general these may be broken down into three distinct movements:advance, retreat and cross- over.
The advance is made by moving the leading foot forward and following itwith the trailing foot. Only move your trailing foot the distance that yourleading foot went forward. Do not bring your trailing foot right up againstthe heel of the leading foot. Also, be careful not to take too big of a step.In so doing you may be caught off-guard by a sudden attack by your adversaryand you will not be able to retreat in time. It is also important to keepyour weight centered between the legs. Do not lean forward or back. You mustalso keep from bouncing, hopping, or dipping when you move. Any odd quirksthat you develop can and most assuredly will alert your opponent to youractions. DiGrassi was explicit on this subject:
'And above all, not to skip or leap, but keep one foot alwaysfirm and steadfast: and when he would move it, to do it upon some great occasion,considering the foot ought chiefly to agree in motion with the hand, whichhand, ought not in any case whatsoever happen to vary from his purpose, eitherin striking or defending.'
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The retreat is made by stepping back with the trailing foot and followingit with the forward foot. Be careful to only move the forward foot back thedistance that the trailing foot moved. The same is true for the advance. Whenmoving the trailing foot care must be taken to not drag the foot or steptoo high; barely skim the ground. Also, make sure that the trailing footcomes off the ground and is placed back down flat. When moving the frontfoot precipitate the move with a raising of the toes. All movement is fromthe heel of the foot. Do not fight from the balls of the feet for it willdrastically alter your balance.The cross-over is used to cover ground quickly. When executing a forwardcross-over you move the trailing foot ahead of the forward foot. You willimmediately follow with moving the forward foot to the front again. In aretreat the forward foot is moved in a circular motion behind the trailingfoot and the trailing foot is immediately moved back into its normal position.Depending upon which direction you wish to move, you may alter where you placeyour feet. This type of movement in a retreat may also be used to displaceyour body out of the way of a cut or thrust from your opponent (voiding,dodging the blade).
You should practice your foot movement enough so that you do not need tothink about what your feet are doing while you are moving. Once you feelcomfortable with the stance and your footwork, you are ready to go on tomore advanced topics.
Defense
No matter how good your offense, if your defense is not adequate you aredead. If you fight like your life depends on it you will end up winning moreduels. Rarely should you go for fast kills. You will end up losing out tomore seasoned duelists.
Traditionally the blade was not used to parry thrusts to theleft side, only cuts. All of the early period texts that I have read indicatethat you parry thrusts with your off-hand and you parry cuts with the blade.The only exception is parrying thrusts to your extreme right side. You mustuse the blade to parry these. The early parries were basically counter-attacksto the blade. Thrusts were always parried with the off hand, a dagger, buckleror cloak. The first mention of using the blade to parry was by di Grassi andfurther refined by Capo Ferro.
The body may be divided up into a number of different areas. In this textI will use head, upper body, stomach, arms, lower body and legs. The placementof the blade will guard these primary areas. No matter how you parry, itis of utmost importance for you to keep the point of your weapon trainedas close at your opponent as possible. The further you must move your pointthe slower your counter-attack.
The simplest parries are performed against thrusts to the inside (leftside of body for right-handers). If the thrust comes in towards your faceor extreme upper body, using your off-hand you will push the blade out andaway to the left. If the thrust comes in below your off-hand you will sweepthe blade down and out to the left. Never sweep the blade across your body.There is a chance that you will be struck in the process. Even if a duelistwas not wearing gauntlets, it was considered prudent to take a slight hurtto the hand rather than suffer a grievous injury.
If the thrust comes to your outside (right side for right- handers) andabove your guard simply circle your blade under the opponents blade and pushthem gently out away from your body. If the thrust comes in low, circle overtheir blade and push their blade out and down. During your parries you willtypically want to give ground. This assures that your opponent will not beable to tip cut (stramazone) you after your parry. Another note of caution-- do not automatically counter-attack your opponent after you parry. Onlycounter-attack when you think you have a good chance of hitting your adversaryand not being offended yourself.
