Introduction to Italian Rapier

Introduction to Italian Rapier
David and Dori Coblentz
Contents
Introduction..................................................................................................................................................1
Fundamental Concepts...............................................................................................................................2
The Rapier.................................................................................................................................................2
Hand Positions.........................................................................................................................................3
Standing in First Position........................................................................................................................4
Salute..........................................................................................................................................................4
Guard.........................................................................................................................................................5
Lines of Attack..........................................................................................................................................5
Placement of the weapon........................................................................................................................6
Guards of third and fourth.................................................................................................................6
Invitation...............................................................................................................................................7
Engagement..........................................................................................................................................7
Central...................................................................................................................................................8
Offense.......................................................................................................................................................8
Defense......................................................................................................................................................8
Measure.....................................................................................................................................................8
Tempo........................................................................................................................................................9
Attacks in Time.....................................................................................................................................9
Counterattacks......................................................................................................................................9
Countertime........................................................................................................................................10
Footwork.....................................................................................................................................................11
Advance...................................................................................................................................................11
Retreat......................................................................................................................................................11
Cross step forward.................................................................................................................................11
Cross step backward..............................................................................................................................11
Jump Back...............................................................................................................................................12
Lunge.......................................................................................................................................................12
Fixed-Foot Lunge...................................................................................................................................12
Recover Forward....................................................................................................................................13
Reprise.....................................................................................................................................................13
Advance Lunge......................................................................................................................................13
Gain on the Lunge..................................................................................................................................13
Passing Lunge.........................................................................................................................................14
Running Attack.......................................................................................................................................14
Offense.........................................................................................................................................................15
Simple Attacks........................................................................................................................................15
Straight Thrust....................................................................................................................................15
Disengagement...................................................................................................................................17
Glide.....................................................................................................................................................18
Counterdisengageent........................................................................................................................19
Cuts......................................................................................................................................................21
Defense........................................................................................................................................................22
Simple Parries.........................................................................................................................................22
Circular Parries.......................................................................................................................................22
Compound Attacks....................................................................................................................................24
Feints........................................................................................................................................................24
Actions on the Blade..............................................................................................................................25
Blade Seizures.....................................................................................................................................25
Beats.....................................................................................................................................................25
Contraries....................................................................................................................................................27
Counterattacks........................................................................................................................................27
Arrest...................................................................................................................................................27
Time Thrust.........................................................................................................................................27
Arrest with Reassemblement...........................................................................................................28
Inquartata............................................................................................................................................28
Passata Sotto........................................................................................................................................29
Front foot void to the right...............................................................................................................29
Left Handed Parries...........................................................................................................................29
Countertime............................................................................................................................................30
Feint in Time...........................................................................................................................................30
Appendix 1 - Summary of Single Rapier plates in Capoferro.............................................................32
Plate 7.......................................................................................................................................................32
Plate 8.......................................................................................................................................................34
Plate 9.......................................................................................................................................................36
Plate 10.....................................................................................................................................................37
Plate 11.....................................................................................................................................................38
Plate 12.....................................................................................................................................................40
Plate 13.....................................................................................................................................................42
Plate 14.....................................................................................................................................................43
Plate 16.....................................................................................................................................................45
Plate 17.....................................................................................................................................................46
Plate 18.....................................................................................................................................................48
Plate 19.....................................................................................................................................................59
Plate 20.....................................................................................................................................................51
Introduction
This document aims to distill the fundamentals of Italian rapier fencing into a form that a beginner can easily read and understand while still being detailed enough for a more advanced
fencer looking to gain a broader overview of the system.
I have chosen to organize this material in a similar format to a number of traditional Italian
fencing texts such as Parise, Barbasetti, and Gaugler. The systems described by these texts are
rooted in the rapier theory of the 17th century, but presented in a clearer and less ambiguous
way that I believe is easier for a modern audience to a follow. While useful for understanding
historical texts, we must still be careful to remember that the primary rapier texts of the period
have considerably more variation in usage of terms than modern fencing texts do. Many terms,
like contratempo (countertime) were still in the process of being defined and many of the authors
from this time had slightly different preferences regarding their use. In general, I have chosen to
use more modern definitions of these terms, while trying to preserve some of the nuances found
in earlier texts.
Rather than breaking up the material into separate sections on theory and practice as many earlier texts did, I have attempted to cover the most important technical actions in the system and
to describe a theoretical framework that can be applied to virtually any situation. The appendix
includes an example how all of these pieces can be put together to describe a number of the
practical applications of Italian rapier which are found in Ridolfo Capoferro’s 1610 text on the
rapier, Gran Simulacro dell’Arte e dell’Uso della Scherma (Great Representation of the Art and
Practice of Fencing)
Readers familiar with Capoferro and other Renaissance fencing authors will notice that I’ve included a great deal on dui-tempi parries as well as feints, which tend to be deemphasized in the
primary texts. While counterattacks should clearly be emphasized in rapier fencing, learning to
parry correctly is equally important. The simple parry is the most natural response that a beginning fencer makes against an attack, and, without training, the parry is likely to be so large, or
poorly timed that the fencer becomes more susceptible to feints. Training these concepts early
develops a confidence in the parry and the ability to use it in more complex tactical situations
(e.g. countertime). It also helps develop a keen sense of the differences in timing between defensive and counter-offensive actions, which helps the student to recognize the most appropriate
and effective situations to employ the counterattack.
Throughout this document, I have chosen to describe everything from a right-handed perspective. Left-handed fencers should simply reverse instances of “right” and “left” as appropriate.
1
Fundamental Concepts
The Rapier
A rapier is a single-handed sword
primarily used for thrusting, but
with the ability to cut as well. It
typically has a complex guard
consisting of a knuckle guard, a
crossbar, and several rings to protect the hand. The guard extends
past the crossbar and up the blade
for several inches. This portion of
the guard, between the crossbar
and the end of the guard, is called
the ricasso. The appropriate
length of a rapier is proportional
to your body. The entire length of
the weapon, from pommel to tip
should be about twice the length
of your arm.
