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Guy frequently keeps this blog updated with thoughts, challenges, interviews and more!

Category: Books and Writing

I’m delighted to let you know that From Medieval Manuscript to Modern Practice: the Wrestling Techniques of Fiore dei Liberi is now out on the Swordschool shop! For the next week only, you can get 10% off the hardback, paperback, and ebook here. Use the code wrestle10 at checkout to apply the discount.

This book is the academic basis of my interpretation of Fiore’s wrestling plays, following the format I pioneered in the first book to come out in this series, From Medieval Manuscript to Modern Practice: the Longsword Techniques of Fiore dei Liberi.

I start at the very beginning, and provide a transcription and translation of the full introduction from the Getty Manuscript, then for each play, I provide the drawing from the manuscript, transcribe the text, translate it, and interpret it, with a video clip of the action in practise. The book also includes an essay by Jessica Finley comparing the Italian wrestling with German medieval wrestling, and a bonus section where I transcribe and translate the wrestling plays from the mounted combat section.

The book provides the “what” and “why” of Fiore’s wrestling plays. For instruction in how to train Fiore’s wrestling, you will need my online course which I created with Jessica Finley, so I have also discounted that by 45%, here.

These discounts expire on March 14th.

For an academic, it is the best feeling in the world when the ground you have built a mansion on starts to tremble. (Less so for an architect, I’d imagine.) I had that experience on my recent trip to the Panoplia Iberica where I finally met Dario Magnani in person. He runs the THOKK gloves enterprise, and is a keen Fiore scholar. We talked for literally hours about the most minute details of our interpretations, starting with his take on the famous “three turns of the sword”. It was so much fun I got him onto my podcast to revisit the topic, which you can hear here:

What is a volta? A very detailed examination of Fiore, with Dario Magnani

I’ll go through the passage first, then describe my current interpretation of it, then his take on the same text, and then sum up. We’re talking about folio 22 recto from the Getty manuscript. I’ll quote the transcription, translation, and interpretation from pages 116-117 of From Medieval Manuscript to Modern Practice: The Longsword Techniques of Fiore dei Liberi.

The text reads:

Noy semo doi guardie, una si fatta che l’altra, e una e contraria de l’altra. E zaschuna altra guardia in l’arte una simile de l’altra sie contrario, salvo le guardie che stano in punta, zoe, posta lunga e breve e meza porta di ferro che punta per punta la piu lunga fa offesa inanci. E zoe che po far una po far l’altra. E zaschuna guardia po fare volta stabile e meza volta. Volta stabile sie che stando fermo po zugar denanci e di dredo de una parte. Meza volta si e quando uno fa un passo o inanzi o indredo, e chossi po zugare de l’altra parte de inanzi e di dredo. Tutta volta sie quando uno va intorno uno pe cum l’altro pe, l’uno staga fermo e l’altro lo circundi. E perzo digo che la spada si ha tre movimenti, zoe volta stabile, meza volta, e tutta volta. E queste guardie sono chiamate l’una e l’altra posta di donna. Anchora sono iv cose in l’arte, zoe passare, tornare, acressere, e discressere.

We are two guards, one made like the other, and one is counter to the other. And [with] every other guard in the art one like the other is the counter, except for the guards that stand with the point [in the centre], thus, long guard and short, and middle iron door, that thrust against thrust the longer will strike first. And thus what one can do the other can do. And every guard can do the stable turn and the half turn. The stable turn is when, standing still, you can play in front and behind on one side. The half turn is when one makes a pass forwards or backwards, and thus can play on the other side, in front and behind. The whole turn is when one goes around one foot with the other foot, the one staying still and the other going around. And so I say that the sword has three movements, thus stable turn, half turn, and full turn. And these guards are called, one and the other, the woman’s guard. Also there are four things in the art, thus: pass, return, advance, and retreat.

Let me unpack this:

1. The two guards shown are both posta di donna. One is shown forward weighted, the other back weighted. I interpret the difference between them to be a volta stabile (more on that later).

2. Any two guards that are alike can counter each other.

3. Except for guards that have the point in the centre line (longa, breve, and mezana porta di ferro; more on those in the next section). This is because the longer sword will strike first. Here I’m translating punta as point (stano in punta, stand with the point), and thrust (punta per punta, thrust against thrust). The meaning is obvious whichever way you translate it though: don’t stand with your point in line against someone else who has their point in line unless you have the longer sword.