Cuts were typically delivered to the head, neck, flank (right side) andchest. Flank, chest and neck cuts are parried in a similar fashion. No matterwhich type of cut you are parrying you should always push the knuckle-bowtowards the direction that the cut is coming from. To parry a cut to thehead bring your rapier up over your head and hold it with the knuckle-bowheld up and slightly forward. The blade of your rapier should be parallelto the ground. Do not lock your arm out. Hold it with the elbow bent andthe blade about six inches above and just forward of your head. In a realfight if you took a full cut on a locked/straight arm you would probablyend up with a broken wrist. The bent arm acts like the spring shocks on acarriage.
To parry a cut to your flank (right side) you will move your hand out tothe right of the body and a little more forward than a normal low ward. Youshould raise your point, aiming at your opponents head. Catch the cut inthe forte of your blade as close to your guard as possible. To parry a chestcut you will bring your hand across your body catching the opponent's bladein your forte as in parrying a flank cut (the arm will be basically in theHistorical Italian Quarta Guardia).
Another tactic that may be employed in your defense is called voiding.This is where you dodge your opponents blade as they attack. You may use stepsto the side to dodge thrusts or cuts. A fast retreat may also be employed.Practice dodging the blade and use this tactic to your advantage. When performedproperly your opponent will not be in a position to strike you while youmay be in reach of them.
The last type of defense is grappling of the blade (and, theoponent too). Early texts talk of mail gloves that allowed the wearer tosafely gab their opponents blade, thus immobilizing it. This type of defensemay be safely employed with theatrical rapiers. The glove of mail had 'chainmail' sewn to the palm and fingers of the glove. A thrust to the palm couldpierce the mail but the blade simply sliding though the hand would not cutit. Even without a glove of mail, period masters taught that grappling theblade was possible. To quote from DiGrassi:
'And each man is to be advertised that when he finds the enemiesweapon underneath at the hanging ward, he may safely make a seizure: but itwould be done nimbly and with good courage, because he doth then increasetowards his enemy in the straight line, that is to say, increase on pace,and therewithal take hold fast of the enemy's sword, near the hilts thereof,yeah though his hand were naked, and under his own sword presently turninghis hand outwards, which of force wresteth the sword out of the enemy's hand:neither ought he to fear to make seizure with his naked hand, for it is insuch a place, that if he should with his hand encounter a blow, happily itwould not cut because the weapon hath there very small force. All the hazardwill be, if the enemy should draw back his sword, which causeth it to cut.'No matter what, your rapier is your deterrent. Always 'hide' your body behindyour blade and keep your point towards your opponent as best as you are able.
Rapier may be fought at a certain metaphysical level where certain actionstaken by the body are automatic based on the threats that are given. Footworkand defense should be automatic. Your judgement should not be cogitated over;you should know through 'second sight' when you may most easily offend orbe offended by your opponent.
Distance is a crucial element that goes hand in hand with judgement. Ifyour distance is too great to be able to offend your opponent in a timelymanner then you hold your distance too far from your opponent. If your distanceis not great enough then your opponent may more easily offend you.
Time or timing is also very important. If you see an opening but your timingis off in pressing the attack, you are at risk of being injured yourself.The same is true in defense. You must defend in a timely manner to be ableto save yourself from harm's way.
The single rapier
Traditionally two primary targets espoused by Saviolo were the face andthe stomach. Giganti and others of the time showed attacks to the chest andthe face. An attack to the face if not fatal immediately will causea significant amount of bleeding and pain. Thrusts to the belly willcause lingering deaths whereas a thrust to the chest may end the fight muchquicker.
DiGrassi gave five cardinal rules for fighting with a rapier:
1) First, that the right or straight line is of all other the shortest:wherefore if a man would strike in the shortest line, it is requisite thathe strike in the straight line.
2) Secondly, he that is nearest, hitteth soonest. Out of which advertisementa man may reap this profit, that seeing the enemy's sword far off, aloft andready to strike, he may first strike the enemy, before he himself is striken.
3) Thirdly, a circle that goeth compassing beareth more force in the extremetyof the circumference, then in the center thereof.
4) Fourthly, a man may more easily withstand a small than a great force.
5) Fifthly, every motion is accomplished in time.
These basic rules will help in understanding how some of the attacks wereand are to be performed. Silver also taught a similar set of rules.
