DiGrasse's Rapier Fencing Manual
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Safety means:
1) Being more skilled, trained, in better physical condition than your opponent.
2) Doing nothing that may yield a double kill. (If the chance of a double kill is 10%, yo
a 45% chance of surviving against an equal opponent.)
3) Having a readiness to win - to kill; confident aggression.
DiGrasse and his peers advocated a style of fencing that emphasized the thrust with ligh
point weapons and high speed movement. This style rendered obsolete the earlier form
backsword play which relied on the cut.
It is interesting to note that Saviolo writing in English freely uses Italian terminology su
imbrocatta, squalanbrato, etc., while di Grasse's translator was careful to use only comm
terms. George Silver, a contemporary champion of the good old fashioned English way
mocks both the Italian words and the very concept of rapier play. However, even he use
Italian jargon by the time of his second work, and certainly the use of Italian was comm
fashionable by 1600. Shakespeare uses fencing terms such as "stocatta" in Romeo and J
other plays. Undoubtedly this was due to some extent to the credit of Saviolio himself,
teacher of defense for the cream of English society.
This new fashion was in turn superseded by a fundamental change in fencing technolog
fashion around 1660. "Small sword" techniques, dominated by the French School, repla
techniques, which had been dominated by Italian masters such as diGrasse and Saviolio
consequence is that modern fencing jargon is based largely on 1660 French language. I
terminology of one generation earlier is, as is rapier play itself, now archaic and disused
the realm of theater and reenactment.
As a translator/interpreter I took many liberties with translator IG's words to be true to spirit. Pleas
when you wish to quote DiGrasse. The 1694 manuscript is available from Syke's Sutlering (Falcon
edition).
A partial online version of IG's 1694 diGrasse transcribed by Steve Hick is at: http://www.cs.unc.e
/digrassi/
The original Italian manuscript in facsimile is available from William Wilson at : http://www.cs.u
/~hudson/digrassi/
Comments or questions? I'll be happy to hear from you: Rick Orli
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what I do most often. Theatrical 'combat' is a dance, where you and your partner adhere
plan and know the rhythm by heart. In contrast, non-theatrical real Combat means you k
plans a strict secret from your enemy, and if you detect a rhythm in her moves, you use
knowledge to, figuratively speaking, stomp hard with the big boot. In theatrical fencingmaintaining eye contact to pick up subtle cues, designing phrases to consist of cue-actio
maintaining a measure 'out of distance', mis-directed blows, etc. all play a part in makin
effective and safe presentation. These issues are not discussed here.
Nor is the subject competitive sport fencing or using pseudo-rapiers. As I discuss below
modern sport of epee is competitive fencing using pseudo-smallswords, which started o
true dueling simulation but grew to be false to the spirit of combat or dueling (even whi
lot of fun and good sport). Any well-intentioned effort to do the same with pseudo-rapidoomed to the same end for the same reasons.
The subject here is the methods, technique and mindset for training for combat or dueli
diGrasse intended, (or as best as we can research and as near as we can guess). This is a
study exercise, and from this base you can go where you will.
In discussion I assume knowledge of fencing. Here is a test for you. Do you know the d
among a prise de fer (beat parry with the foible/weak/tip part of blade), a 'regular parry
forte/strong part of blade) and a glasse or bind (exclusion made with constant blade conas in a time thrust)? And I don't mean theoretical... I mean, viscerally do you know the
what it feels like to do each of these correctly, because you have done each many times
not, then you do not have the intermediate level (2nd year) of training necessary to kno
am talking about in this tutorial, nor do you have the background necessary to study on
By the way, I'm not prejudiced solely in favor of modern western fencing. If you had st
Kendo or Philippine stick fighting for a good solid year or two, I bet you would know e
I was talking about above even if you had never heard of a 'prise de fer' (you can alwayup...(ah, might be like the kaeshi waza...)) and you would be ready also.
Nor can I say in words the correct 'feel' for executing a parry - how to make it snappy y
how not to either over or under parry, or how to make a thrust fast yet smooth. These ar
learned only by hands-on practice, with the assistance of an instructor. DiGrasse believ
man might be self-taught... that may have been true then because it would have been po
observe, in daily life, good swordsmen in practice and bouting, and chances were your
sparring buddies would have included someone who had had basic training. Today, thanot the case. The visual image of rapier play you may be straining under might have co
'bish-bash-bam' Errol Flyn movies, or from the comic-fantastical combat in the Highlan
or even Star Wars. Please believe me when I say that that type of 'movie knowledge' is
total ignorance (although check out Kurasawa's 'Roshamon' for a thoughtful film comm
fantasy versus 'real' dueling).
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I am not even going to argue that it's all transferable knowledge. As a matter of fact any
interested in becoming a first rate sport fencer should notlearn rapier. Basic things like
footwork and even the timing is all different. It can even hurt a bit if your objective is Ronly... If I am in a competitive situation where I want to hit my opponent, I turn into a c
modern fencer with a rapier in my hand - I can't help myself, I was too well trained for
years, er, decades. Also, to be frank, some of the rapier moves just don't seem that great
been up against the US national champion and Olympic medallists, and if I imagine stic
rapier into their hands, can I see getting away with a 'traverse' against them? NO WAY!
core of it all, is how to move with a sword in hand - and to learn that you have to spend
time moving with a sword in your hand.
This material should not be considered as a 'how to' manual for beginners, but as a reso
experienced fencers who want to find out a bit about the rapier and 17th C. fencing tech
OK, so your taking up sport fencing, what kind? Of the modern fencing weapons, Foil
learn for similarity to real combat fencing. Why? Because foil was invented as training
dueling with the small sword, around 1670-1680. People nowadays dismiss it and dis it
is lightweight, but mostly because of all the 'rules'. They say, real fightn' ain't got no rul
True it is lightweight, but it is only a tad lighter than the small-sword it is trying to simuI'm here to tell you that there are only two rules in foil, and they are not made up BS jus
your style, but real good advice designed to save your hide in a duel:
Rule 1) Don't waste time trying to hit where you can't kill (e.g., chest yes, ankle no).
Rule 2) Never do anything that will result in your own death. (e.g. suicide is bad)
The foil 'rules' were devised by 17th Century fencing experts (who had fought in and su
duels) as a means to teach their sons, cousins, and friends how to conduct themselves inthat they might win. So for example, the rule about avoiding death is expanded to say s
like... 'if your opponent is stabbing at your heart with a sharp thing, better run, dodge, o
before you even think about doing anything else'. The foil fencing rule book had to say
several pages, and used several dozen pages to explain exactly what constitutes an attac
and so on. Rules that codify what is and is not 'good' are necessary when people are pla
safety gear, since without the negative reinforcement of dying as a consequence of erro
easily degenerates into simultaneous whacking nonsense with people arguing about wh
first or who hit harder. Since the deadly use of the rapier is not as common today as it win the province of Grasse, a student's casual observations and guesses cannot be trusted
a 'reality check'.
Once people found that this swordplay stuff was a lot of fun to do, it became a sport an
book quadrupled in size again to include sportsmanship and scorekeeping guidance. As
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eliminating "right of way" rules and allowing the whole body to be a target. However, o
original mechanisms designed to force realism... single hit elimination, and simultaneou
double elimination, was quickly tossed aside to allow prominence to the sporting aspec
duel simulation perspective the result was total disaster, teaching mastery of weird suicattitudes and dangerous moves. Epeeists specialize in calculations such as: this move re
simultaneous hit 50% of the time, 23% I win a clean hit, 12% my opponent gets a clean
15% no hit.... I should do it all the time. (Rephrased: A move that would result in my de
the time is great!) This bogus calculation also affects foil multi-point bouts, but at least
individual phrase in a bout is tested against a style template to maintain some degree of
sound dueling technique, if not necessarily attitude.