4. Any similar guards can do what the guards they are like can do.

5. Every guard can do the volta stabile and the meza volta. (I use the Italian terms for technical actions, guards, etc. where possible. Refer to the glossary [link] if you need it.)

6. The volta stabile: I interpret stando fermo, standing still, to mean without stepping, or moving a foot. As I do the volta stabile, the balls of my feet stay on the same spot on the ground. It makes no sense for a turning action to involve no movement at all, so standing still cannot mean literally ‘not moving’.

7. The meza volta: this is a passing action, forwards or backwards. I interpret that to include a turn of the hips and body, so you go from one side to the other.

8. The tutta volta: here again we have a ‘fixed’ foot, that, unless your legs are made of swivel-joints (top tip: they’re not), must at least turn around itself for the action to occur. This supports my reading of stando fermo above. Simply, this is whenever you pivot on one foot by turning the other one around it. There is a video of me doing these three movements linked to further on in this chapter.

9. The sword also has three movements: stable turn, half turn, and full turn. Unfortunately there is no further discussion of this, and these terms simply aren’t used in the rest of the book. Fiore will tell us to ‘turn the sword’, for instance in the play of the punta falsa, on f27v, but never with the qualifiers stable half or full. So I simply do not use these terms to apply to sword actions. Other instructors and interpreters do, but you should be aware that there is no evidence supporting any one interpretation of these turns over another.

10. In case you missed it the first time: both these guards are posta di donna. Both of them. Got that?

11. There are four things in the art: pass, return, advance and retreat. See the video: three turns, four steps: https://guywindsor.net/lgg01

Okay, so that’s the current state of affairs, and it accords with what most Fiore scholars I know think of the three turns.

Dario’s reading is different though. In essence, he thinks that the volte Fiore is describing here are specifically the turns of the sword. Or better, the movements of the sword.

In other words: a volta stabile is what you can do moving the sword forwards and backwards while standing still. For example, thrust from breve to longa without stepping at all.

A meza volta is what you do with the sword when passing forwards or backwards, and the sword goes from one side of the body to the other. This could be a blow, or just changing guard.

A tuta volta is what you do with the sword while turning one foot around the other.

This makes sense for the following reasons:

1. Why would footwork come between the sword in one hand and the sword in two hands? Surely if this was meant to be a purely footwork description, it would be earlier in the manuscript.

2. The volta stabile as we do it as a footwork action cannot reasonably be described as ‘standing still’. It took some wrangling to get it to apparently mean that (as you can see in points 6 and 8 above).

3. The line “And so I say that the sword also has three movements, thus stable turn, half turn, and full turn” can be read as a summary of the preceding sentences, not an application of footwork actions to the sword. The “also” there doesn’t come from “anchora”, it’s more pleonastic: it comes from E perzo digo che la spada si ha tre movimenti, zoe volta stabile, meza volta, e tutta volta. That bit “la spada si ha” literally means “the sword it has”. There’s really no “also” in that sentence, thought I’m not alone in inserting one: Leoni translates it as “the sword also has” (Leoni and Mele, Flowers of Battle vol. 1 page 252). Drop the questionable “also”, and the sentence reads as a summarising of the preceding three turns as turns of the sword.

4. Volta has many meanings and shades of meaning. You can find literally dozens of meanings for it on pages 1000-1002 of Battaglia’s dictionary, online here: https://www.gdli.it/sala-lettura/vol-xxi/21 Dario’s contention is that these actions don’t have to be read as specifically turning actions (which allows for a simple thrust from breve to longa to be a ‘volta’). To be honest, that’s the hardest part of this for me- I haven’t found a solid linguistic reference to justify a non-circular interpretation of the word, though the expression “dai volta”, lit. ‘give turn’, means “get a move on”.

It is very convenient to translate words that may have many meanings into simple, specific, and concrete technical actions. The volta stabile then gets to be one simple thing, easy to explain and teach, rather than a class of things (what you do with the sword while standing still). But this can be a false sanctuary. Likewise with the final sentence of this troublesome passage: “Anchora sono iv cose in l’arte, zoe passare, tornare, acressere, e discressere. Also there are four things in the art, thus: pass, return, advance, and retreat.”

These have long been interpreted by me and just about everyone else as passing forwards, passing backwards, stepping forwards, stepping backwards.