The first attack that all scholars should learn is the thrust. The scholarshould be able to thrust just hard enough to allow for approximately fourpounds of pressure when contact with the opponent's body is made. The earlytexts indicate that it is a matter of only thrusting so that the depth isa mere three fingers-width to kill an opponent. To quote from DiGrassi:
'Without all doubt, the thrust is to be preferred before the edge-blow,as well because it striketh in less time, as also for that in the said time,it doth more hut. For which consideration, the Romanes (who were victoriousin all enterprises) did accustom their soldiers of the Legions to thrustonly: Alleging for their reason, that blows of the edge, though they weregreat, yet they are very few that are deadly, and that thrusts, though littleand weak, when they enter but iij fingers into the body, are wont to kill.'
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Thrusting attacks may be made above or below the opponent's sword arm andmay be made to their right or left side. Attacks to your opponents rightside above their blade will offer you more protection and will make it harderfor them to counter attack in time to wound you or perform a double-kill.To practice this attack, extend your arm towards your opponent while pointingat the spot that you wish to thrust. Follow up by moving in to hit target.You will always cover distance by making a series of simple advances or across-over. Remember that the full lunge as used in modern fencing was notheavily used until the end of the 17th Century.
The Drill To drill this maneuver the maistro willbring the scholar on line in a standard ward. At the maistro's command thescholar will extend towards target and make sufficient contact to cause injuryin a duel. The scholar should practice hitting different areas on the torso,the head, and the arms.After the scholar has gained a mastery of the thrust the next step is tostudy the cut or blow. Three types of cuts were taught by DiGrassi: cutsfrom the shoulder, the elbow and the wrist.
Although DiGrassi taught that the thrust was superior to the blow, he didteach how to effectively use the cut (as did other masters of the time). Hisphilosophy on the cut or edge-blow may be summarized in his own words:
'I have said elsewhere, that the sword striking frameth eithera circle, either a part of a circle, on which the hand is the center. Andit manifest itself that a wheel, which moveth circularly, is more forcibleand swift in the circumference then towards the center: The which wheel eachsword resembleth in striking. Whereupon it seemeth convenient, that I dividethe sword into four equal parts: of the which that which is most nearestthe hand, as most nigh to the cause, I will call the first part: the nextI will term the second, then the third, then the fourth: which fourth partcontaineth the point of the sword. Of which four parts, the third and forthare to be used to strike withal. For seeing they are near the circumference,they are the most swift.'The tip cut is executed by extending towards your opponent with the tip awayfrom the body instead of towards it. As you draw nearer you execute a wristflip that will quickly drag the tip across the target. Tip cuts were traditionallyused to cut the opponent's wrist, arm, face or stomach. These types of cutscould cause serious injury. The Italians perfected the tip cut and examplesof special rapiers crafted with flared tips may be found in European collections(the Author has seen one such piece in the Royal Armouries at Leeds intheUK).The Drill The maistro will bring the scholar onguard. The maistro will then thrust at the scholar who will then parry thethrust with the off- hand and will tip cut the maistro on the face, swordarm or chest/stomach.
Although cuts issued from the elbow or shoulder are slower they are madewith much more force than a cut issued from the wrist and can cut much deeper.Di Grassi taught the following:
'And if one would in delivering of a great edge-blow, use smallmotion and spend little time he ought as soon as he hath stroken, to drawor slide his sword, thereby causing it to cut: for otherwise an edge-blowis to no purpose, although it be very forcibly delivered, especially whenit lighteth on any soft or limber thing: but being drawn, it doth every waycut greatly.'The Drill The master will bring the scholar on guard.The maistro will then thrust at the scholar who will parry with the off-handand will execute a cut.Practice your thrusts and cuts to master their usage. Trydifferent combinations of thrusts and cuts with foot movement to facilitatestriking your opponent while maintaining your own safety.
Once you have mastered simple thrusts and cuts, it is time to move on tothe study of more advanced techniques: counter- pressure, beats, disengagesand feints.
Counter-pressure covers a wide range of attacks that involving puttingpressure on your opponents blade with your own as you are making the attack.In modern fencing these types of attacks would be called, attacks with opposition,binds, the croise, or the envelopment. In period fencing this type of attackwas typically performed as a counter attack with counter-pressure to theblade (messo tempo). Proper execution of this attack requires impeccable timingand blade control. The purpose of this attack is to carry the opponent's pointaway from your body and to control his/her blade in such a manner that theycannot offend you while you thrust them. The ways are numerous in performingthis type of attack.