A NOTE ON KIDS AND LEARNING
I am often asked.... How old should one be to learn? Best is about age 7 or 8, second be
third best age 10... you get my drift. That is, modern fencing. I would not encourage lea
until the late teen years. If you are a kid, or are responsible for a kid, you should know
serious fencing school that wants to produce champions LOVES to give lessons to kids
Further Reading:
Joseph Swetnam, by William Wilson
Jakob Sutor, Knstliches Fechtbuch , , by Peter Valentine
Art of the Sword , by Rick Orli
Targeteer, by Rick Orli
William Hope, The Complete Fencing Master,by Rick Orli
Polish Sabre Fencing - 16th-18th C.
My 17th C. Polish Horse Artillery reenactment group
My Janissaryand Byzantinegroups
John Clement's "Historical Armed Combat Association"has a great collection of stuff and pointe
internet sources.
Szczepan Twardoch's Polish Language Historical Fencing www.fechtunek.republika.pl
Also:
http://www swordplay symposium com/Default htm
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Peter Valentine Peter Valentine - Provided scanned illustrations of Jakob Suter. All Suter im
copyright Peter Valentine.
Robert Gonia - Participated in and helped develop the many Rapier demonstrations.
Fred Schlop - Target and Pike demonstration.
Brian - Partisan and Muskette Butte demonstration.
William Wilson, - Provided scanned illustrations from the original Italian diGrasse. All Ita
diGrasse images are copyright William Wilson.
Basics Review: Movement, Measure, the Thrust, and the Cut.
Rapier Technique Demo
*
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1994, 2000
Richard J. Orli - Credits
Di Grasse - His true Art of Defense
Basics Review:
Movement, Measure, the Thrust, and the Cut.
BASICS
MENU
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diGrasse
illustrations show arather non-athletic
'stand-up' stance.
Stance
The period manuals describe a wide range of rapier stances. The figure illustrates this
extreme range, and I can point to examples of each, even what I call the 'tennis stance,'
in the period literature. The average seems to be similar to the 'rapier stance', with early
period rapier tending to the 'boxing stance', and later period (including di Grasse'srecommendation ca.1590) more to the 'foil stance'.
The following two stances show ways in which one might 'steal a pace.' The
Kendo-like stance is on the ball of the left foot. The third way, like that taught to epee
fencers today, is like the foil stance above, but feet close together.
The di Grasse illustration shows a 'stand-up' form, whereas Robert and I are much
lower, with knees more bent. This is a tricky point. A few years ago, I thought that the
di Grasse woodblock prints were just artistically wooden, and did not show the
athleticism of the form accurately. However I believe now that the diGrasse
illustrations are accurate, although they clearly do not show the necessary athleticism.
WARNINGSwordplay can
dangerous i
improperly pract
Routines shoul
practiced only u
the qualified
supervision o
fencing instructby an Americ
Society of Fig
Directors instruc
The video clips
staged (carefu
choreographed)
well-practiced m
done by experts.
sort of 'free' fenc
play demands th
of modern spofencing equipm
including facem
and
flexible/lightwi
swords (such as
or epees).
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Sprinter's 'Set'(fromMarco Steybe)
A pass as fleche
from Jakob Sutor
(all Sutor images are copyright
Peter Valentine)
'Magic Circle' footwork
pattern, after Girard
Thibault
'vertical'. I also researched the sprinter analogy, because it is surely the one athletic
stance designed for maximum forward acceleration. The modern sprinter's practice is,
according to Marco Steybe: "In a set position, the arms should be perpendicular to the
track, shoulders
directly above the hands, and the front and rear leg angles 90 and 120 degrees,respectively". (Close to the 110-130 degrees recommended leg angle for modern foil,
also about what is shown in the Jakob Suter illustrations, while the rear leg angle in
Kendo is about 155-165 degrees.) There may be something in the claim that there is
more immediate power in an only slightly bent leg, and perhaps it is sometimes more
important to travel 8 inches very fast than 18 inches fast.
A year ago I wrote:"Although I am not sure if I believe my Kendo master's assertion
that this is the 'best' form, for now I accept that claim at face value, at least when I
practice Kendo. I'll reassess this point as I gain more experience using a 'stand-up'
stance. It is nevertheless now easier for me to accept that diGrasse's illustrator showed
what diGrasse would have considered to be correct rapier form, and I will work on
adopting a slightly more 'stand-up' stance in my rapier practice."
After a year and a lot of practice, I understand the Kendo-style footwork better, and
where it is getting its energy from. It is only partially from the big leg muscles that
connect from the knee - it uses the calf muscles much more, but more importantly it
uses the hip. The hip movement lifts the lead knee while driving the groin down, so that
the extending leg and flexing calf drive the body forward rather than up. It has the
equivalent speed and range - maybe even slightly longer range - of a modern lunge. It
does not usually stop like a lunge, but rather, like a pass or fleche, tends to result in
closing with or running past the opponent; this might be a disadvantage, but the Kendo
folks don't think so. At any rate, it can be executed such that it stops cold. I also think
it has an advantage over the modern footwork style in conditions of uneven or slippery
footing. I am now convinced that diGrasse practiced footwork of this type. I will try to
replace the illustrations with better representations of deGrasse's footwork.
Movement
Advance, of three types
- Pass - pace such that back foot crosses in front of the lead foot, like walking. When
fast, equal to 'fleche', modern fencing running attack. Time the hit to land exactly when
the foot strikes the floor. (Some modern interperters say the pass should stop cold, like
a modern lunge; my reading is that that is sometimes the intent, but more often the pass
is intended to continue to close with or slip by the opponent)
- Increase of pace (Lunge) - driving body and lead foot forward by straightening the
rear leg.
- Half pace - rear foot moving forward, such as from rapier stance to tennis stance, or,
fencing step (like modern advance, front foot leads followed by back foot in a crab-like
step.)
Figure after Frederico Ghisliero, notice modern-fencing style foot alignment and
the lunge (Increase of Pace).
Retreat - movement backward, pass or half-pace.
Pass
Pass
Rapier2.a
(1010632
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Pass + Pass
Rapier2.a
(1010632
bytes)
Increase of Pa
Rapier2.a(1010632
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Encroach Le
Encroach Le
Thwart
Rapier2.a(1010632
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Traverse
Rapier2 a
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Quatre = Demi
Volte
Exercise: Practice
these moves as
unarmed evasions,
against an armed
adversary doing a
simple straight
pass.
Note: Footworkshould be practiced
every day without
fail.
Demi Volte - movement to side or diagonal, spinning the body away while driving back
with the lead foot
Volte - Continuation of spinning motion to 180 degrees, usually as an attack developing
from a defense, or a surprise attack from what might have initially appeared to be a
Demi Volte.
Figure from Jacob Sutor
Perhaps, a Volte
When approaching your opponent, but just outside of measure, stride firmly with an
athletic posture, gut in, back straight, head up, with the knees at least slightly bent.
With few exceptions, all movement within distance must be crisp and forcible. To walk,
one uses just enough muscle power to move to the balance point, and then gravity takes
over. In contrast, a fencing lunge or fencing step uses vigorous muscle power to move
the entire distance - consider how in a modern fencing lunge the muscles straighten the
driving leg to propel the body forward. To execute a slip to evade your opponents
thrust you must drive your body to the side with the same speed and energy, using thesame movement principle.
Consider closely that the purpose is to first move your target area (torso/head) to safety,
not your leading foot. I emphasize this because in repetitive practice it is tempting to
rhythmically use smooth dance-like movements like: "first the lead foot goes, plant it,
then follow-up by moving the body." That is not the point! When you do a slip to avoid
a mortal attack, you do so abruptly, instantly, and with no warning to your opponent of
the direction in which you are moving. However, that does not mean that fencing
footwork is coarse or jerky; with practice, correct movements are done so smoothly that
they seem light and dance-like to an observer.