We know from the definition of the meza volta that ‘passare’ means to pass forwards or backwards. What is ‘tornare’ then? It means return, and when we see it in action, such as in the defence of the dagger against the sword thrust on f19r, “Lo pe dritto cum rebatter in dredo lu faro tornare”, it isn’t a pass at all: it’s the withdrawal of the front foot (see From Medieval Manuscript to Modern Practice pages 44-47 for the transcription, translation, and video).

Likewise the discrescere that we find on f26r when we slip the leg against a sword cut; it’s not a step backwards; your back foot doesn’t move.

So our neat classification of footwork actions starts to fail.

So is this passage, the beginning of the sword in two hands section, all about how the sword moves? That would not be a stretch. And for sure the volta stabile is not a great big movement of the body. I’ve started calling that movement (which is still a fundamental part of the art) a “volta stabile of the body”.

I’m not sure where I stand on all this yet. I’m convinced of one thing though: it’s past time to return to the assumptions that I have based my interpretations on and work through them with ever-closer attention to the text.

And if you listen to the podcast episode, you'll hear the moment when I'm convinced that the “also” has to go!

Academic research is the foundation of Historical Martial Arts. When you try to recreate an action described in a book, that’s academic research. When you try to figure out what a particular phrase in a source means, that’s academic research.

Most mainstream academic research is presented in a way that is deliberately hard to get access to, and often deliberately hard to read. The only reason to publish that way is to get jobs at universities.

Historical martial arts books are usually written for practitioners. All of mine are, so I need my research to be perfectly clear and easy to distribute among the active historical martial arts community. I want my work to be accessible to beginners, experienced fencers, and my fellow instructors.

If you want your academic work to appear in academic journals, you need to find out what that journal wants, and present your work the way they ask. But if you want it to be of maximum use to the HMA world, this post will show you how I think you should go about it.

This is a big post, and not all of it will be relevant to your needs, so here's a table of contents to guide you through it. I've written each section to be reasonably independent, so cherry-pick what you need:

Introduction

Many historical martial artists generously share their interpretations, but do so in a way that makes it impossible to check their work. Simply doing the action in a video and posting it online is helpful to people who want to know how you do it, but useless for establishing whether it’s an accurate interpretation of the source. For that you need at the very least to quote the source, and explain any interpretive decisions you made. Video is not a good medium for that; it’s far too slow, and far too difficult to check the text. Books are better, but suffer from other limitations, such as being unable to show movement. The ideal way to show your work is to combine books and video. This post will show you how I do that.

It’s important to note that academic work is the foundation of our knowledge of Historical Martial Arts. But it has no necessary connection to our martial skill. You can be highly skilled in an interpretation and be able to teach it, fence with it, and apply it in all sorts of situations, without even knowing the name of the source it is originally based on. Likewise, you can be incredibly knowledgeable about a given source and be able to perfectly recreate the choreography of every action, without having any fencing skill at all. Most historical martial artists are somewhere in between.

In this guide I am only dealing with the academic side of things. I have a whole other book on creating training manuals for developing skill. You can find it at here.

What kind of work are you doing?

Before you present your work to the world, you need to know what kind of book it is. There are at least five different kinds of modern HMA publication.

  1. Facsimile. This is a printed copy of scans of the source. The ideal is to make it as close as possible to owning an original copy of the source. This is not an academic work, usually. It’s much more of an art project.
  2. Transcription. You take the trouble to type out the entire source (or part of it). This makes it much easier for people to use the source, because the electronic version of the transcription is now searchable.
  3. Translation. You translate the source from one language to another. Personally, I much prefer a translation to include at least a transcription, or a full facsimile, so I can check the translation against the source. This should also include copies of the images in the source if there are any.
  4. Interpretation. You demonstrate how you think the actions in the source should be done in practice. This can be through text and images, or through video.
  5. Training manual or workbook. You teach the student how to execute your interpretation as a living martial art. This can also be done through online courses.

It is generally not practical to create a book that is all five of these things in one volume. It would simply take up too much paper. It is much easier to demonstrate movement on video, but video is hopeless for sharing a transcription or translation. And a facsimile is by definition in the same general format as the source, which is some kind of book. But these five categories can overlap considerably. My From Medieval Manuscript to Modern Practice includes transcription, translation, and interpretation. But it’s not a facsimile, and it’s not a training manual.