The Drill The master will bring the scholar on guard.The maistro will begin a thrust at the scholar's face. The scholar will movetheir hand to fourth and while putting pressure on the blade to take themaster's point out and to the left while thrusting the master in the chestor face.The beat is a technique used to quickly take your opponent's blade outof line. This type of attack may take three forms, the last two related tocounter-pressure. This type of attack is easier to execute with a lighterblade (such as an epee or foil) and may not be of great use when using aheavier weapon like a rapier. One thing that you will need to be careful ofis not telegraphing your beats. You must not start your beat with a backswingof the blade or else your opponent may be able to time an attack during yourpreparation. To execute the beat correctly you should strike your opponent'ssword in the area from the tip to the midpoint of the blade with your bladesomewhere between the midpoint and guard. This will assure that you are ableto temporarily bring their point out of line. The beat prepares for eithera thrust or a cut.
The Drill The master will bring the scholar on guard,both in a low ward. The maistro will then raise his point above that of thescholar. The scholar will beat the inside of the maistro's blade taking thepoint out of line and will execute a thrust to the inside of the maistro'sarm.The disengagement (cavatione) is a simple attack used tofool your opponent into thinking you are attacking in one line when in actualityyou will land in another. The high-low attack in modern fencing is anothertype of attack along this line. The disengagement is made by taking the pointof your weapon in a semicircular motion around your opponent's guard. Likethe beat, this attack is easier to perform with a lighter blade. The disengageis meant to evoke a patterned response from your opponent.The Drill The maistro will come on guard in thelow ward with the point aiming higher than usual. The scholar will extendtheir weapon towards the maistro making it look like a thrust is being madeto the right breast. As the maistro begins a parry of the thrust with theblade the scholar will circle their point under and around the maistro';sguard followed with a thrust to the belly or chest. The feint in period texts is called 'falsing'or 'deceit'. A feint is amove that evokes a response out of your opponent. Early master's such asSaviolo and DiGrassi thought the feint a risky technique. If your opponentdoes not fall for your feint you could be struck in the process of makingit. Typically the feint will start with a thrust or cut at some porion ofthe body that will evoke a parry with the blade. The follow-up to this feintis an attack in another line. DiGrassi was very poignant on this subject.
'For avoiding of this abuse, the best remedy is, that they exercisethemselves in delivering these falses only in sport, and (as I have beforesaid) for their practice and pastime: Resolving themselves for a truth, thatwhen they are to deal with an enemy, & when it is upon danger of theirlives, they must suppose the enemy to be equal to themselves as well in knowledgeas in strength, & accustom themselves to strike in as little time aspossible, and that always being well warded. And as for these falses andslips, they must use them for their exercise and pastimes sake only, andnot presume upon them, except it be against such persons, who are much moreslow, either know not the true principals of this Arte. For deceit or falsingis no other thing, then a blow or thrust delivered, not to the intent tohurt or hit home, but to cause the enemy to discover himself in some part,by means whereof a man may safely hurt him in the same part. And look howmany blows or thrusts there may be given, so many falses or deceits may beused, and a great many more, which shall be declared in their proper place:The defense likewise whereof shall in few words be last of all laid opento you.'I would suggest that you think carefully about using feints and that if youdo use them that you do so infrequently.
Many of the principles covered in single rapier may be applied when usingthe rapier with other weapons or parrying devices. Practice all of the movesdetailed in this section and then experiment to see what attacks will workor not work for you.