Measure (or "Distance")
'In distance' is the point where your opponent can strike you in a single move. In
Rapier, the range of a pass is 2.5-3 meters (9-12 feet), and with a step-pass about 4-5
meters. When you are within distance of a single pass, you must immediately either
strike or withdraw standing in place gives a great advantage to your opponent so is
DemiVolte
Rapier2.a
(1010632
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Volte
Rapier2.a(1010632
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Danger zones -
range from whic
fencer in the lo
left can strik
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Exercise: Practice
a distance 'key
drill'. Have your
partner measure
out a long attack on
the pass, and you
stand right where
the point ends. Thenas he advances or
retreats, or moves
to the side, you
keep the same
relative position,
retreating,
advancing and
traversing as
required, keeping in
good balance and
practicing the mosteffective movement
technique. Then
take a position at a
diagonal, and keep
that relative
position. This is
great exercise,
especially if you are
not the 'key'!
The figure illustrates the relative danger zones.
Measure is a fluid concept, as it depends on your opponents athletic abilities and reach,
as well as her current stance and the ground conditions. Consider that men who were
the Joe Montanas or Michael Jordans of the 17th Century, seeking a physical outlet fortheir talents, could have found more fame and fortune as fencers than in most any other
pursuit. A great athlete can strike in a blink from an amazing distance - like from the
far side of a large room.
The red zone is easy range for an increase of pace, yellow is range for a pass, and white
is range for a step-pass. The boundary of yellow to white is 'in distance' in rapier,
although any inattention in the white zone can spell instant disaster. The figure shows
the danger areas typical of facing only an average-height club-level fencer. Add 1/2
meter to the red, 1 meter to the yellow, and 1 1/2 meters to the white when facing a tall
superb athlete.
Notice that when closing with your opponent, you pass from the most dangerous area to
safer areas. Any closer than a few feet and a punch from your opponent's rapier guard
or pommel becomes a more dangerous threat than his rapier point. The area adjacent to
the back shoulder is a 'safe' area, for that instant, from any blow except from the elbow.
The point of many encroachment moves is to move into 'safe(er)' areas to your
opponents back or side, from which you may be psychologically more ready to strike
than your opponent. Some pass attacks should not stop if failed (which is at a point of
maximum danger) but continue in an accelerating run close past your opponent's
shoulder like the modernfleche.Alternatively, fall off from your opponent's flank with
a sort of a slip to the side (changing the axis of the engagement 90o). Alternatively,
crash into your opponent (especially if your opponent's left hand does not contain a
dagger).
Unfortunately, a taller opponent has a comfort zone where you are in his distance, while
he is outside of your range. This zone must be studiously avoided while taking your
opponent's measure, and on your attack must be crossed with aclarity.
Full Cut
Rapier2.a
(1010632
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Moulanie Cu
Rapier2.a
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Scramacioni =
flicking cut to the
face
WARNING!
THIS IS NOT
INTENDED AS
SWORDPLAY
INSTRUCTION
FOR BEGINNERS.
****************
Rick's true confession.
As a fencing instructor
with a lot of experience
finding fault, I watch
these clips and say to
myself, "man, you
stink." Most of the clips
are, of course,
deliberately slow and
the moves large so that
the average reader can
see what is going on,
and I'm not talking
about that. N or am I
referring to the fact that
I look like a potato,
since the 1620 fashion is
supposed to make the
wearer look like a man
of substance (e.g, a
potato). The main thing
bad about my form is
my bad posture, and the
way my shoulders are
tight and my neck is
hunched down. If I
were coaching myselffrom the sidelines I
would not have put up
with that for a second.
That's a bad habit I had
when I was a young
competitive fencer that I
eventually overcame,
but I guess it crept back
in. The second thing is
After a few weeks or months of disciplined practice, reduce the length of the pause so
that it eventually ceases to exist, and your attack is smooth and fast yet always starts
with the extending arm.
Cut or Edgeblow
The cut is unlike the modern sport saber cut, which is executed by extending the arm
and cutting using the fingers. Or rather, I should specify that that sort of cut was ok as a
flicking cut to the face. However, a proper cut has to have the force of a baseball bat to
cut any target other than the face. (That is a challenge, since the lightweight rapier,
especially mid-17th C. rapiers, did not have sufficient mass to readily provide the
necessary momentum.) To properly execute a cut, the arms, shoulder, and feet have to
combine in one mighty movement not unlike a baseball bat swing (which maximizes
momentum; or alternatively, like cracking a whip, which maximizes blade speed). The
second choice is a 'moulanet' (windmill) where the arm extends straight, but using the
wrist the point drops down and swings around in an arc to give the blow momentum.
As diGrasse states, the rapier is simply not a cutting
weapon, and he and all period writers discussing rapier
discourage the use of the edgeblow except in moments of
special opportunity.
Proper Set-up for Cut,From Jacob Suter
Blocks or Wards
DiGrasse's section on Wards covers the starting 'on guard' positions. The photos
illustrate the basic 'blocks' (parry) positions. Rapier blocks are somewhat wider or
'bigger' than foil parries, and are exaggerated here. A fast, economical defense should
make an attack miss by an inch or two, not a foot.
Inside high line (Modern Parry Prime)
Inside lowline (Seven)
Inside High Line (Four)
Outside High Line (Three)
WARNING
Swordplay candangerous i
improperly pract
Routines shoul
practiced only u
the qualified
supervision o
fencing instruct
by an Americ
Society of Fig
Directors instruc
The video clips staged (carefu
choreographed)
well-practiced m
done by experts.
sort of 'free' fenc
play demands th
of modern spo
fencing equipm
including facem
and
flexible/lightwiswords (such as
or epees).
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Head Block (Five) from right to left, may
also be from left to right.
Di Grasse - His True Art of Defense (Rapier Combat) - II. The Sword
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1994, 2000 Richard J. Orli -
Credits Di Grasse - His true Art of Defense
The First Part - The Basics
II
MENU
BASICS
PREVIOUS
NEXT
Time of Advantage - a
moment of opportunity
during which a strike
may be safely delivered.
Foible (weak torque for
parry) - parts 4 and 3
Forte (strong) - parts 1
and 2
II. The Sword
.O f all weapons a man may use, none is more honorable,handy, useful or safe than the sword. The sword offers two
tools - edge and point. Weather you cut or thrust you must
observe the time of advantage- when your sword is more near
and more ready to strike than the enemy's.
This principle is easiest to apply against edgeblows (cuts). For
example, if your enemy is close and cuts widely (the pointdescribes a big circle as your opponent swings), you must not
defend, but close and strike with the point with all celerity. As
you hit home you will prevent the fall of the enemy's sword. If
forced to defend from any edgeblow, parry with the strong part
of the blade, close to the hand.
Thrusts are the most perilous blows. To be ready for a thrust,
stand at the ready, so as not to loose time in reaction or
preparation. If you stand awkwardly you will need to prepare
for a trust by drawing back the arm, shifting the feet, leaning
the body, or other dangerous motion which will invite an attack
as you prepare.
The blows of the sword are strongest the further from the hand,
much as the force at the rim of a wheel is stronger than at the
spokes. Dividing the blade into four parts, the two nearest the
point 4 and 3 are to be used for striking. 1 and 2 are to be used
for wards, since nearer the hand they are strong to resist any
violence. These divisions are illustrated in Figure 1.
This logic applies to the arms, and the wrist and elbow should
be used (adding to the circumference of the circle, they add
force to the blow). But, as they are strong, they are also slow
(as they perform the greater compass) Therefore, do not swing
from the shoulder, because you will give to much time to your
enemy, and the wrist and elbow give strength enough.
The Rapier is long
and lightweight ,
designed primarily to
thrust. In 1550, it was
a light and longbroadsword variation
that kept getting
lighter year by year.