The parts of a rapier
A rapier blade has two edges, a
true and a false edge. The true
edge is on the same side of the
weapon as the knuckle guard.
When you hold the rapier, the
true edge will be in line with your
knuckles. Most parries should be
done with the true edge.
Holding a rapier
The length of the blade is divided
into three parts. The part closest
to the tip is called the weak, the next is called the middle, and the part closest to the guard is
called the strong. The strong and medium are primarily used for parrying or engaging the opponent’s weapon. Cuts should be made with the weak of the blade; thrusts are delivered with
the point of the blade.
To properly hold the rapier, place your index finger between the ricasso and the left arm of the
crossbar. Set your thumb on the false edge of the ricasso and curl your middle, ring, and little
fingers lightly around the grip. The pommel should rest at about the center of the wrist.
2
Hand Positions
There are four primary hand positions in Italian rapier fencing and three secondary hand positions. The primary hand positions are first, second, third, and fourth.
•
•
•
•
In first position the palm is turned to the right so that the knuckle guard faces upwards.
In second, the palm is turned down so that the knuckle guard faces the right.
In third, the palm is turned to the right so that the knuckle guard points downwards.
In fourth, the palm is turned up so that the knuckle guard is points to the left.
Hand in first position
Hand in second position
Hand in third position
Hand in fourth position
The secondary hand positions are called first-and-second, second-and-third, and third-andfourth.
• In first-and-second, the hand is turned halfway between first and second so that the knuckle
guard points diagonally upwards to the right at about a 45 degree angle.
• In second-and-third, the hand is turned halfway between second and third so that the
knuckle guard points diagonally downwards to the right.
• In third-and-fourth, the hand is turned halfway between third and fourth so that the knuckle guard point diagonally downwards to the left.
Hand in first and second position
Hand in second and third position
Hand in third and fourth position
3
Standing in First Position
First position is the position that you stand in before and after a lesson or a bout, or during
periods of rest. Stand straight up, with both feet together and your head turned towards your
opponent. Your feet should be at right angles with the heels together, the right foot should be
pointing forward and your left foot should point directly to your left. Place your sword at your
left side pointed downwards as though it were in a scabbard. Curl your left hand into a fist and
rest it on your left hip.
Salute
A salute is done before and after a lesson or a bout to show respect to your opponent and anyone who may be observing. A full salute can be performed the following way:
• Starting from first position, raise your sword, as if pulling it from a scabbard and extend
your arm so that your sword is pointed directly at your opponent with your hand in second
position. Now bend your arm back until the sword is pointed straight upwards with the
guard of the weapon just below your chin, then extend it back towards your opponent, this
time with your hand in fourth position.
• Salute any opponents on your left by partially extending your arm to the left with your
hand in third-and-fourth position, then bring it back until it is vertical again.
• Finally, salute any opponents on your right by partially extending your arm to the right
with your hand in second-and-third position, then return the weapon to your side and stand
in first position.
In less formal situations you can salute only the person in front of you.
First position
Step 1
Step 2
Step 3
Step 5
Step 6
Step 7
Step 8
Step 4
4
Guard
The guard is the position that you stand in when fencing in order to be able to quickly attack,
parry, or counterattack. Starting from first position, assume the guard position in two movements.
1. Raise your weapon and extend it straight forwards with your hand in second position (like
in the salute).
2. Now all at the same time, step forwards with your right foot about two shoe lengths. Bend
your knees a bit while relaxing your right arm slightly and turning your hand to third position. Raise your left arm so that it is in front of your chest.
When you are finished, your feet should be at right angles with the heels in line and about two
shoe lengths apart. Your weight should be centered a little more over your left foot than your
right foot. Your left leg should be bent and your right leg should be nearly straight with only
a slight bend. Your torso should be profiled and inclined slightly backwards so that your left
shoulder is directly above your left leg. Your weapon arm should be somewhat, but not all of
the way, extended with the hand in third position and in line with your right flank. Your weapon should be pointed forwards and be parallel to the ground. Your left hand should be in front
of your chest, relaxed and with the palm pointed downward, and with the left elbow kept back.
Coming on guard part 1
The guard position
Lines of Attack
There are four lines in Italian rapier, which are determined by
where your sword arm is. Anything above your arm is your
high line; anything below it is your low line. Anything to the left
of your arm is your inside line and anything to the right is your
outside line. If you were to move your sword arm to your inside,
then an attack to your chest arriving over your arm would be in
the outside high line.
Lines of Attack
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Placement of the weapon
Conceptually, there are three different positions
that your weapon can be in: invitation, engagement, and central. Practically speaking, although
these positions can be assumed with the blade and
body in many different configurations, the most
commonly used placement of the blade to effect
invitation or engagement are the guards of third
and fourth. Each guard is performed the same way
whether it is used for an invitation or an engagement.
Guards of third and fourth
Starting from the on guard position, the guard
in third is assumed by moving your forearm and
weapon to the right of the flank and rotating your
hand to second-and-third position. Your forearm
and weapon should form a straight line and your
tip should be pointed at your opponent’s left
shoulder. An invitation in third exposes your inside
(high and low) line, and an engagement in third
closes your outside high line.
A guard in third
The guard of fourth is made by moving your forearm and weapon to your inside while rotating your
hand to third-and-fourth hand position. Your forearm and weapon should form a straight line and
your tip should be pointed at, or just to the right
of, your opponent’s right shoulder. An invitation
in fourth exposes your outside high line and an
engagement in fourth closes your inside high line.
When you move to form a guard, your forearm
and weapon should move together as one unit.
If the wrist is bent or the tip of the weapon is left
pointing at the opponent’s center, the guard will
not adequately protect the line that it is intended to
protect.