I have produced all of these types of publication, in one form or another. Such as:

Facsimiles: I have published facsimiles of Fiore dei Liberi’s Il Fior di Battaglia (Getty Museum MS Ludwig XV 13), and Philippo Vadi’s De Arte Gladiatoria Dimicandi, (Biblioteca Nazionale di Roma MS Vitt.Em 1324). These are both affordable un-fiddled-with reproductions of the manuscripts, with a single-page description of what they are and where they come from at the back. It’s as close as you can get to owning the manuscripts themselves for under $50.

Michael Chidester at HEMA Bookshelf does much fancier facsimiles, in gorgeous leather bindings, and much higher production values, which is as close as you can get to owning the manuscripts, for under $500.

Transcriptions: I include transcription in my From Medieval Manuscript to Modern Practice series, and also produced a transcription of Vadi which I released free online. There are many other researchers who do the community a huge service by producing and releasing transcriptions of all sorts of other works. These are usually available online somewhere.

It’s actually quite unusual to find a pure transcription (with no facsimile or translation) published as a commercially available printed book.

Translations: my first properly published translation is in The Art of Sword Fighting in Earnest. This is my translation and commentary on Vadi. I licensed the translation under a Creative Commons Attribution licence, which means it is free to use and share in any way, you just have to give credit. Perhaps the gold standard in translations are Jeffrey Forgeng’s translations of the Royal Armouries MS I.33,  published as The Medieval Art of Swordsmanship and of Joachim Meyer’s treatise published as The Art of Combat.

Interpretations: they say there is no translation without interpretation, and that’s largely true. How you understand the text will influence how you translate it. I include interpretation in most of my works, including From Medieval Manuscript to Modern Practice, and The Duellist’s Companion. There are many, many, published interpretations out there.

Training manuals: a training manual teaches you how to train in a particular interpretation. It does not usually include much about why you think the source means what you think it means. It must by default include your interpretation, but it does not usually show your working. The three books in my Mastering the Art of Arms series, The Medieval Dagger, The Medieval Longsword, and Advanced Longsword, are all training manuals.

Workbooks: a workbook is a training manual that is formatted for the student to make notes in. The difference is primarily in the format, though a workbook will usually have even less academic content than a training manual. I have a series of four workbooks for the rapier, combined into The Complete Rapier Workbook, and the first in what will probably be a series for Fiore’s Art of Arms, The Armizare Workbook, part one: Beginners.

As you can see, I’ve produced works of all five kinds (not to mention a book of mnemonic verses: The Armizare Vade Mecum).

Now that we have defined some terms, let’s go through the list and have a look at how to present your transcription, translation, and interpretation. Facsimiles are a separate category, and so are training manuals. I’ve written a whole other book (From Your Head to Their Hands: how to write, publish, and market training manuals for historical martial artists [link]) on, you guessed it from the title, how to write training manuals, because it’s the one kind of book that you actually write from scratch. Each kind of book will need a somewhat different introduction, so I’ll include specific instructions for the introductions too.

Transcription

Transcription introduction

Your introduction should answer the following questions:

  1. What book or other source are you transcribing?
  2. What versions of the source exist, and why have you chosen this one?
  3. Where can that source be found?
  4. Who wrote it?
  5. What do we know about the author?
  6. What images do we have, and are you reproducing them?
  7. What kind of transcription are you trying to produce? Where on the “diplomatic” scale do you fall?
  8. What conventions will you be following regarding contractions, suspensions, brevigraphs etc.?
  9. Who are you and why should the reader trust you?

You can find a very useful guide to transcription conventions, published by the University of Hull, here: guywindsor.net/transcriptionconventions (that's a redirectable link in case the article gets moved).

Transcription layout

You need to make a decision about whether to include scans of the original sources in your work. In general, if you can (due to copyright restrictions etc.), do. It’s much better to present the reader with the chance to check your work. This is especially true if you are transcribing a manuscript. If you are making a machine-readable copy of a perfectly clear-to-read source, then you don’t need to include the original.

If you are going to include scans of the original source, then layout becomes an issue. For instance, the first page of Fiore’s introduction is laid out in two columns, with a fancy capital. The text also continues onto the next page mid-sentence.

You basically have two options. You can reproduce your transcription and keep all of the layout decisions, so arrange your transcription on the page the same way Fiore does. Or you can arrange it separately. My preference would be to reproduce the whole source intact, and then present the transcription separately but with the same basic layout. That makes it much easier for readers to find the original source for any give bit of transcription.