By 1650 new rapiers
had become so light
that blades often
broke, leading soon to
blades forged with a
triangular cross-
section.
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Remember - the hit with the point is the straightest, shortest,
and fastest.
using the elbow to
cut.
Diagram illustrating
arc of blow from the
sholder (large circle),
elbow, and wrist.
DiGrasse, His True Art of Defense, Footwork
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1994, 2000 Richard J. Orli -
Credits Di Grasse - His true Art of Defense
The First Part - The Basics
III
MENU
BASICS
PREVIOUS
NEXT
SeeBASICSfor videoclips of footwork.
In distance (within
measure) means thatyou can hit with one
movement, lunge or
pass; about 10 feet or
so.
Increase of Pace or
Lunge - forceful
advance, relying on
extension of the rear
leg to drive the body
forward. In di Grasse'spractice, this usually
included dragging the
hind leg forward
somewhat.
Half-pace or Fencing
step (the front foot
moves forward,
followed by the rear
foot the same distance)
Whole-pace or Pass -
the rear foot crosses
past the front foot - e.g.
a normal walking step
or fleche.
Slope-pace or crooked
III. Of Footwork
.F irm footwork is the font from which springs all offenseand defense. The body likewise should be firm and stable -
right shoulder turned towards the enemy.
If you can hit by extending the arm only, without even using
the feet, so much the better since the body should be always
ready and firm. This is far better than the snail-like wiggling
some fencers show, wresting themselves from side to side.
Each movement takes time, and if you can perform an action
not in two motions but in a half motion so much the faster and
better.
In footwork as well, by orderly, discreet, and controlled
motions, you will win. Proper size steps depends on the
individual's stature and frame, but each step can only be
straight or circular.
The right leg is the strength of the right hand, and the left leg is
the strength of the left hand. So, the right hand attack should beaccompanied by the right leg. Take care that the foot and arm
move together. Above all, do not skip or leap, but keep one
foot always firm and steadfast.
The blow of the point or thrust cannot be handled without
consideration of the feet and body, because the strong
delivering of a thrust consists in the apt and timely motion of
the arms, feet, and body. The object is to be able to deliver a
thrust from the ready position in as little time as possible.
Figure 3. Footwork Explanations
To lunge left, leading with your left foot (pass first if your left
Right shoulder to the
front, left hand forward,
the breast slightly
turned away.
Two-weapon methods
discussed below require
a more square stance.
The right foot leads,similar to a modern
guard position, The left
hand is in front of the
breast, and the body is
slightly bent forward
with greater weight on
the rear leg.
Think of two purposes
for motion:
Set-up - out of distance;
Attack or escape - in
distance.
Modern research is not
definitive about the
'half-pace.' If I took the
explanation and
ill i h
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Quarte - changing
your orientation from
the original line to a
new line by moving a
foot (typically the hind
foot) in a semi-circle.
Lunge, or pass-lunge.
di Grasse uses the term
"increase the pace."
The idea is to drive
forward by dynamically
pushing with the rear
leg. In contrast, a
walking pace relies on
gravity to "fall"
forward at each step.
Stretch out far and low
in the attack. Finish in
many cases by dragging
up the rear foot
somewhat, as in a
modern lunge-recover-
forward.
Traverse Sideways
movement. (90 degree
angle)
Imbrocatta -An angled
attack.
finish by pulling up the hind (left) foot to an on guard stance.
Di Grasse uses the phrase, "increase of the right foot"
To lunge slope left, instead of lunging toward the back, your
leading left foot should land on a mark about 45 degrees to
your left. When lunging left, If your rapier is in your high
hand, a thrust will usually be delivered as a reverse. A reverse
blow is any that comes from your left side, often with the wrist
bent to angle the sword past the guard.
suitable for lateral
movement, but
unsuitable for attack or
retreat.
A possible interpretation
is that the half-pace is
intended to move into
the 'tennis stance' as a
momentary phase in a
continuous movement,
such that the forward
momentum is preserved,
allowing the attacker to
spring a-thwart
immediately either right
or left.
Perhaps a more likely
explanation is that the
half-pace moves from
the fairly square 'boxer
stance' left leading, to
the 'boxer stance' right
leading.
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With the left foot
leading, the right hand
is near and above but
behind the cheek.
Puncta Reversa
(reverse thrust)- What
Saviolo calls a variation
of the low Ward. This
Ward is in many ways
IV. Of Wards
.T he first ward achieved on withdrawing the blade fromscabbard is the high ward - right hand above and in front of
the right cheek, and point angled toward the opponents face.
The obvious attack from here is a long thrust above hand.
If the point is too high, the enemy can close underneath, if too
low, the enemy can beat down your blade too easily.
The second ward is the broad or wide ward. The arm is
stretched back so widely,that it seems to leave your body open
- but in truth it does not. Although the hand is well away from
the body, the point is directly in line.
The Broad Ward
The low ward, base ward, or lockward is more strong, sure, and
commodious than any other ward, and
from which one may more easily
strike, ward and stand, and with less pain. The hand should be
near and outside the knee, and the point should be raised. The
blade should be carried crooked over somewhat to the left
side. This is superior to variations taught by other schools,
The high ward is
similar to the modern
Parry 5 or Prime, but
the point is angled
toward the opponent's
face.
Left arm always
forward! Chest to
opponent. Stance i s
more open and like a
boxer's stance than
modern (post 1660)
practice.
Broad Ward, Left
Lead. My stance is too
wide here.
Saviolo's open ward is
similar to the broad,
but with the chest
toward the opponent,
rather than twisted
away (closer to
modern guard in threewith the left arm
forward).
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adversary. A variation
has the handle without
the knee.
The puncta reversa on
the defensive is
explained as follows: If
you are attacked first
with a thrust (stocatta),
don't try to parry (for
he may have the
advantage). Turn the
knuckle of your hand to
the right side chest level
and let your point be
right upon the belly of
your opponent with the
arm fully extended.
Shift the left foot back,
then move the right
foot, bend the left foot
such that the heel of the
left is in line with your
right instep, a half pace
back. In this way, you
may hit without
Danger.
------------------------
Silver's Four
Governors:
1. The first governor is
judgment which is to
know when your
adversary can reach
you, and when not, and
when you can do the
like to him, and to
know by the goodness
or badness of his lying,
what he can do, and
when and how he can
perform it.
2. The second governor
is measure. Measure is
the better to know how
to make your space true
to defend yourself, or to
offend your enemy.
3. 4. The third and
forth governors are a
twofold mind when you
i
Figure 6. The Low Ward
NEXT
Saviolo's favorite
Short or Close Ward is
somewhat different
from any of di
Grasse's: The on
guard position is with
the right foot leading,
the weapon's guard on
or near the hip, the
chest toward
adversary, and no
engagement of the
blades.
"In this ward you
must be sure not to
put yourself in
danger by carrying
your weapon long.
Your opponent can
strike upon your
weapon, and upon
you with great speed,
and master not only
your weapon but you.
To close near enough
to find your weapon,
he must come close
enough to risk being
hit."
Saviolo on the use of
the left hand: I advise
all to learn to break
trusts with the gloved
left hand. But even
without a glove, it is
better to hazard a little
hurt of the hand, and
master the enemy's
sword, than to give the
enemy the advantage
by parrying with your
sword.
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This last item is very
similar to Mushai's no
conception, no design
philosophy.
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Measure = the
distance between
combatants. "In
measure" (or in
distance) is the
distance at which you
can hit or be hit in
one move.
This includes
material from the
"Falsing" section.
See video clips of
edgeblows inBASICS
Di Grasse points out
in another section
that cuts to the face
need not have power
V. The Manner of the Strike
.T he Thrust
Without a doubt, the thrust is to be preferred over the edge blow.