Rapier and dagger
Unbeknownst to many is that the dagger was used primarilyas a defensive weapon and not offensive. The reason for this is that to strikeyour opponent you must close distance which is dangerous. If you are closeenough to offend your adversary with a dagger then they may do the same toyou. It is more prudent to use the dagger primarily for defense and onlysecondarily for offense. DiGrassi taught that the thrust should mainly beused when defending with the dagger:
'In the second way, which is framed with the right foot behind,the sword aloft, and the dagger before, & borne as afore said, he oughtin like sort discharge a thrust as forcibly as he may, with the increase ofa straight pace, staying himself in the low ward. Neither ought any man inthe handling of these weapons to assure himself to deliver edgeblows, becausehe, knoweth that there is an other weapon (and happily the weaker) to defendhimself and strike with the stronger. The which stroke is painfully wardedby him, who hath already bestowed all his force and power, in delivering thesaid edgeblow, by means whereof, because there remaineth in him small powerto withstand any great encounter, let him provide to thrust only.'There are two types of stances that may be used with the dagger. The standardright foot forward stance as used with a single rapier and the left foot forwardstance. Each has its advantages but in the author's opinion, when employinga dagger, the left foot forward stance should be used.
No matter which stance you use, the grip on the dagger will be the same.There are two different ways to hold the dagger. The first is performed byholding your dagger in the hand so that the tip of the dagger points down(hilt of the dagger near the edge/pinky finger of the hand). This type ofgrip is most efficient for guarding against thrusts or light cuts aimed belowthe dagger hand and may be very dangerous for the novice to employ. I wouldsuggest using a right foot forward stance if using this grip. This stancewill give you more time to defend against high-line attacks. To use thistype of grip in an offensive manner will be more difficult than with thetraditional dagger grip (to be discussed later). All attacks with the daggerwill be made with a downward thrust. Doing so means that you must close distancewith your opponent giving them ample time to cut or thrust you in the process.
The traditional dagger grip is made by holding the handle of the daggerwith the blade pointing up in the hand (dagger hilt just above the thumb andforefinger) and when possible putting the thumb against the back of the flatsof the dagger blade. Then, with a simple bending of the wrist the point ofthe dagger may be aimed directly at your opponent (the author's preferredgrip), up, or down. It is also suggested that you use the left foot forwardstance with this dagger grip. With this grip you may easily parry high orlow thrusts and cuts to the left side of the body. The left foot forwardstance brings your dagger closer to your opponent and allows you to morequickly beat aside or bind their blade. It is suggested that you hold yourdagger in the opposite guard from the rapier. If your rapier is held in thelow guard, hold your dagger in high, etc. Almost all attacks from the leftfoot forward stance with a dagger will be made by performing a crossoverto gain distance.
Drills Coming on guard with a left foot forwardstance, the scholar should point the dagger directly at the maistro. The scholarwill then simultaneously step in and take the maistro's blade out of line.In the meantime the scholar will thrust at the maistro's face or stomach.The maistro will perform a low thrust and the scholar will parry the thrustto the left side followed by a thrust to the maistro's face.
The dagger may also be used in a pseudo-offensive manner. I call this typeof maneuver a dagger sweep. Basically the idea is to attack your opponent'sblade, not their body, with the dagger, taking their blade out of line. Thesweep must be followed immediately with a thrust to the opponent's bellyor face. After the thrust lands (or in the event that you miss) you mustquickly come back on guard keeping the dagger and sword in front of you ina defensive posture.
Drills Coming on guard with a left foot forwardstance, the scholar should point the dagger directly at the maistro. The maistrowill then come on guard in the high ward (right foot forward) with the swordarm extended out towards the scholar. The scholar will extend the daggerout and over the maistro's sword with the point down and will push the sworddown and away from the body. The scholar will then thrust the maistro inthe face or the belly.Practice different combinations of guards and attacks withthe dagger to become proficient with its use. Rapier and cloak
Another off-hand weapon that would have been easily at hand to a Renaissanceduelist was the cloak. DiGrassi advocated the use of the cloak for rapierfighting and maintained that it could be a very effective tool. However, usinga cloak may be a boon or a bane. Fighting cloaks should be made out of stiffmaterial and should be smaller than larger in size. A late 16th or early17th Century cape would be appropriate. The cape should be sturdy enoughto withstand the abuse of being cut or thrust with a rapier. DiGrassi maintainedthat three things must be considered in using the cloak: its length, largenessand flexibility.
'The use whereof was first found out by chance and after reducedinto art. Neither was this for any other cause, then for that nature dothnot only delight to invent things, but also to preserve them being invented.And that she may the better do it, she taketh for her help all those thingsthat are commodious for her. Wherefore, as men in diverse accidents have casuallyproved, that the Cloak helpeth greatly (for as much as they are to wear itdaily) they have devised how they may behave themselves in all that, in whichthe Cloak may serve their turn. . . As the Cloak in this Art, hath in it three things to be considered, towit: length, largeness, and flexibility: so it is to be wayed how far eachof these will stretch, to serve the turn.'