If you are quoting from a part of the transcription that includes a page break, note the point of the break by putting the page reference in square brackets, such as:

… l'o mostrada sempre oculta mente si che non gle sta presente alchuno [page break: F1r to F1v] a la mostra se non lu Scolaro,…

Or more simply:

…l’o mostrada sempre oculta mente si che non gle sta presente alchuno [F1v] a la mostra se non lu Scolaro,…

Translation

Translation introduction

Your introduction should answer the following questions:

  1. What book or other source are you translating?
  2. What versions of the source exist, and why have you chosen this one?
  3. Where can that source be found?
  4. Who wrote it?
  5. What do we know about the author?
  6. What images do we have, and are you reproducing them?
  7. What kind of translation are you trying to produce? Where on the “literal” to “analogous” scale do you fall?
  8. Who are you and why should the reader trust you?
Translation choices

Because of the interplay between translation and interpretation, we should discuss what kind of translation you doing. However you choose to do your translation, you need to make your approach clear in your introduction, so readers know what to expect.

A strictly literal translation translates each word in the source in turn, without reference to the meaning of the phrase, sentence, paragraph, or rest of the book. This is also called a direct translation, a word-by-word translation, or a metaphrase. Generally speaking, this is not a useful approach. How would you translate the word “match” in this sentence: “I met my match while striking a match at a football match”?

Beginners are often surprised or even upset to find that the same word is apparently translated differently in different places; this is only because they don’t understand that the context the word appears in is different. Languages are not ciphers of each other- you can’t simply convert each word and expect to find the meaning.

An analogous translation translates the meaning of the source into the target language. This is also called a paraphrase. This would allow you to translate “match” in three different ways based on those three meanings, as made clear from the context. Taken to extremes though, this can lead to translation decisions that fail to properly convey what the original author said.

All translations exist on a spectrum from 100% metaphrase to 100% paraphrase. You have to decide where on that spectrum you want to work, and what point is most useful to your target readers.

To my mind, it’s more useful to translate a bit too literally than a bit too freely. A lot of the readers of these translations are using them to teach themselves to work with the original sources. Over-interpretation makes that much harder.

Let’s take this phrase from Fiore, for example. It is part of the text regarding the punta falsa play, on f27v.

…Io mostro d’venire cum granda forza per ferir lo zugadore cum colpo mezano in la testa. E subito ch’ello fa la coverta, io fiero la sua spada lizeramente. E subito volto la spada mia de l’altra parte piglando la mia spada cum la mane mia mancha quasi al mezo. E la punta gli metto subita in la gola o in lo petto…

My translation in From Medieval Manuscript to Modern Practice:

I show that I am coming with great force to strike the player with a middle blow in the head. And immediately that he makes the cover I strike his sword lightly. And immediately turn my sword to the other side, grabbing my sword with my left hand at about the middle. And I place the thrust immediately in the throat or in the chest.

Tom Leoni’s, in The Flower of Battle, vol. 1, page 275

… I feint a strong mezzano to the opponent’s head. As he forms his parry, I lightly strike his blade, then immediately turn my sword to the other side, grasping it almost at mid-blade with my left hand. I can then place a quick thrust to his throat or chest…

I have a huge regard for Tom’s translation work, but every now and then he strays a bit too far in the analogous direction. Fiore’s description “I show that I am coming with great force to strike the player” becomes “I feint”. He also uses “forms the parry” for “makes the cover”, “opponent” for “player”, and I’d have to say that “mid-blade” is clearly not in the text (it’s just “at the middle”).

I should note that The Flower of Battle quoted here is an absolute gem of a book, and a must-read for any Fiore scholar. And I agree very much with most of the translation.

If you are faced with a phrase that has no meaning in the target language, then I would still translate it as written but add its equivalent phrase in a footnote. For instance, when Vadi wrote Et romperoti il brazo al diri dunave (on f20r), it means ‘And I will break your arm while saying a Hail Mary’. So that’s how I translated it. But I included a footnote which reads:

Though the Hail Mary prayer is quite long, the expression means “in a jiffy”. If you’re running late, you might say (in Italian) “I’ll be there before you can say a Hail Mary”, which is equivalent to “I’ll be there before you know it”.

That way, the reader knows what Vadi said, and also what I think he meant, where it might not be clear. This is very different to the modern English meaning of “Hail Mary”, which is a desperate last-ditch attempt.