Not only is it faster, but it can cause the greatest hurt. This I lay
down for a firm and certain rule.
When moving in a circle, always be sure that the left (rear) foot
is always shifted so that there is always a straight line from
sword tip to hand to rear foot. In this way, the lunge attack with
thrust can be the strongest and longest. Further, as the lunge
completes, draw the hind foot forward a half-pace to ensure that
the blow is longer and stronger. The attack should be measured
to just reach, but not to overshoot, the mark. At the completion
of the attack, the rear shoulder and arm should be turned away
from the opponent, and so out of reach of a counter thrust. It is
not possible to frame a longer blow than this.
From the low ward, make a reasonable pace, bearing the hand
without the knee. Force on their thrust nimbly, throwing back the
rear arm. End in a lunge position, so as to increase the reach of
the thrust. If the lunge is too deep and far to be comfortable,
draw forward the back foot slightly as well.
This thrust must be jerked or sprung forth as straight as possible,
the arm fully extended. The body and feet move behind such that
the arms, shoulder, and feet are under one straight line. Thistechnique can deliver a very great thrust.
The high ward is awkward for a strong thrust, especially if the
right foot in the fore. Since this ward is used to attack rather than
defend, set up your lunge. Draw yourself up, feet close together,
leaning forward, arm high and straight, thrust accompanied with
a lunge powerful and long
The Edge
The edge is to be preferred over the point for only one reason -
when it saves time in the blow. This circumstance can happen
when the point is out of line with the opponent - for example
after warding a blow, or if your opponent beats your blade out of
line. In these cases, hitting with the point may take two moments
of time, where an edgeblow would take but one (as illustrated in
Figure 7).
Speed is of two types -
Natural speed is
reaction time - given by
nature, health, youth,
and muscle tone.
Technical speed is
earned by executing an
efficient movement
without any wastedmotion or excess
energy.
Drawing the rear foot
forward is natural
ONLY if the lunge is
very powerful and long.
Di Grasse takes for
granted that hisreaders understand the
explosive quality of
combat.
However, this also
commits everything to
the attack. Later
writers urged more
caution.
By 1692, Hope wassaying, do not drag the
rear foot behind.
HighLeftS.
(99532bytes)
"Extend the arm
FIRST!" is the most
often repeated refrain
of the modern fencing
coach. As a slight
exaggeration, this a
pedagogic technique.
Purpose - to keep the
student from 1) slowing
the (fast) arm to keep
pace with the (slow)
f d ( l ) b d
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Silver's Times
There are eight
times, whereof four
are true, and four are
false. The true times
are these.
hand
hand and body
hand,body and foot
hand, body and
feet.
The false times are
these:
foot
foot and body
foot body and hand
feet body and hand
Translation: extend
the arm first.
An occasion in which a cutting blow will take one moment oftime
I particularly advise cutting back immediately after receiving a
beat, for the opponent is often taken by surprise at its rapid
replacement, because of his preoccupation with his attack.*
NEXT
face of a clear attack
other than defense or
retreat would be
suicidal.
See Silver's "times".
*This argument is hard
to accept since a cut in
these circumstances
would have no power at
all. However, rapidly
replacing the point asillustrated would be
very effective.
Saviolo on picking the
moment to attack:
Don't rush headlong
into the first attack
without an advantage,
for you risk a counter
attack. Instead, if you
have the skill, gain theadvantage in time and
measure, and then
attack. Do not settle for
simultaneous hits. Hit
without being hit.
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Measure = the
distance between
combatants. "In
measure" (or in
distance) is the
distance at which you
can hit or be hit in
one move.
This includes
material from the
"Falsing" section.
See video clips of
edgeblows inBASICS
Di Grasse points out
in another section
that cuts to the face
need not have power
V. The Manner of the Strike
.T he Thrust
Without a doubt, the thrust is to be preferred over the edge blow.
Not only is it faster, but it can cause the greatest hurt. This I lay
down for a firm and certain rule.
When moving in a circle, always be sure that the left (rear) foot
is always shifted so that there is always a straight line from
sword tip to hand to rear foot. In this way, the lunge attack with
thrust can be the strongest and longest. Further, as the lunge
completes, draw the hind foot forward a half-pace to ensure that
the blow is longer and stronger. The attack should be measured
to just reach, but not to overshoot, the mark. At the completion
of the attack, the rear shoulder and arm should be turned away
from the opponent, and so out of reach of a counter thrust. It is
not possible to frame a longer blow than this.
From the low ward, make a reasonable pace, bearing the hand
without the knee. Force on their thrust nimbly, throwing back the
rear arm. End in a lunge position, so as to increase the reach of
the thrust. If the lunge is too deep and far to be comfortable,
draw forward the back foot slightly as well.
This thrust must be jerked or sprung forth as straight as possible,
the arm fully extended. The body and feet move behind such that
the arms, shoulder, and feet are under one straight line. Thistechnique can deliver a very great thrust.
The high ward is awkward for a strong thrust, especially if the
right foot in the fore. Since this ward is used to attack rather than
defend, set up your lunge. Draw yourself up, feet close together,
leaning forward, arm high and straight, thrust accompanied with
a lunge powerful and long
The Edge
The edge is to be preferred over the point for only one reason -
when it saves time in the blow. This circumstance can happen
when the point is out of line with the opponent - for example
after warding a blow, or if your opponent beats your blade out of
line. In these cases, hitting with the point may take two moments
of time, where an edgeblow would take but one (as illustrated in
Figure 7).
Speed is of two types -
Natural speed is
reaction time - given by
nature, health, youth,
and muscle tone.
Technical speed is
earned by executing an
efficient movement
without any wastedmotion or excess
energy.
Drawing the rear foot
forward is natural
ONLY if the lunge is
very powerful and long.
Di Grasse takes for
granted that hisreaders understand the
explosive quality of
combat.
However, this also
commits everything to
the attack. Later
writers urged more
caution.
By 1692, Hope was
saying, do not drag the
rear foot behind.
HighLeftS.
(99532bytes)
"Extend the arm
FIRST!" is the most
often repeated refrain
of the modern fencing
coach. As a slight
exaggeration, this a
pedagogic technique.
Purpose - to keep the
student from 1) slowing
the (fast) arm to keep
pace with the (slow)
f d ( l ) b d
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Silver's Times
There are eight
times, whereof four
are true, and four are
false. The true times
are these.
hand
hand and body
hand,body and foot
hand, body and
feet.
The false times are
these:
foot
foot and body
foot body and hand
feet body and hand
Translation: extend
the arm first.
An occasion in which a cutting blow will take one moment oftime
I particularly advise cutting back immediately after receiving a
beat, for the opponent is often taken by surprise at its rapid
replacement, because of his preoccupation with his attack.*
NEXT
face of a clear attack
other than defense or
retreat would be
suicidal.
See Silver's "times".
*This argument is hard
to accept since a cut in
these circumstances
would have no power at
all. However, rapidly
replacing the point asillustrated would be
very effective.
Saviolo on picking the
moment to attack:
Don't rush headlong
into the first attack
without an advantage,
for you risk a counter
attack. Instead, if you
have the skill, gain theadvantage in time and
measure, and then
attack. Do not settle for
simultaneous hits. Hit
without being hit.
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Parry - defensive use
of weapon to block
thrust or cut. Modern
term adopted from
the post 1660 French
school jargon. Di
Grasse's translatoruses "break",
"ward", "block",
"encounter" and
other words for
parry.
Block of attack to
outside high line
(back).
Seeother illustrations
of Blocks inBASICS.
Below, the thwart, or sloping step
forward.
DaggerTh
(89090bytes)
Stop thrust= attack
into an attack
VI. TheMeans of Defending
.T hree means defend against all attacks from either pointor edge. The first is the parry - your weapon opposes the
opponent's. The weapon you use can be a sword, dagger, a
stick, your hat, your hand - because a soldier and gentleman
must master defense, not just how to use a particular tool such
as a rapier. Besides, one can not always be armed as one wouldprefer.