The cloak, although not a strong thing in and of itself, lends itself to defensebecause of its very nature. Being long, it may guard against cuts to theside. Being flexible, it will absorb the strength of the blow. It may alsobe used to turn a thrust to the side or to entrap the blade.Typically the cape is held either by the collar or at one edge close tothe hem. In the on guard it should be held out from the body and should drapedown from the hand. If you have a long cape or cloak you may fold the cloakonce or twice around the hand and forearm. You must assure that you do notobscure your sight with the cloak. This can prove to be a deadly maneuver.The cloak may also be worn when being employed for defense. In this instanceyou would grab the cloak by the hem and use it almost as a shield.
A point to remember in these cases is that the flexibility of the cloakis what protects. If a cut lands on a cloak that is against a solid surface(i.e. your arm, leg or flank) the protection is lost and you will be cut throughthe cloak.
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The cloak may also be used offensively. Holding the cloak by the collaror hem it may be used to entangle a blade or beat it to the side giving youthe time to offend your opponent. It may also be thrown over your opponent'shead thus blinding them temporarily. Throwing the cloak is dangerous in thatyou may lose it and not accomplish your aims. It may also be twirled or flickedat your opponent to confuse them. They will not know if you are trying toblind them with a throw or are maneuvering to entangle their blade.
Drills Coming on guard with a right foot forwardstance, the scholar should hold their rapier in the high guard and holdingthe cloak by the collar wrap it once about the forearm. Hold the cloak aslight ways out from the body, the arm parallel to the ground and the elbowbent. The maistro will chest cut the scholar who will absorb the force ofthe cut with the cloak and will deliver a thrust to the face of the maistro.The scholar will come on guard in the same fashion as previously shownexcept that the cloak will be firmly gripped at the collar, falling away fromthe hand. The scholar will use the cloak in an offensive fashion to beator entangle the maistro's blade and will thrust to the maistro's face.
Rapier and buckler'As the form of the Buckler, is round and small, and ought tobe a shield & safeguard of the whole body, which is far greater thenit: So it is to be understood how it may accomplish the same, being a matterin a manner impossible. Let every one therefore know, that the little Buckler is not equal inbigness to the body simply, but after a certain sort or manner, from whichspringeth this commodity, that he which understand it, shall be resolved ofthe manner how to bear and handle it, and shall know that in it, which shallnot only advantage him in the use thereof, but also of many other weapons.'
DiGrassiThe buckler was a small shield intended to parry an opponents blade orto trap it depending upon construction. Bucklers should be round and betweentwelve and twenty-four inches in diameter. They must be constructed of materialsthat will not easily break and that will not harm a blade. There should beno sharp edges or points on the buckler. The edge should be covered withleather or some other pliable material. You should attach some sort of strap(you may also use dresser drawer handles) to the back of the buckler thatwill allow you to hold the buckler firmly. Make sure that the screws or rivetsare tight and that no points project or could project out the front of thebuckler. On some bucklers a large cross (X) was placed on the front to helpin trapping the point of the opponents blade.
Effective use of the buckler comes with frequent practice. A savvy duelistis able to out-maneuver the buckler to cause injury. There are two tacticsthat you may use when employing the buckler. The first is to take a left footforward stance and to hold the buckler at chest height out in front of you.The rapier is held in a broad ward typically. The buckler is then used todivert the opponents blade to the outside (left) and you follow up with athrust or cut. The second method is to take a standard guard and to holdthe buckler with a bent arm close to the body. The buckler should still beheld at chest height. It is still used to parry thrusts and cuts to the outside.Again, you would follow the parry with a thrust or cut.
Traditionally the buckler was also use offensively. Period examples ofbucklers have spikes set into their face to be used offensively. The smallbucklers could be used to punch with and large bucklers or targets couldbe swung in such a manner as to strike the opponent with the edge. Thesestrategies may not be employed safely in period fencing.