You may also come across a word or expression that you can’t translate because you can’t find it in your various dictionaries. In many historical martial arts translations, the common practice is to throw in a word that might be right and hope for the best. A hail mary translation, if you like. But best practice here is to translate as much of the sentence as you can, and leave the untranslated bit in square brackets. Such as in this line describing the guard bicorno, in the Getty ms:

Questa e posta di bicorno che sta cossi serada che sempre sta cum la punta per mezo de la strada.

I translate this as “This is the guard of two horns that stands so closed that it always stands with the point in the middle of the way.”

Let’s say “serada” was unknown. Then it would read: “This is the guard of two horns that stands so [serada] that it always stands with the point in the middle of the way.”

It is perfectly alright to publish a translation with a few mystery words in it, so long as you’ve done due diligence to find them out. If they are commonly understood by native speakers, or easily found in a proper dictionary, then your reader will understandably lose faith in you.

It is common practice to leave some words untranslated, especially technical terms. As the translator, it’s your job to make judgement calls, and this is one of them. Some translators translate everything. Some leave far too much untranslated, rendering the translation useless to the reader. When I’m translating, I have my students in mind. What do they need? What do they already know?

So I often leave technical terms that we use in class all the time untranslated. This includes the names of blows (mandritto fendente for example), and the names of guards, and the names of certain techniques (colpo di villano, for example).

But I don’t do this the same way in every book. In a training manual aimed at practitioners, I’ll leave the terms untranslated throughout, and define them only on the first use. The students are supposed to learn them. But in a book billed as a translation (such as From Medieval Manuscript to Modern Practice), I’ll translate everything (as you see in the punta falsa and bicorno translations above).

However a lot of words that appear to be technical terms wouldn’t appear so to a native speaker, and it’s critically important that the target reader gets what they need, so I think it’s better to err on the side of translating everything.

Translation layout

Wherever you choose to fall on the analogous translation spectrum, you have choices about how to present your work. If there are large chunks of text with no illustrations, you have the following options:

Reproducing the layout of the original. This is excellent for making a version of the original text that’s simply more accessible to the reader. The trickiest part is the page breaks, where you have to decide where exactly in the sentence you make the break.

Side-by-Side with the original. This can make it even easier for readers to find which bit of the translation applies to which bit of the source, but will often compromise the layout of the source. The team at Freelance that produced The Flower of Battle went with this option, sacrificing the page layout of the source, but presenting each page with the transcription and translation in about the same place as on the facsimile.

Side-by-Side with the transcription. This is great for readers trying to learn to work with the original source. You can break up the transcription into paragraphs or even sentences, to make it even clearer. I used this for my transcription and translation of Fiore’s introduction to the Getty ms, in my From Medieval Manuscript to Modern Practice: the Wrestling Techniques of Fiore dei Liberi.

Where you have images, you must make it absolutely clear which image your transcription and/or translation refers to.  Many sources simply have one image per page, which makes things quite simple. But where you have multiple images per page, you must arrange the transcription/translation so that it is crystal clear which image the text refers to.

Using other people’s transcriptions and translations

You have to be very careful about copyright, and giving credit, when using somebody else’s work. If you are going to quote more than a few lines, you absolutely must have permission from the rights holder. In some cases, the work has been published under copyright terms that allow for unlimited non-commercial use, in which case have at it, just give credit (whether it’s required or not).

In most cases, you need permission from the publisher. I always check with both the author and the publisher, assuming I can get hold of both.

This is true regardless of the format you are using. For instance, I checked with Reinier van Noort before quoting his translation of Johan Georg Pascha’s jaegerstock material in a series of jaegerstock videos I was doing.

My quotation of the few lines of Leoni’s translation above falls squarely within fair use, but as a matter of courtesy I let the publishers know. It’s always better to be open about what you’re doing, and to give more credit than is strictly required.

It’s very common for HMA researchers to use other people’s translations. Translation is hard, and you may not have the language skills to do it yourself. There are some drawbacks though:

  1. You may have no way to know how accurate the translation is
  2. You may be using an out-of-date or inaccurate version
  3. Every translation is also an interpretation, so the translator may be coming from a completely different point of view, or have unfortunate ideas about how swords work that lead them to translate things incorrectly
  4. You have no right to use the translation without permission unless explicitly stated (which is unusual)
  5. You have no right to alter, correct, or change the translation, even if you find a mistake. You have to quote it precisely, and add any corrections in the commentary or footnotes.