A guard in fourth
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Invitation
For an invitation, your weapon and arm are moved so that you deliberately expose a specific
portion of target to your opponent. In general, when you make an invitation, you should also
protect another portion of your target so that you limit your opponent’s options for attacking
you.
Engagement
While an invitation deliberately exposes
target to your opponent, an engagement
works by closing off a target area by moving the arm and weapon so as to protect a
portion of target. When the line is “closed”
to your opponent in this way, s/he can no
longer make a direct attack in that line.
Any time you cover one section of target,
you are simultaneously exposing another.
You could also think of an engagement as
simply being a type of invitation where
you are forcing your opponent to attack
you with a line change (disengagement)
rather than with a direct attack (straight
thrust). Depending on the situation and
where your opponent’s blade is, you can
make an engagement with or without
blade contact. In an engagement with contact, the strong or medium of your blade
should be placed over the weak of your
opponent’s blade, so it is dominated and
pushed to the side. An engagement without contact is very similar, except the blade
is placed just over the weapon and the line
is closed without touching the blade.
Dori engages in third
Dori engages in fourth
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Central
If your weapon is halfway between the guards of third and fourth so that the tip points directly
at your opponent, you are in a central position. From this position, no line is protected or exposed more than any other. The on guard position described earlier is an example of a central
position. Another is when your arm is fully extended and pointed directly at your opponent’s
target, in this position, your weapon is considered to be “in line.” In general, if your opponent
wishes to attack you while you are in either of these two positions, the attacker will be forced
to either deviate your blade from its position in line or remove his or her body from your line
while making an attack or risk being hit as well.
Offense
Offense is the act of attacking your opponent. An attack can be either simple or compound
based on the number of movements it requires. An attack made in one movement is a simple
attack, and attacks consisting of two or more movements are compound attacks. Different footwork can be used for an attack - for instance, a simple attack could be performed while stationary, with a lunge, with a passing lunge, or with a running attack.
Defense
Defensive actions are actions that prevent your opponent’s attack from hitting you. These can
be done either by moving your body out of the way of the attack or by using your weapon or
off hand to parry (deflect or block) the attack. The attack made immediately following a parry is
called a riposte.
Measure
Measure refers to thr distance that you must travel in order to reach your opponent’s torso
with your sword. At its simplest, you are in close measure if you can hit your opponent’s chest
simply by extending your arm. Wide measure is when you can reach the opponent’s chest with
a lunge, and you are out of measure if you would have to take a step in order to reach your opponent’s chest with a lunge.
Measure becomes slightly more complicated if you take into account your opponent’s arm.
From out of measure, you might be able to hit the arm with a lunge. From wide measure, you
could hit the arm simply by extending, and the body with a lunge, and from close measure,
both the arm and the body could be hit without a lunge.
One of the keys to success in fencing is being able to enter measure in such a way that you have
8
an advantage over your opponent. There are three ways that you can seek measure: you can
advance forward while your opponent remains still, you can allow your opponent to advance
while you remain still, or measure can be reached while both of you are moving.
It is important to realize that measure is not equal for everyone. If your opponent is taller or has
a longer lunge than you, wide measure for them is going to be substantially longer than it is for
you. It is important to be able to instantly assess whether you or your opponent is in measure.
Tempo
In fencing, tempo refers to the best moment to initiate an action, such as an attack, counterattack, or parry and riposte. Any movement that you make, especially in measure, is a potential
tempo in which you can be attacked. A single, continuous movement is said to be one tempo,
regardless of the speed of the movement. For instance, a slow lunge and a fast lunge, are one
tempo, but a parry and a riposte are two tempi.
Attacks in Time
An attack is said to be “in time” if it is made during the tempo of your opponent’s movement.
For instance, if your opponent attempts to engage your blade, and you attack with a disengagement in the middle of his movement, your attack is called a disengagement in time. In general,
you should try to attack your opponent “in time” as they tend to be most vulnerable when they
are in the middle of doing something else. For example, you could initiate an attack in time as
your opponent tries to advance into measure, engage your blade, attack your, or recover from a
failed or parried attack.
Counterattacks
A counterattack is a specific type of action in time in which the tempo that you use to attack is
your opponent’s attack. For this to be successful, the amount of time required to execute your
counterattack should be less than the time required for your opponent to complete their attack.
By the time the opponent has finished their attack, they should be hit. A counterattack has both
an offensive and a defensive element: hitting the opponent and not getting hit. Hitting the opponent can be done with either a thrust or a cut. Not getting hit can be accomplished by: using
your weapon to deflect the attack, moving your body out of the way of the incoming attack, or
using your unarmed left hand to deflect the attack.
9
Countertime
Sometimes the tempo that your opponent makes is a trap. Deliberately making a movement in
order to provoke your draw your opponent’s attack in time, which you are already prepared to
defeat, is called countertime. For example, you could attempt to engage your opponent’s blade
in fourth so that they try to attack you with a disengagement in time. As they make their attack, you could either parry in third and riposte, or counterattack with a time thrust or a passata
sotto. Another example of countertime would be to make a feint, and as your opponent attempts
to counterattack with an arrest you could again either defeat the arrest with a parry and riposte
or another counterattack.
10
Footwork
Footwork allows you to properly seek measure with your opponent and to successfully attack
when you have reached it. Proper footwork is vital to success as a fencer. In practice, emphasis should be placed on proper form, making small, precise steps, and explosive lunges. Your
movements should be smooth so that you don’t bob up and down as you move. As you develop
proficiency, you should constantly push yourself so that your footwork is tighter and faster and
your lunges are longer and faster.
In all of these actions, your feet should be kept close to the ground. Lifting your foot too high
will make your movements look clunky and slow. Don’t drag your feet on the ground though,
that will ultimately slow you down as well.
Advance
The most common method of moving towards your opponent is the advance. To make an
advance, lift your right foot, move it forward about one shoe length and set it down heel first.
Then, bring your left foot forward so that you end in the same position that you started in.