But the parry is not always the solution - especially as it is
often practiced and taught today. Particularly dangerous is the
habit of retreating while parrying - caused apparently by a lack
of confidence in the parry's ability to control the opponent's
attack. # Problems caused by withdrawing include:
The greater likelihood of your being hit by (or near) the point,
and so take a stronger, more dangerous, blow.
To strike you must first take a step back to where you were
before. This takes so much time that you risk counter attack
and give your opponent an opportunity to defend.
I advise stepping into a cut, with the left foot taking a sloping
step forward. Thereby, the attack's measure will be misjudged,
and the cut can be taken close to your opponent's hilt, where it
has less power. In addition, by stepping forward, you can strike
in the same instant. This manner of defense is so sure and
quick, I use it above all others. ##
The second way to defend is useful primarily against a cut with
a great compass (broad arc) - or when the cut is being prepared
with a pull back of the hand. This defense requires a sudden
thrust with the point, Most attackers will perceive the danger
and back off. If they choose to continue, you will henceforth
find that they weaken as opponents, by reason of the blood
which goeth from them. *
The third means of defense is the void, in which the body is
taken away from the line of the attack. This is seldom used
alone, but rather used with an opposition with the weapon as
described in the first means of defense, or as part of a timing
attack as described in the second means above. If used alone,
the idea is to move enough to let the opponent's weapon slip
past, while hitting simultaneously with your weapon.
# Post 1660 small sword
technique encourages
retreating while
parrying. The default
rapier technique is
stepping to the side.
A parry is not static, buta movement that first
defends then shifts to an
attack (riposte).
Beginning students are
taught "parry 4" as a
position, but the expert
understands that the
position is a transition
phase with the objective
of not just defense, but
control of theopponent's blade.
## The advice is sound,
but not for the timid.
*Attack into an action,
to forestall a weak or
indirect attack with a
strong direct thrust. In
modern jargon, this is
an attack into the
preparation or stop
thrust depending on
circumstances.
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extraordinarily
critical - the slightest
error is fatal.
The following
sections offer adviceon how to attack and
defend when either
you or your opponent
is a given position.
This is conceptually
not unlike a manual
of chess openings.
Moves from a set
position are
important, but arenot the entire picture.
The rhythm of the
exchange must be
mastered. The skill of
exploiting an
indecisive clash is a
significant mark of
mastery.
Zones
VII. Application ofMethod
.I n the sections to follow I will address the most practicaland useful attacks and defenses practical for each ward. Every
conceivable bad attack or weak defense is not discussed. These
techniques were selected largely based on two principles that
always hold true: 1) In the Attack: Trust to the Thrust. 2) In theDefense: Trust to the Thrust against the preparation or into a
wide cut
The End of the First Part
The Second Part - Attack and Defense Tactics
and Opening Moves from each Ward of the Several
Weapons
others on the face or
eyes. But if you fix your
eyes on anything other
than a man's heart your
spirit can become
confused. The gaze must
include perception
which is strong, and
sight which is weak;
perception includes the
enemy's spirit, the
terrain, changes in
advantages. In single
combat you must not fix
the eyes on details and
neglect important
things.
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Steal a Pace - To draw
the left (rear) foot near
the right (front).
Void - not being where
the blow is aimed.
Stop thrust - attack with
point after the
opponent's attack
starts.
Reverse thrust - keep
the point in line orextending while your
body falls away.
All Italian edition diGrasse images
are copyright William Wilson.
Parry inward - the
modern Parry 4 (if high
line, or 7 if low line).
VIII. Single Rapier
T he high ward of the Single Rapier .
The truest and surest blow is the trust above hand. First draw
your left foot near your right foot, and lunge as forcibly as you
may, ending in the low ward. If your opponent dodges right,
immediately follow with a slash right to the head.
To defend against the same, stand in the low ward, encounter
the edge of the sword to push it right and step sloping forward
with the left to void to your opponent's Right. Keep the point
down toward the enemy so that he would impale himself if
careless.
To defend against a cut, I have spoken of the stop thrust.
Because I know that some timid souls out there might prefer to
defend themselves first, another way is to parry with the edge.
Then, thrust to the face while stepping with your left foot
circularly to your right. This places your body behind your
weapon and is secure because it attacks while it defends. This
move is also called a reverse thrust.
The broad ward of the Single Rapier
The most sure and principal blow from this ward is the thrust
underhand. Draw the left near the right foot, lunge, and settle in
the low ward.
To defend against the same, stand in the low ward, and do a
simple parry since the attack has no advantage to hit home first.
The low ward of the Single Rapier
Any move is possible from this ward, but there are no special
advantages in thrusts from here. The special tactic of this ward
is one of the defensive.
\
In modern fencing,
the default response
to an attack is a
retreat. In Rapier, it
is to move to the side
or sloping diagonally
forward or back.
Note also that by
pivoting the body as
part of a side ordiagonal movement,
the rapier can close
the line of the
original attack
without actually
having to move the
rapier arm. Indeed,
that would be
considered the best
type of parry.
The circular step
moves the body away
from the line of the
attack while
re-orienting the body
to the opponent's new
position. Also known
as a demi-volte or
quart. A volte
continues thecircular motion
toward the opponent
in an attack.
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IX
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X Rapier and Dagger
T he dagger is most convenient as a companion weapon tothe Rapier. The role of the dagger, by reason of its shortness, is
defending the left side down to the knee. In contrast, the rapier
can defend both the right and left, including below the knee.
The dagger can parry any cut if the parry is taken against the
rapier's 1st and 2nd parts (the half nearest the hilt). Do not
attempt to parry a cutting attack at the strongest part of the
blow (3rd and 4th), for the dagger is too weak. But if you
boldly encounter an attack toward the hand, you can stop not
only a rapier but any weapon, no matter how heavy, with only a
single dagger.
Parry ithdagger
Do not use both rapier and dagger together (as a cross), even
though this is often used by men who erroneously believe this
is secure. This method bonds both weapons, and two moments
of time are required to recover a weapon and strike. *
One advantage of the dagger is that an attack with the edge of
the rapier can be done more safely. The principle danger -
exposing yourself while the cut is in preparation - is moderated
by the defensive power of the dagger. However, I still counsel
no man to accustom himself to give blows with the edge. #
The dagger should be strong, easily drawn from the sheath, and
not excessively long. For best advantage hold it with the arm
stretched forward and pointing toward the enemy, so that you
will be able to find the enemy's sword a great deal before it hits
you. Either the edge or flat can be toward the enemy. If you
wish to benefit from a dagger with special blade-catching
guards, you must use the flat.
The left side, knee and above is the part which the dagger ought
d f d h h ki i d h l f
\The dagger was part
of everyman's every
day dress.
*Silver and Saviolio
allow the 'cross'.
#Dagger parries
work best as a bind
or slide rather than a
beat. The objective is
usually to gain a
measure of safety by
taking control of the
opponent's rapier for
an instant . Beats
may be more likely to
result in a double
kill.
Since a thrust high to
the face often opens
the defender as he
wards, you may have
an opportunity to
continue with a slope
pace to the left, and
reverse at the legs.
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riposte=attack,
following your
oppenent's attack and
your defense.
more distant, but has the advantage of lending the force of the
whole body behind the blow.
The basic attack from the first is the lunge with the thrust,
completing in the low ward. The basic attack from the second,
left leading, is a forcible thrust with the pass lunge. Restrain theurge to cut, since it is too easily parried with the dagger and
counter attacked.