I think that a professional instructor is morally obliged to be able to work with the original source in its original language. You simply can’t trust somebody else’s translation, unless you are able to at least check it yourself. But it would be absurd to require amateurs to master a long-dead dialect of a foreign language before getting to work on the interpretation.

Just be aware of the pitfalls.

Incidentally, the reason I only teach from sources in English, Italian, Spanish, French, and Latin, is because those are the languages I can reasonably work in. The only foreign language I would publish a translation of would be Italian, but my skills in the other languages are at least sufficient to have an informed opinion about the translator’s choices. If you’ve ever wondered why I don’t publish work on German medieval combat, this is the reason.

Interpretation and Commentary

So far this has been fairly simple. There are tried and tested ways of presenting transcriptions and translations. But presenting your physical interpretation of the actions in the source takes us to relatively uncharted territory. There is no established academic model to follow, so I have created one. We should start with the questions your introduction should answer.

Interpretation introduction
  1. What book or other source are you translating?
  2. What versions of the source exist, and why have you chosen this one?
  3. Where can that source be found?
  4. Who wrote it?
  5. What do we know about the author?
  6. What images do we have, and are you reproducing them?
  7. Are you intending the reader to actually reproduce your interpretation?
  8. If yes, what equipment and prior training will they need?
  9. If no, have you provided other resources for readers who want to have a go?
  10. Who are you and why should the reader trust you?
Interpretation layout

Here is the ideal layout for presenting your interpretation:

  1. Source image where available.
  2. Transcription of the text if necessary.
  3. Translation of the text if necessary.
  4. Commentary on your translation and the play it represents.
  5. A blow-by-blow description of your interpretation.
  6. A video clip of how you enact that interpretation.

If you follow this format, people can see what you are basing your interpretation on, and why. They may agree with you 100% right up to the video clip. Or they may see an error in your translation that affects everything downstream from there.

You can see how this looks on the page here:

You may need to go into some depth and detail about a concept, rather than an action. In that case, it is best to separate that out into its own chapter. In From Medieval Manuscript to Modern Practice, I have a 13 page chapter on what largo and stretto mean, and conclude each section (such as the sword in one hand, or the plays of the zogho largo) with a chapter on how the plays fit together.

It’s necessary to separate these things out for three reasons:

  1. It makes it easier for readers to find
  2. It maintains the distinction between theory and practice
  3. Your physical execution is ‘what’ and ‘how’. The theory explanation is about ‘why’. It’s clearer to keep these separate.

For the blow-by-blow description, I would suggest using the same format as for teaching drills in a training manual, with the prerequisites clearly stated, and the actions carefully ordered into a numbered list. Here’s a sample from the second edition of The Duellist's Companion.

Creating video clips

Let the text do the work of explaining the ‘why’ of your interpretation. It’s simply miserable to sit through a video of somebody trying to explain why they do an action a certain way, unless it has been carefully scripted and beautifully produced. The video’s purpose is to show the action. If the clip is more than a minute long, you’re talking too much.

Set up a camera on a tripod, make sure there’s enough light and you’re in shot, and just record you and whatever training partner may be required doing the action. Record it from both sides (so, you facing right, you facing left). Edit out everything that isn’t clean or necessary.

You can add title cards and end cards too. This is a good idea if you plan to release the videos publicly, so people watching have an idea of why you’re NOT TALKING. And you can advertise your work to them. Your title card text should include:

  1. The name of the project.
  2. Your name and the name of any assistants
  3. The name of the specific action you are doing and where it comes from
  4. The date you shot the video (in case your interpretation changes later)
  5. My video clips are usually extracted from my online courses, so I also credit the course at the end. That also tells people who like the interpretation and want to be taught how to fence with it where to look for instruction.

You now have a video example of your interpretation of that specific action. How do we embed that into the book?

Embedding video clips into your work

It is tempting to just produce the book as a very large PDF, with the video clips embedded in it. Don’t do that. So many people will tell you it didn’t load, or doesn’t work, that you’ll spend far too much time answering emails and not enough time swinging swords. Instead, the best approach is the following:

  1. Upload your clips to an online hosting service. I use Vimeo, but you can use a free service if you don’t mind advertising other people’s stuff.
  2. Create a redirectable link that is easy to type, and paste the clip’s address as the target. I use PrettyLink, through my website hosted at guywindsor.net. So every link is guywindsor.net/somethingeasytotype and points to the specific video clip I want.
  3. For academic content, that is sufficient. But for training manuals and workbooks I also use a free online tool (easy to find with basic search skills) to create a QR code of the link, and include that in the book. Here’s an example from my Complete Rapier Workbook:

It is critically important to use the redirectable link. Do not ever just use e.g. a YouTube link. Unless you own YouTube and can therefore control what happens to it. The point is to future-proof your book. If I change the way I do an action, or create a better video, I can upload it somewhere, and go in to my website’s dashboard and redirect the link. If my Vimeo account was suddenly destroyed, I could upload the clips somewhere else, and redirect the links.