Retreat
To retreat, lift your left foot first and move it straight backwards are far as necessary (typically
about one shoe length), then lift your front foot, toe first and bring it back so that you end in the
same position you started in.
Cross step forward
A cross step is another method of stepping forward. To do a cross step, carry your left foot forwards until it is about a shoe length in front of your right foot. Your foot should remain pointing
to the left as it is brought forward and set on the ground. Next, your right foot comes forward
and is set down so that you end back in the guard position. Make sure that your upper body
and shoulders do not rotate as you make the cross step backwards.
Cross step backward
The cross step back is simply the reverse of the cross step forward. Carry your right foot behind
your left and then bring your left back as well so that you end in your original guard position.
11
Jump Back
A jump back is nearly the same as the cross step back except that both feet end up leaving the
ground at the same time.
Lunge
The lunge is the most common means
of delivering an attack in Italian rapier
fencing. From the guard position: Begin
by extending your arm and raising it to
shoulder height. As your arm reaches
full extension, your torso should start
to lean progressively forward. Then, lift
your right foot, toe first and start to step
forward. Next, straighten your left leg
so that it pushes your body explosively
and violently forward. As your left leg
is straightened, snap your left arm backwards so that it is fully extended behind
you. Finally, your right foot should land
toe first just as, or just before your weapon reaches its target.
The lunge
In the lunge position, your arm should be fully extended and about shoulder height. Your body
should be profiled and leaning forwards so that there is a straight line down your back to your
left foot. Your right knee should be even with the middle of your right foot, your left leg should
be completely straight and your left foot flat on the floor.
To recover from the lunge, bend your left leg and push off of your front foot so that you return
to guard. As you are returning to guard,
relax your sword arm back to its guard
position and bring your left hand back in
front of your chest.
Fixed-Foot Lunge
From close distance, you can make an
attack almost identical to the lunge, but
without moving your front foot. Begin
by extending your arm, and then shifting
your upper body forwards so that your
The fixed-foot lunge
12
weight rests over your right leg. The end result should look very similar to a lunge, but with
your feet a little closer together. Remember to start with your feet about two shoe lengths apart
when you are in guard. If they are too close together the fixed foot lunge will feel awkward and
throw you off-balance.
Recover Forward
Another way to recover from the lunge is to return to guard by bringing your left foot forward.
Reprise
A reprise is a second attack initiated from the lunge. To do a reprise, recover forward and then
lunge again. As you recover forward keep your knees bent, your body low, and your sword arm
fully extended throughout the action.
Advance Lunge
An advance lunge is a method for closing distance with an attack. To do an advance lunge,
make an advance while extending your sword arm. As soon as you finish the advance, immediately lunge. The entire sequence should be performed smoothly and without pause so that you
accelerate forwards during the action.
Gain on the Lunge
Gaining on the lunge is another method for closing distance with an attack. To gain on the
lunge, bring your left foot forward so that it is just behind your right foot, and then lunge. This
can cover as much or more distance as an advance lunge.
This could also be combined with an advance lunge: as you make the advance, bring your left
foot all of the way up to your right foot and then lunge.
13
Passing Lunge
The end result of a passing lunge looks
very similar to a lunge except that your
left foot is in front instead of your right.
To make a passing lunge, extend your arm
and start shifting your weight forwards so
that it is over your right leg. As you reach
full extension, push off of your right leg
and carry your left leg forwards so that
you end in a lunge position. In a passing
lunge, your left hand is typically brought
forward instead of flung backwards. It
can either be used to protect you from an
opponent’s counterattack or riposte, or to
grab their weapon or arm.
The passing lunge
To recover, you can either recover forward as you would from a normal lunge and then make
half of a cross step back so that you end in guard, or you can bring the left foot back to it’s position with the recovery.
Running Attack
A running attack is very similar to a passing attack, but with more forward momentum. When
you push off of your right foot it should leave the ground, so that both feet our momentarily in
the air. Your attack should land just before or as your left foot hits the ground. To recover, continue forward with cross steps until you are past your opponent and out of distance. This type
of attack should be made at an angle to your opponent in order to avoid a collision.
14
Offense
Simple Attacks
A simple attack is an offensive action performed with a single blade movement. A simple attack
can be performed with a thrust or with a cut. For now, we will focus only on attacks made with
the point. Many of these attacks can be performed with different types of footwork - a lunge,
a fixed foot lunge, a passing lunge, or a running attack. For the sake of clarity, the descriptions
will assume that a lunge is being used.
Straight Thrust
A straight thrust is used when your opponent has exposed their target with an invitation. As
your arm reaches full extension, rotate your hand to either second or fourth position so that
your true edge is pointed towards your opponent’s weapon. At full extension, your weapon and
arm should form a slightly obtuse angle. If your hand is in second position, your arm should be
just to the outside of your shoulder with your tip pointed at its target. If your hand is in fourth
position, it should be slightly to the inside. This angle, and the orientation of your sword is
called opposition. It keeps your target protected as you attack so that your opponent can’t just
stick their arm out and hit you. As you hit your opponent, you blade should bend upwards.
A lunge with opposition in second
15
To make this an action in time, begin your attack the instant your opponent changes to an invitation (either from an engagement or another invitation). Your attack should hit at about the
moment your opponent would have finished making the invitation.
A lunge with opposition in fourth
Examples:
Fencer
Opponent
Invites in third
Delivers a straight thrust to the chest on the
inside line with the hand in fourth position
Receives the hit
Fencer
Opponent
Invites in fourth
Delivers a straight thrust to the chest on the
outside line with the hand in second position
Receives the hit
16
Disengagement
A disengagement refers to freeing your weapon from your opponent’s engagement, (or attempted engagement or parry) so that you change the line that your point is directed to by traveling
either under or over your opponent’s blade (most commonly under).
You can attack with a disengagement when your opponent has protected their target by engaging your sword. To make a disengagement, free your blade by moving your tip under your
opponent’s blade and back to the other side. As you do this, begin extending your arm so that
it reaches its full extension by the time your tip reaches the other side of your opponent’s blade,
and then smoothly finish the lunge.