To defend while in high ward, take a slope pace to void the
body away from the line of attack while you parry. If you are
parrying with the dagger only, you must often lunge toward the
enemy, and as you find the enemy's sword strike with your
rapier underneath. If parrying with a rapier, slope pace away,
but as soon as the parry connects attack the forehead with the
dagger while maintaining control of the enemy's rapier with
your own.
If you do a slope step and cross parry, stay the enemy's rapier
with your dagger, and attack with your rapier underneath with a
lunge or pass.**
The Broad Ward of the Rapier and Dagger
The basic attack is again the thrust. Be sure, when possible, to
beat away the point of the enemy's sword with your dagger as
you attack.
In defense, again take the slope pace. When parrying with the
rapier only, riposte to the face, and follow the lunge with the
rear-foot to lengthen the thrust and to stay on balance.
The Low ward of the Rapier and Dagger
While it is always a disadvantage to strike with the edge, from
the low ward it is possible to make quick small cuts that are less
likely to open you to a dangerous counter attack. However, I
still advise against even this sort of edgeblow, resolve instead to
discharge thrust after thrust.
NEXT
This ward with the
right foot behind is
strongly defensive,
but less suited for the
attack. While a thrust
delivered with a full
pace (pass) ispowerful, it is a long
time in coming and
so can be easily
avoided or warded.
To attack, therefore,
place the right foot to
the fore. Thrust
either directly at the
face, or with a beat
followed by a thrust.
Since a thrust high to
the face often opens
the defender as he
wards, you may have
an opportunity to
continue with a slope
pace to the left, andreverse at the legs.
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Cloak - more general
term for outerware,
may be sleeved.
Cape - usually
sleeveless garment with
a hood (the 'cape'
itself).
Mantel - sleeveless
outerware without a
hood. Characteristically
worn over the left
shoulder.
X. Rapier and Cloak
The next most commonly available weapon a gentleman willhave at hand, after the dagger, is the cloak. Here I will discuss
it in straightforward use. I will complete my discussion of the
art of the cloak in the treatise on Deceit.
Handling the Cloak
The cloak's use is determined by its length, size, and
flexibility. Flexibility, and not strength, is indeed the hallmark
of the cloak. One trusting to the strength of a cloak by
wrapping it about the arm to absorb a strong right cut will
prove himself a fool. One must use the length and flexibility
of the cloak, and with that any blow can be warded.
Take the cloak by the collar or cape, and wrap it at most twice
about the arm. Make sure your left leg is not leading when
warding a hit, for the cloak will only absorb a blow if there is
distance - anything solid immediately behind it (like a leg) isin peril if you are trusting it to stop a blow.
Edgeblows delivered high should be warded with the sword,
since lifting the arm and a heavy cloak high is as violent as it
is perilous. This is so because the arm is exposed, and you risk
blinding yourself by your own cape.
There are two ways to wrap the cloak: by the collar or cape as
described above, or, as it often falls out in practice, by
grabbing one side as it is taken off the shoulder, and turning it
once or twice about the arm.
With the second method of folding, the cloak is usually longer.
Therefore, when striking, it is often best to take half-paces
(fencing steps), since with the whole pace (a pass, or walking
step) the risk of entangling the feet is great. Either way, the
danger of tripping yourself should be guarded against. This is
not a problem when warding however since your motion is
\At this period, capes
and mantels may be
short - to the waist - or
long to below the
knees, depending on
the season's fashion.
They were worn by all
classes, year round.
c
Cloak Parry
CapeParryS.a(67404
bytes)
\
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Full-pace - Pass
Void - evasive move of
the body away from the
line of attact
Steal a pace - slide
rear(left) foot close up
to the right.
Take another half pace -fencing step advance, or
lunge
Forcing action - thrust
maintaining blade
contact, such as a glide.
From the high ward, the edgeblow should be delivered without
any motion of the feet. The Reversa should be done with a full
pace. The enemy's parry should be followed with and stayed
by the cloak, while a thrust is delivered underneath.
In defense against the high, the thrust should be taken with a
void, left foot moving behind and to the right, while hitting the
face in a reverse thrust. If the enemy's sword is encountered
without, then step forward with the cloak and encounter the
enemy's sword with it. Thrust with a lunge underneath.
Parrying with the cloak while hitting, without a void, has little
certainty and great peril in it, and yet if well done is excellent.
Great acuity and deep judgement is needed, for as the enemy's
point approaches, you must wait until it is just within the
hand's reach, and then beat it down with the cloak while
delivering a blow yourself.
TeBroad Ward of the Rapier and Cloak
From the broad ward, I recommend the following sequence.
First thrust while sliding the rear foot in a circle to your right,
then cut, then thrust with a lunge. Attacks may often be
effectively stopped by a counter attack to the left thigh.
The Low Ward of the Rapier and Cloak
If the opponent is in the low ward, do not cut (since this may
be easily warded and counter attacked), but thrust only. Use
the cloak to occupy the enemy's sight while you steal a
half-pace on him. Then take another half-pace, and strike with
a forcing action on the sword.
NEXT
Since a thrust high to
the face often opensthe defender as he
wards, you may have
an opportunity to
continue with a slope
pace to the left, and
reverse at the legs.
Counter attack in this
case means a
stop-thrust
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Swashbuckling -
Allegedly, the term
came from the sound
of 'Prentices in
London sashing their
swordagainst their
buckler as they
walked. Or, it may just
come from the
meaning of "swash" :
to flourish.
XI. Sword and Buckler
T he buckler is often at hand (being easy to carry, andhaving service at night as a lantern carrier) and is commonly
used. The buckler is not only a weapon of warding - it can be
used to strike as well.
The Form of the Buckler.
The buckler is small and round, yet it must shield something
much bigger and differently shaped - the whole body. When
you understand how it can be used to accomplish this feat, you
will also better understand a key principle of all defensive
weapons.
The principle is one of geometry. Attacks start from a single
point - which may be the eye, the hand, or the tip of the sword.
From that single point, all potential lines of attack follow
roughly a cone. The smallest obstacle placed close enough to
that point of origination will foil the attack.
For example, imagine your little sister with garden hose, and
the water spraying out in a cone at you. If you hold a fairly
large umbrella right next to your body, perhaps much will be
protected, but perhaps your head and legs will still be sprayed.
If you hold the umbrella at arms-length, closer to the source,
you may totally protect yourself. If you were close enough to
the nozzle, even an object as small as your hand will deflectall the spray back.
If you imagine the sword to be the same as a stream of spray,
you will see that a small obstacle pressed close to your
opponent's hilt - such as a buckler - can block all direct
avenues of attack easily. The only way for your opponent to
t d i th t t hi b d t tt k f th id
Bucklers are the size
of a dinner plate,
usually metal,
sometimes made of
wood and leather.
BucklerPa
(85372
bytes)
(The original obscure
example seemed to
hinge on the scientific
fact as then
understood that vision
depended on "beams"emitted from the eyes).
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Steal a pace = Moving
the rear-foot close to
the front foot, to
deceive your opponent
about the distance.
Slip = move diagonally
away.
Pass lunge = full pace
Another useful optional feature is a spike of sorts that can
make the buckler a more potent offensive weapon.
Buckler Handling.
To effectively cover yourself, you must hold the buckler as far
off from the body as your arm can stretch. Always move your
arm and buckler together, as one entire and solid thing, never
bending, and always keeping the flat toward your opponent.
The first advantage of this is that your arm is always fully
covered, being always directly behind the buckler.
The second is that all cutting attacks will be encountered close
to your attacker's hilt (the first and second part), and so with
less force.
The third advantage is that all thrusts are more easily warded,
for the buckler will leave only slightly open the head and feet.
The head can be covered with the slightest upward motion of
the buckler. To bypass your buckler, your opponent will have
to move or contort to a disadvantageous position from which
to strike. I recommend that the sword, not the buckler, be used
to parry any attack directed against the feet.