Drill Taking a left foot forward stance, the scholarwill hold the buckler out in front at chest height and will hold the rapierin a broad ward. The maistro will thrust or cut at the scholar who will parryto the outside with the buckler and will return a thrust to the face or bellyof the maistro. Case of rapiersThe case of rapiers is most deservedly the deadliest of the rapier forms;to the defender and the offender. This fighting style will take the longesttime to master and without great care and practice will be more of a baneto the student than a boon.
The primary thing to remember is that one blade is always used for defensewhile the other is used for offense. It does not matter which is used foroffense and defense and during the course of the fight they may change.
The placement of the feet and body are very important to successful useof a brace of rapiers. Your stance should start off with your favored handforward and in the high guard. As you become more proficient this may change.You should hold your 'off-hand' in the low ward, thus keeping your tips separatedall the while defending your high and your low lines. As you defend witheither the right or the left hand make your counter attacks with the oppositehand. Also, maintain your upper body square to your adversary, keeping yourweight balanced between your legs. 'Reach' out a bit towards your opponent,keeping him/her at bay.
When fighting with a brace of rapiers there are a number of pitfalls thatbeginners will fall into. The first is keeping the points too close together.If you allow the tips of your blades to be too close together you are invitingyour opponent to sweep both of your blades aside with one of his followingthe sweep with an attack. With both of your blades out of line, it will bevery hard for you to defend yourself. The second pitfall is in your offense.There is a tendency to do what I call a windmill attack. That is where aperson blindly attacks either by cuts or thrusts in a windmill fashion. Anadept fencer can easily stay out of distance in this type of attack and counterattack in time once her/his adversary's 'steam' runs out.
Drill The maistro will bring the scholar on guardin the beginning stance. The maistro will then thrust high and to the inside.The scholar will parry high inside (left) and will thrust to the face of themaistro with their primary weapon. The maistro will then attack low to theoutside. The scholar will parry to the right and will thrust with the oppositehand to the maistro's underarm. The following is the beginning of DiGrassi's discourseon the case of rapiers:'There are also used now adays, as well in the schools, as inthe lists, two swords or rapiers, admitted and approved both of Princes, andof professors of this art, for honorable and knightly weapons, albeit theyare not used in wars. Wherefore I shall not vary from my purpose, if I reasonalso of these, as fair as is agreeable to true art. To him that would handlethese weapons, it is necessary that he ca as well manage the left hand asthe right, which thing shall be (if not necessary) yet most profitable inevery other kind of weapon. But in these principally he is to resolve himself,that he can do no good, without that kind of nimbleness and dexterity. Forseeing they are two weapons, & yet of one self same kind, they oughtto equally and indifferently to be handled, the one performing that whichthe other doth, & every of them being apt as well to strike as defend.And therefore a man ought to accustom his body, armes and hands as well tostrike as to defend. And he which is not much practiced and excercised therein,ought not to make profession of this Art: for he shall find himself utterlydeceived.'Drill The maistro will bring the scholar on guardin the beginning stance. The maistro will then come on guard with the tipsof his swords too close together. The scholar will sweep the blades out ofline and will deliver a thrust to the maistro's stomach. Practice the sweepand thrust with both left and right hands.Practice different ward and attack combinations to mostfully make use of this fighting form.
Conclusion
Rapier combat takes years to perfect. The varied number of weapons andparrying devices that may be safely employed are as varied as the imagination.After some twenty years of fencing and over 5 years of fighting rapier Istill find myself learning new moves and perfecting old ones. The main thingto remember is that for you to be proficient with a rapier you must practiceregularly. Once every few months is not enough. Being well practiced willhelp you in the long run no matter if you will be competing with rapier orwill be using these skills in the theater.
As you will doubt have noticed, the author has chosen quotes primarilyfrom DiGrassi to illustrate specific points. It is in the author's opinionthat DiGrassi provides the finest instruction on period techniques. His examplesand discussions go into more depth than Saviolo or Silver. In the case ofSaviolo, DiGrassi covers the use of rapier with dagger, cloak, buckler andas the case of rapiers whereas Saviolo only covers the single rapier andrapier and dagger. Silver's thrust is more for the sword and so deviatesfrom the art of defense with rapier.