Throughout the attack, your tip should travel continually forwards towards its target. The
movement should be made primarily with your fingers and wrist and kept as tight as possible.
Keep your hand in third position as you free the blade, and then rotate your to either second or
fourth position just as you reach full extension.
Against an engagement in fourth, an attack with a disengagement would be made to the outside
high line with the hand in second position. Against an engagement in third, the disengagement
would be made to the inside high line with the hand in fourth position.
Instead of going all of the way back to the high line, you could also disengage from the high line
to the low line (or vice versa). This is called a half disengagement. For instance, from the engagement in fourth, a half disengagement would go to the outside low line.
Disengaging without an attack - simply changing lines can be a useful tool for controlling distance. If your opponent has engaged your weapon and is in distance, you could safely retreat by
making a disengagement as you retreat and either returning your blade to a neutral position, or
re-engaging your opponent’s sword.
To make this an action in time, begin your attack the instant your opponent attempts to engage
your weapon. Your attack should hit at about the moment your opponent would have finished
making the engagement.
Examples:
Fencer
Opponent
Engages in third
Attacks with a disengagement to the chest on
the inside line with the hand in fourth position
Receives the hit
17
Fencer
Opponent
Invites in fourth
Attacks with a disengagement to the chest on the
outside line with the hand in second position
Receives the hit
Glide
If your opponent is in a neutral position - either the on guard position, or with their blade
in line. They can be hit with a glide. Starting from your engagement, extend your arm while
maintaining contact and opposition with the opponent’s blade. If you made your engagement
without blade contact, then you should make contact just as you start to extend. As your extend,
rotate your hand to second or fourth position depending on where your opponent’s blade is.
To make this an action in time, engage the opponent’s weapon as soon as they place it in a
neutral position, then finish with your attack by glide. When a glide is performed as an action in
time it requires two distinct movements, the engagement and glide should not be combined into
one.
Examples:
Fencer
Opponent
Places the weapon in line
Makes an engagement in third and attacks with
a glide to the chest on the outside with the hand
in second position, maintaining blade contact
throughout the attack.
Receives the hit
Fencer
Opponent
Places the weapon in line
Makes an engagement in fourth and attacks with
a glide to the chest on the inside with the hand
in fourth position, maintaining blade contact
throughout the attack.
Receives the hit
18
If your opponent does not engage your blade properly, you can also make a glide against their
engagement instead of your own. This is called a forced glide. The most common time to use
this technique is if your opponent engages your blade, but angles their point so that it is directed back to the center of your body. This type of engagement gives up the mechanical advantage
of an engagement in exchange for the possibility of a faster riposte. If you extend with strong
opposition, you will be able to gain control of their weak as you glide along their blade.
Examples:
Fencer
Opponent
Makes an incorrect engagement in third, with
the point angled inwards
Makes an attack by glide to the chest on the
outside with the hand in second position,
gaining control of the line with strong opposition to the right
Receives the hit
Fencer
Opponent
Makes an incorrect engagement in fourth,
with the point angled inwards
Makes an attack by glide to the chest on the
inside with the hand in fourth position, gaining control of the line with strong opposition
to the left
Receives the hit
Counterdisengagement
A counterdisengagement is used in opposition to your opponent’s disengagement. Like a disengagement, its primary use is as an attack, but you can do them without attacking as well. Since
a counterdisengagement is made in response to your opponent’s disengagement, it is always
performed as an attack in time. One example of a situation in which you can perform the counterdisengagement is this: starting from your engagement, your opponent frees their blade and
attempts to engage your weapon. Follow their blade around in a circle so that you end up on
the side that you started on. At the same time, extend your arm so that it is fully extended by the
time you finish your circle. As you reach full extension, finish your lunge smoothly, so that the
entire attack happens in one, smooth movement.
19
You could also use a counterdisengagement to close distance with your opponent safely. Suppose you have engaged, or attempted to engage your opponent’s blade in fourth. Your opponent retreats while freeing their sword and attempting to engage in third. You can make a
counter-clockwise counterdisengagement as you advance forward to maintain distance while
controlling your opponent’s weapon.
Examples:
Fencer
Opponent
Engages in third
Frees weapon with a disengagement, but
does not attack
Follows the opponent’s blade in a clockwise
movement, finishing with a lunge with the
hand in second position.
Receives the hit
Fencer
Opponent
Engages in fourth
Frees weapon with a disengagement, but
does not attack
Follows the opponent’s blade in a counterclockwise movement, finishing with a lunge
with the hand in fourth position.
Receives the hit
20
Cuts
While Italian rapier is heavily thrust oriented, the weapon can used for cutting as well. Cuts
should be made primarily with the true edge of the weak of your weapon. To be effective, a cut
must include both percussive and slicing elements. Cuts can be delivered using force primarily
from the shoulder, the elbow, or the wrist. A cut from the shoulder would be slower, but stronger than a cut from the elbow, which would be slower and stronger than one from the wrist.
When you attack with a cut, your arm should reach full extension, just before, or just as your
right foot lands in your lunge. This allows your body to add to the force of your cut as your legs
propel you forwards and pushes your cut into your opponent. The primary targets for a cut in
rapier should be the head, the left and right cheeks, and the sword arm.
A cut delivered from right to left is called a mandritto. A cut from the left to right is called a
riverso. A vertical downward cut is called a fendente. A circular cut is a cut made by turning the
blade at your wrist like a wheel. The point of the weapon travels in a circular movement, and
the final cut can be either a mandritto, a riverso, or a fendente.
21
Defense
Parries with the sword are made by deflecting the opponent’s weapon to the side so that it does
not hit you. Blade contact should be made with (gennerally) the true edge, strong against weak
to ensure that you are properly protected. The placement of the weapon for a parry in third or
fourth should look identical to the engagement for the same line.