The High Ward of Sword and Buckler
Defending against a cut is so easy with a buckler that I will
limit my discussion to the thrust.
When starting with the left (foot) leading, attack on the pass
(full pace) with as much force as can be mustered. Then, settle
into a low ward.
Attack from a right leading position by first stealing a
half-pace, and then lunge strongly. Finish in the low ward.
The low ward is well suited for defense against high thrusts. I
recommend lunging with the left foot, taking the opponent's
sword with the buckler or sword. If close enough, as is often
the case, you can deliver the "mustachio" - a blow to the face
with the buckler. Follow up with a lunge right and thrust
underneath.
The Broad Ward of Sword and Buckler
It is important to not cut from this position, because the sword
is far off from the body and the cut cannot be done with force
while retaining balance. Using the thrust, steal a half-pace and
lunge right. Recover in the broad ward.
To counter this, stay in the low ward, opposite the buckler.
Slip right and thrust (counter attack) along the line of attack
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Without = between the
adversary's rapier and
his back.
Attempt to hit while
parrying - one motion
(time thrust).
Within is likely Parry 4,
Without is likely Parry
3 .
avoid the opponent's blade, but to close with the buckler to
close off your opponent's line of attack. Finish with a pass
lunge right.
From within, use the same approach, but thrust still more
strongly with a lunge. Trap the opponent's sword betweenyour sword and buckler. Finish with a thrust.
To counter this attack, start at the low Ward. When attacked on
the pass (Right behind), slip and time thrust. Against the
lunge, whether from within or without, do a slope pace with
the left foot, and a high thrust, and your opponent's very
concentration on his attack will result in self-immolation on
your point.
NEX
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The word used at the
time for what
marksmen aim at is
"mark".
XII. Sword and Square Target
.T he target is a most ancient weapon used first only inwarfare, not for man-to-man fights. However, it has today
found a thousand uses. The square target is commodious and
profitable because its virtues include many shared by both the
buckler and round target.
Some are inclined to bear the target close to their breast, which
is an error. To take best advantage of the target's form and
function, adopt an open stance with your left foot to the fore.
Hold the target with your arm nearly fully stretched out,
somewhat open, at an angle such that the upper left point is at
face level, the lower right point is on line with your right hip.
You should be able to see your enemy on either side of the
high point. You should not carry the target too low, which will
slow you ability to defend against head attacks. The target held
in this way can, by the slightest motion, defend your entire
body above the knees. The rapier should be used to defend
against lower attacks.
Figure 11 The Sword and Square Target
The High Ward of the Square Target
To attack from the high ward, first steal a pace straight, and
then lunge left (with left foot, drawing the right foot behind).
Angle your sword over and down to bypass the defender's
target, finishing your thrust with a lunge right.
The best counter to this is to beat the point away strongly with
the target, then lunge left, then finish with a lunge right as you
deliver a thrust underneath. Generally, adopt a low ward when
warding a thrust above hand
\A target is usually
made of wood and
leather, but is
occasionally made of
metal.
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lunge right.
To best oppose these attacks, stand at the low ward. As the
opponent starts to attack, counter attack below both your and
the opponent's target, with a strong right lunge.
TheLow Ward of the Square Target
Attacking from the low ward is difficult, but there are two
strong possibilities. If your point is within (to the right of your
opponent's sword), with the right foot before, pass with your
left foot, try to pin your opponents sword between your target
and his, and thrust strongly at the thighs while lunging right. If
you start with your right in the hind, pass lunge in the sameway, but if you miss force your way and run by the enemy to
safety.
If without, beat your opponent's sword to the right with your
target while lunging left, then lunge with your right foot
directly at the opponent, thrusting at the face.
To counter, stand at the low ward. Counter attack with a thrust
while lunging left, try to pin your opponents sword between
the two targets, and strike home with a right lunge either above
or below.
NEX
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"Gathering" up to
measure in an offensive
posture is dangerous,
as retreat is difficult. It
creates a moment of
opportunity for the
defender to launch an
attack into your
preparation
XIII. Sword and Round Target
.P erfect because of its circular form, the round target is sosteeped in antiquity that I must restrain myself from
digressing into mathematics or historiography, and focus on
my purpose. The history of the target is so long, however, that
many means of using it have been practiced. One practice is
resting it on the thigh, as if in this art (in which only travailsand pains are available) a man should seek rest and quiet. Or,
holding it with the arms bent close, near the chest, as if one
were behind a safe wall of great size and strength.
Of the manner of how to hold the round target.
To hold the target so that it may cover the whole body without
hindering vision, bear it edge-first toward the enemy, arm
nearly straight. Holding the arm bent both tires the arm and
tends to obstruct sight. Do not keep the target close to yourbody; there the target only covers an area its own size, leaving
the head and belly open. In the way suggested, the left side is
already covered, and the least motion to the right with the
target will cover any blow above the knee.
Figure 12 Sword and Round Target
The High Ward of the Round Target.
The target is such great and sure defense, that no edgeblow
can be expected to penetrate without the help of your own
target. Thrusts are very uncertain as well. The best strategy is
to first steal a pace, gathering upon the enemy as near as
possible without danger. Thrust forcibly, and if you should
penetrate past the circumference of the target, pass left, crash
into the enemy's sword and target with your target, drive home
The round target is
about a yard in
diameter, usually
made of wood with a
leather cover, and
sometime out of metal.
It is also usually
concave, and has a
strap for the hand and
another just before or
after the elbow.
Target
Target Defending
Halbred
TargetHalb
(160502
bytes)
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The Broad Ward of the Round Target
It is difficult to hit from the broad without using your target to
beat away your opponent's sword. Therefore, be sure to do
that first, and follow with the general strategy described above
for the high ward.
To counter this, try first not to allow your sword to be beaten
off. Stay in the low ward.
The Low Ward of the Round Target
I strongly recommend finding the enemy's sword with your
own, to pin it between your sword and your target. Thrust
with great speed with a right lunge, driving in with the targetas well.
To counter, do not suffer your sword to be found by your
enemy's weapons. Further, respond to an attack by taking a
slope pace forward, and discharge a thrust underneath.
NEX
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Sl l t th l ft
XIV. Case of Swords or Rapiers
.N owadays the use of two swords or rapiers is common inthe schools and lists alike, although they are not used for war.
While dexterity in the left as well as the right is of use in all
weapons, it is crucial with the Case of Rapiers. Each rapier
ought to be handled equally and indifferently, each one as apt to
strike as defend. Do not profess this Art until you are much
practiced and exercised therein, or you will find yourself utterlydeceived.
How to handle two Rapiers
Both can strike at the same time but this dangerous technique
should not be used. Just as the single sword must strike and
defend, so too must the double swords in turn.
Figure 13 The Case of Rapiers
The High Ward at two Rapier
It does not matter which foot leads, but the hind rapier is aloft,
and the fore is below, (as a low ward is framed). At the two
rapiers the high ward is the most perfect and surest. Execute the
thrust with the pass lunge. Whenever possible find your
enemy's sword with the lead (low ward sword) with a beat or
bind as a precursor to the attack. As you finish the attack, the
attacking sword settles in the low ward, and the now hind sword
raises to the high position. If your opponent has retreated, it is
ideal to follow without hesitation with another attack, this time
with the arm now raised in the high ward.
To counter stay to your enemy's left (without) in low ward and
Thecase consisted of
two identical light
and short (30-34
inches) rapiers, kept
in a single double
scabbard.
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straight pass lunge.
The road Ward at the to apiers
The approach is similar to that of the High ward. First attempt
to engage or beat the opponent's fore rapier with your own, so
that it is momentarily controlled, and deliver a strong thrust to
the thigh off a slope pass lunge.
To defend, stand at the low ward, left leading. The right arm
and hind (right) foot should both be open and wide. When
attacked, take a slope pass step with your right foot (45 degr