PERIOD CLOTHING
As the quote goes, 'Clothing makes the man' or woman. The Gentle Men andWomen of the period took part in fence. Schools abounded and the gentile triedto master the arte. Being of a more elite nature, the fencers of the erawore fancier dress than those of a baser nature who fought with only bucklerand sword.
In order to look the part of a Renaissance duelist, you should study theclothing worn during the period of the rapier's heyday, 1550-1600, approximatelythe Elizabethan period. A man's outfit will consist of a long sleeved shirt,a doublet of fine material or leather, a pair of trunkhose, slops or venetians(pants), stockings and boots or flat-soled leather shoes. A woman will weara chemise, doublet or bodice, skirts, hose and shoes or boots. Proper materialsfor the chemise and shirt are cottons, linen or silk. Please steer away fromman-made materials like polyesters since they do not look right and are veryhot in warm weather. For your doublet or bodice you should pick a heavy materiallike a cotton velveteen, brocade or corduroy. Tapestry cloth may also beused. Linings should be of cotton or silk. There is also evidence of satinsbeing used for doublets and pants or skirts. Typically the pants and skirtswhere made from the same or a complementary/matching material as the doublet/bodice.
ARMORING
Proper equipment is the most important thing for your safety when fightingrapier.
One note must be made regarding the use of modern equipment. Modern fencingblades are not intended to be used in what may be termed period fencing.The act of performing a correct cut with an epee or foil will stress theblade in ways that were not intended. The use of epee, foil or sabre shouldbe kept for what they are intended; modern fencing. Theatrical fencing blades(schlager or del tin, preferably del tin) should be the blade of choice tocorrectly fight rapier. These blades are available from Scottie Arms, TriplettArms, American Fencing Supply and other retailers. They are sturdy bladesthat will resist breakage and that have enough flex and spring to avoid injury.In fact, in the author's 25+ years of fencing, he has seen dozens of modernblades break. He has been using schlager blades for close to 10 years anddel tin blades for close to two years and has personally never seen one break.With these blades, full grappling, cloaks, and blade catching daggers maybe employed safely.
You must wear a protective jacket (doublet) with sufficient padding tominimize blunt trauma to the body. All combatants must wear three-weapon olympic-stylefencing masks to protect the face, some covering to protect the back of thehead and a heavy leather or metal gorget to protect the throat. Men mustwear a cup and women should wear breast protectors and padded groin protection(breast protectors are available through fencing supply houses). Heavy leathergauntlets are also to be worn on both hands. No bare skin should be visible.
CHOREOGRAPHING DEMONSTRATIONS
It is not within the scope of this manuscript to fully teach the art ofchoreography. However, I will touch upon a few points that will help.
First, you MUST maintain order when performing demonstrations that consistof 'fighting' without full protective equipment. All fight sequences mustbe drilled and known perfectly by both duelists. You should not take partin what I call 'open choreography'. All moves must be well rehearsed. Usethe following guidelines to help in choreographing your routines:
Make your attacks look like they would land on the body if successful.
Never thrust at the face or upper body, all thrusts are made to the belly.
All cuts are to be pulled so the blade will stop 2-3 inches from the body.
Make all attacks look like you are using a heavy blade as was used in theperiod.
You are working with a partner, not an opponent!
Position yourselves so that the killing or wounding blows will appear tobe so from the audiences perspective.
take care to know exactly where the audience and other members of the castare standing so as not to put them in jeopardy.
Always maintain eye contact with your partner. Never initiate an attackunless you have that contact.
Try and wear costuming appropriate to the era you are trying to portray.The costumes in the figure just above are based on patterns from 1550 to 1650,the high point of dueling with the rapier.
A number of fine books and videos are available on the subject of choreography.One of each that I would suggest are:
Stage Fights: A Simple Handbook of Techniques by Gilbert Gordan and 'TheBlow to Blow Guide to Swordfighting in the Renaissance Style written andpresented by Mike Loades.
PARTIAL BIBLIOGRAPHY
SOURCES FOR WEAPONS, ARMOR AND MANUALS
Weapons and Armor
I hope that you have found some useful information in this work. If you wouldlike to contact me to share information or talk about period fencing, youmay reach me at the email address [email protected]Elizabethan Rapier Sword
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