The riposte following a parry can be made with only an extension, or a lunge. You can also
make a gathering step as you make the parry and then riposte with a lunge to cover more distance. Since a parry and riposte requires two blade movements to complete, the opponent has
an instant to react after they have been parried. Your riposte may need to take their movement
into account. For instance, if they recover immediately and retreat, you might use a gathering
step as you parry and then lunge with your riposte to cover the extra distance.
Simple Parries
Simple parries travel the shortest path from one invitation or engagement to another. For instance, from the guard of fourth, you could make a simple parry of third, and from the guard of
third you could make a simple parry of fourth.
Circular Parries
Circular parries travel in a circular path so that they end in the guard that they start in. From the
guard of third, you could make a circular parry of third by making a clock-wise circle with your
weapon and forearm and returning to third. From fourth, you would make a counter clock-wise
circle and return to fourth.
Examples:
Fencer
Opponent
Engages in third
Attacks with a disengagement to the chest
on the inside line
Makes a simple parry of fourth and ripostes with
a straight thrust or glide to the inside line.
Or
Makes a circular parry of third and ripostes with
a straight thrust or glide to the outside highline,
or a straight thrust to the outside low line
Receives the hit
22
Fencer
Opponent
Invites in fourth
Attacks with a straight thrust to the
chest on the outside line
Makes a simple parry of third and ripostes with a
straight thrust or glide to the outside highline, or a
straight thrust to the outside low line
Or
Makes a circular parry of fourth and ripostes with
a straight thrust or glide to the inside line.
Receives the hit
23
Compound Attacks
Feints
A feint is a simulated attack intended to provoke a response from your opponent (typically a
parry). As the opponent moves to parry your attack, you can change the direction of your attack
to end in the line exposed by the parry. A feint typically consists of two (or at most three) movements.
The most typical use for a feint is to make a simulated attack to provoke your opponent’s parry.
As they parry, make a disengagement and finish your attack in the new line. When you feint,
extend your arm fully, as if you were going to make a simple attack, either direct, by disengagement, or by glide. Though your arm is extended, your body should be kept back so that you
have not committed to your attack. Keep your hand in third position, and then as your opponent parries, make a small disengagement under their blade and rotate your hand to either second or fourth position as you lunge so that you attack with opposition. If the opponent makes a
circular parry, follow their blade around in a circle so that you end up in your original line. This
movement is called a deceive.
The final action of a feint can be made with a lunge, a passing lunge, or a running attack. The
initial movements of a feint can made with or without an advance. You can also string multiple
feints together, though these are particularly vulnerable to counterattacks.
Examples:
Fencer
Opponent
Engages in third
Simulates an attack by disengagement to the
inside high line
Attempts a simple parry of fourth or a circular parry of fourth
Eludes the parry of fourth with a disengagement under the blade to the outside high or
low line
Or
Eludes the parry of third with a clockwise
deceive to the inside line
Receives the hit
24
Fencer
Opponent
Engages in fourth
Simulates an attack by disengagement over the blade
(cut-over) to the outside high line
Attempts a simple parry of third or a
circular parry of fourth
Eludes the parry of third with a disengagement under the blade to the inside line
Or
Eludes the parry of fourth with a counter-clockwise
deceive to the outside high or low line
Receives the hit
Actions on the Blade
Actions on the blade are compound attacks that remove your opponent’s weapon from its
position in line during your attack. These are most useful when your opponent is on guard in
central, or has placed their weapon in line. These attacks are typically started from out of measure and performed with an advance, though it is possible to start them from correct distance as
well.
Blade Seizures
To do a blade seizure, start from out of distance and engage your opponent’s blade as you step
into measure. Once you are in measure, finish your attack with a glide. When you start the
blade seizure make sure that your arm moves first to seek the engagement before you start your
advance. If your body leads the action, you will be stepping into distance while your body is
exposed, leaving you open to a counterattack.
Beats
A beat is a blow of measured violence, made with the strong or medium of your blade against
the weak or medium of your opponent’s blade intended to dislodge it from its position in guard
or the line of attack. The beat should be immediately be followed with a simple attack or feint. A
beat is named for the line in which your blade encounters the opposing steal. For instance, starting from an invitation in third, you can make a beat in fourth by rotating your hand to third and
fourth position and your weapon and forearm to your left to deliver a sharp blow to the opposing steel, followed by a swift attack.
25
A simple beat travels the shortest distance to encounter the opposing steal in an opposite line.
For instance, starting from an invitation in third, you could make a simple beat in fourth, or
starting from an invitation in fourth, you could make a simple beat in third.
A change beat starts from your engagement and ends up an opposite line. Starting from an
engagement in third, you could make a change beat in fourth by releasing your opponent’s
weapon, traveling under it in a circle and delivering a sharp blow to the left with your hand in
third and fourth position.
A circular beat is similar to a change beat but starts from your invitation instead of your engagement and ends with your blade in the position you started in. For instance, from your invitation
in fourth, you can make a circular beat in fourth by traveling in a circle under your opponent’s
blade and delivering a blow to the left with your hand in third and fourth position.
26
Contraries
Counterattacks
Arrest
An arrest interrupts the opponent’s attack by attacking directly into it with opposition. In order
for this to work, you must be able to make your attack significantly faster than your opponent
can.
If your opponent is making a simple attack, your arrest can only work if you are already in a position of advantage, or if your opponent makes an error in their attack. For instance, if you have
engaged your opponent’s blade in fourth, you could make an arrest with your hand in second
the instant that your opponent tries to free their blade to start their disengagement. If you time
it properly, you attack will land, and the opposition of your attack will keep you safe from being hit.
If your opponent’s attack consists of several movements, such as a feint, you can arrest on the
first movement in order to stop their attack. For instance, if your opponent makes a feint to
your outside high line, expecting you to parry in third, you could instead make an arrest to the
outside low line with your hand in second to interrupt the attack. If you opponent feints to your
inside high line expecting you to parry in fourth, you could arrest to the inside high line with
your hand in fourth.
Time Thrust
A time thrust is very similar to an arrest in that it is an attack into your opponent’s attack. The
primary difference is timing. With a time thrust, you would wait until the last possible instant
of the opponent’s final attack before making your counterattack. Because of this it typically does
not require a lunge as your opponent will have already closed the distance, though it requires
exceptional timing to be successful.
For instance, if you have engaged your opponent’s blade in fourth and your opponent attacks
your outside high line with a disengagement, you would wait until their attack is almost finished and then extend your arm with your hand in second, so that you deflect the attack and hit
just as their lunge is completed.
27
Arrest with Reassemblement
With a rapier, the easiest response to an
attack to the leg is withdraw the leg and
hit the opponent in the arm or the head as
they come forward. You can do a reassemblement in one of two ways. You can
pull your right foot back to your left foot,
straighten your legs, and lean your upper
body forwards so that you can hit your
opponent with a thrust to their face or
arm, or even a cut to their wrist. Or, you
could pull your right foot all of the way
behind you as you lean forward. After
you hit, you should recover backwards to
minimize the risk of running onto your
opponent’s sword if it is still in front of
you.
An arrest with reassemblement by gathering the front foot back
Inquartata
An inquartata is used against attacks
to your inside line. As the attack comes
towards you, move your body out of the
way by bringing your left foot forwards
and to your right. Your left foot should
end up about one and a half shoe lengths
to your right and be pointing directly at
your right foot. As you step, extend your
arm with your hand in fourth, so that you
hit your opponent as they come forward.
If your opponent is left handed, the thrust
should be directed to the outside low line.
An arrest with reassemblement by passing back with the front foot
The inquartata
28
Passata Sotto
A passata sotto works by ducking underneath your opponent’s blade, and is
best used against attacks to your outside
high line. You can do this with a running
attack, a passing lunge, a lunge, or even a
backwards lunge. As you lunge, turn your
hand to second and bend your body as far
forwards as possible so that you hit your
opponent just under their sword arm and
their attack goes over your head. Instead
of throwing your arm back with your
lunge, bring your left shoulder forward
and place your left arm under your sword
arm to protect your outside low line.
The passata sotto
Front foot void to the right
An attack to the inside line could also be avoided by stepping forwards and to the right with
your right foot so that your body is shifted out of the way of the incoming attack.
Left Handed Parries
Parrying with the left hand can be effective when used well. Off hand parries
should not be used against cuts for obvious reasons. The opponent’s blade should
be pushed aside with the left hand, and
at the same time, the sword arm should
be extended so that the opponent is hit by
the time their attack finishes. The blade
can be deflected upward and to the left,
downward and to the left, to the right
over the sword arm, or to the right under
the sword arm. The parries over and under the sword are particularly useful.
A-left handed parry with a passing lunge
29
Countertime
Countertime actions are performed by deliberately provoking a counterattack from your opponent that you are already prepared to defeat. The counterattack can be defeated with a parry
and riposte in countertime, or a counterattack in countertime.
Examples:
Fencer
Opponent
Attempts a blade seizure in fourth
Counterattacks with a disengagement in time
Defeats the counterattack with a parry in
third and riposte to the outside high line in
countertime
Or
counterattacks with a time thrust in third in
countertime
Or
Counterattacks with a passata sotto in countertime
Receives the hit
Fencer
Opponent
Engages in third
Feints by disengagement to the inside high
line
Counterattacks with an arrest to the outside
high line
Defeats the counterattack with a parry in
third and riposte to the outside high line in
countertime
Receives the hit
30
Feint in Time
The feint in time is used to oppose actions in countertime.
Examples:
Fencer
Opponent
Attempts a blade seizure in fourth
Feints by disengagement to the outside high
line
Attempts a parry in third in countertime
Or
Counterattacks with a passata sotto in countertime
Defeats the parry in third with a disengagement counterclockwise under the blade to the
inside line
Or
Defeats the passata sotto with a parry of second and riposte by glide to the outside low
line
Receives the hit
Fencer
Opponent
Invites in third
Feints by disengagement to the outside high
line
Feints an arrest to the outside high line
Attempts a parry of third in countertime
Defeats the parry in third with a disengagement counterclockwise under the blade to the
inside line
Receives the hit
31
Appendix 1
Summary of Single Rapier plates from Capoferro’s text
Plate 7
Fencer C
Fencer D
Engages in Fourth
Attacks with a disengagement to the chest
Counterattacks with a thrust in second to the
left eye, with or without lunging
Receives the hit
32
Fencer C
Fencer D
Engages in Fourth
Feints by disengagement to the chest
Counterattacks with a thrust in second, with
a lunge
Parries to the outside with the true edge and
ripostes with a thrust to the chest.
Or
Parries to the outside with the false edge and
ripostes with a cut to the face
Receives the hit
Recovers back to a guard of low fourth
33
Plate 8
Fencer C
Fencer D
Engages in Fourth
Attacks with a riverso to the leg
Withdraws the right leg and cuts the arm
with a stramazzone
Or
Withdraws the right leg and thrusts to the
face
Receives the hit
Fencer C
Fencer D
Engages in Fourth
Attacks with a riverso to the face followed by
mandritto fendente to the head
Receives the hit
34
Fencer C
Fencer D
Engages in Fourth
Attacks with a disengagement to the face
Counterattacks with a thrust to the face in second while passing forward and using the left
hand to grab the opponent’s sword arm
Receives the hit
35
Plate 9
Fencer C
Fencer D
Engages in Fourth
Feints by disengagement to the face
Attempts to counterattack with a thrust in
second while passing forward and using the
left hand to grab the opponent’s sword arm.
Disengagement underneath the opponent’s
sword and thrusts to the chest while making an
inquartata
Receives the hit
36
Plate 10
Fencer C
Fencer D
Engages in Fourth
Attacks with a riverso to the face
Counterattacks with a thrust in fourth to
chest, underneath the sword
Receives the hit
Fencer C
Fencer D
Engages in Fourth
Pull’s back the sword as if to attack with a riverso
to the face
Attempts to Counterattack with a thrust in
fourth to the chest, underneath the sword
Makes a beating parry of fourth and ripostes
with a riverso to the face or a thrust to the chest
Receives the hit
37
Plate 11
Fencer D
Fencer C
Invites in a high transverse fourth with the
point aimed at the opponent’s left shoulder
Steps forward to engage in fourth
Passes in second underneath the opponent’s
sword
Receives the hit
Fencer D
Fencer C
Engages in third
Feints by disengagement to the face with the
hand in fourth
Attempts to parry
Rotates the hand to second and passes underneath the opponent’s sword
Receives the hit
38
Fencer D
Fencer C
Engages in fourth
Feints by disengagement to the face with the
hand in third
Raises sword in attempt to parry
Rotates the hand to second and passes underneath the opponent’s sword
Receives the hit
Fencer D
Fencer C
Engages in fourth
Attacks with a disengagement to the face
Attack in contratempo by passing underneath the opponent’s sword with the hand in
third
Or
Parries third, then rotates hand to second
and passes underneath the opponent’s
sword
Receives the hit
Fencer D
Fencer C
Engages in third
Attempts to engage in fourth
Attack by passing underneath the opponent’s sword with the hand in third
Receives the hit
39
Plate 12
Fencer D
Engages in low fourth
Fencer C
Attacks with a disengagement to the chest
Counterattacks with a passing lunge while
parrying the disengagement with both hands
and thrusts in third to the chest
Receives the hit
40
Fencer D
Engages in low fourth
Fencer C
Feints by disengagement to the chest
Attempts to counterattack with a passing
lunge while parrying the disengagement with
both hands and thrusts in third to the chest
Rotates hand to second and lowers and withdraws the sword to clear the opponent’s blade
and cuts with a riverso to the face while voiding to the right
Or
Parries the attack, and then passes forward
with the left leg and thrusts to the chest while
holding the sword in both hands
Receives the hit
41
Plate 13
Fencer C
Fencer D
Engages in third
Attacks with a disengagement to the face
Deflects the attack to the outside by parrying
with the left hand over the arm, then passes
forward with the left leg and thrusts to the
flank with the hand in second while grabbing
the opponent’s sword arm with the left hand
Receives the hit
42
Plate 14
Fencer D
Fencer C
Engages in fourth
Attacks with a disengagement to the face
Counterattacks under the sword by lowering
the body and lunging underneath the sword
with the hand in second
Receives the hit
Fencer D
Fencer C
Engages in fourth
Attacks with a disengagement to the face
Counterattacks under the sword by lowering
the body and lunging underneath the sword
with the hand in second
Receives the hit
43
Fencer C
Fencer D
Engages in fourth
Attacks with a disengagement to the face
Parries in third with the point high, then rotates the hand in second and strikes under the
arm while passing forward and grabbing the
opponent’s sword arm
Receives the hit
Fencer D
Fencer C
Engages in fourth
Attacks with a disengagement to the face
Parries in third with the point high, then rotates the hand in second and strikes under the
arm while passing forward and grabbing the
opponent’s sword arm
Withdraws the right leg, parries to over
the right arm with the off hand, and strikes
underneath opponent’s arm with the hand in
second.
Or
Withdraws the right leg, parries under the
arm with the off hand, and strikes either the
chest or the face with the hand in second.
Receives the hit
44
Plate 16
Fencer C
Fencer D
Engages in third
Attacks with a disengagement
Counterattacks with a thrust in fourth, with
or without a lunge
Receives the hit
Fencer C
Fencer D
Engages in third
Disengages, beats in fourth, and then attacks
with either a thrust to the face, or a riverso to
the arm
Receives the hit
Recovers back to a guard of third
45
Plate 17
Fencer C
Fencer B
Engages in third
Attacks with a disengagement with the hand
in fourth
Strikes the opponent in the face, near the ear,
while making a diagonal step to the right
with the right foot, to avoid the opponent’s
attack
Receives the hit
46
Fencer C
Fencer B
Engages in third
Feints by disengagement with the hand in
fourth
Strikes the opponent in the face, near the ear,
while making a diagonal step to the right
with the right foot, to avoid the opponent’s
attack
Parries with the left hand over the right arm,
passes forward and strikes in second while
grabbing the opponent’s sword arm.
Receives the hit
47
Plate 18
Fencer C
Fencer B
Engages in third
Attacks with a disengagement to the face
Passes forward and strikes with a thrust to
the face in fourth
Receives the hit
Fencer C
Fencer B
Engages in third
Feints by disengagement to the face
Passes forward and strikes with a thrust to
the face in fourth
Makes an inquartata and strikes in the chest
Receives the hit
48
Plate 19
Fencer D
Fencer C
Engages in third
Attacks with a disengagement to the face
Avoids the hit by crossing the left leg behind
the right (an inquartata) and thrusts to the
face with the hand in fourth
Receives the hit
49
Fencer C
Fencer D
Engages in third
Disengages in order to engage in fourth and
strikes in fourth with a pass forward
Or
Disengages, makes a beat in fourth, and cuts
the face with a riverso
Receives the hit
Recovers back to a guard of third
50
Plate 20
Fencer D
Fencer C
Engages in third
Attacks with a disengagement
Parries in fourth while making an appel (foot
stamp), then passes forward a strikes in second to the face while grabbing the opponent
Or
Parries in fourth and ripostes in fourth without passing or grabbing the sword arm.
Receives the hit
51
Fencer C
Fencer D
Engages in third
Attacks with a disengagement
Attempts to parries in fourth
Disengages to the outside and thrusts to the
face in second (test says counterdisengagement, but may be wrong)
Receives the hit
Recovers back to a guard of third
52