Using Photos

I highly recommend hiring a professional photographer if you can possibly afford it. It is really hard to take print-worthy photos without high-level gear, and without high-level post-production. You may have students, friends, or colleagues with a serious interest in photography, in which case by all means let them help. But be aware of what you’re asking for. The weekend it takes to pose and shoot a book is perhaps a fifth of the time needed to do the post-production.

Clarity is the watchword here, as always. Don’t go for artistic, don’t go for fancy. Make the photos crystal clear, and at a resolution that allows you to print them as large as possible. Shoot on the plainest background you can find, not the prettiest.

Do not insert the images in your text file. It will make the whole process horrendously difficult. Instead, name your pictures in a sensible way, and insert an instruction to layout, in square brackets, like so:

[pic: Getty fol 6v 4 4th play]

That tells me that it should be an image from folio 6v of the Getty MS, 4th image on that page, which happens to be the 4th play of the Abrazare.

If you have hundreds of images from a photoshoot, you might just go with the automatic image numbering from the camera. That’s fine, so long as you are very strict about getting the right numbers in the right place. I copy and paste the file names rather than typing out digits.

This way, even when your layout designer has no idea about your subject, if they can’t find an image, or they put the wrong image somewhere, you can find the correct image easily. Do not try to number your images in order (figure 1, figure 2 etc.) because you will end up having to redo the numbering many times as you edit the text. If you want figure numbers, put them in at the very end, after the first layout draft has been done.

For showing actual movements, I use video clips. Unless you are writing a training guide for videography, the video just has to be clear. Shoot it in the highest resolution you can, and edit it as short as you can make it without losing the necessary detail, and you’re done. The point is to replace the need for photos, not to create instructional videos.

Adding a Glossary

Are there any terms a lay reader may need to look up? If there are six or more, I’d suggest including a glossary at the back of the book. Such as my Academese glossary, reproduced here:

Academese Glossary v.1.02

Citations and Bibliography

Your research will no doubt refer to other people’s work. The modern standard is for in-line citations. This works by simply putting the author’s name, the year of publication of the source you’re citing (if necessary- see below), and the page reference in brackets, in the sentence or immediately after a quote. For example:

Guy’s completely erroneous interpretation of Fiore’s sword draw (Windsor 2018, 52) sets the seal once and for all on his reputation as a complete turnip-head!

Or:

Questo zogo sie del magistro che fa lo partito qui dinanzi. Che segondo chello ha ditto per tal modo io fazo. Che tu vedi bene che tua daga tu no mi poy fare nissuno impazo.

This play is of the master that does the technique before this one. I do it in the way that he has said. You can well see that your dagger cannot cause me any trouble. (Windsor 2018, 52)

Note that I indicate the quotation with a change of text formatting. Whatever you do, make it abundantly clear what you are quoting, and exactly where your reader can find it.

Bibliography

What books have you referred to in your book? List them here. I usually divide them up by type, then organise by author’s last name. Include the author’s full name, the title of the work, the publisher, and the date published. Such as:

Windsor, Guy. Mastering the Art of Arms, Book 1: The Medieval Dagger. Freelance Academy Press, 2012.

Windsor, Guy. Mastering the Art of Arms, Book 2: The Medieval Longsword. The School of European Swordsmanship, 2014.

The date is especially important if the author has more than one book in your bibliography. That way when you are citing them in your text, you can use the standard in-line format, for example (Windsor 2012, 147) which means page 147 of the book this Windsor chap published in 2012.

If they only have one book in your bibliography, you can leave out the year. Such as (Windsor 147).

If they have produced more than one book in the same year, then format it like so: 2018/1, or 2018/2 etc.

Other Things to Include

These are less critical to making your research available, but they are good practice to include. Your work should have an acknowledgments section, a list of your other works, and some biographical information about you. I summarise this like so:

Acknowledgments:

Who helped you learn this stuff in the first place, and to produce the book?

More books by Guy:

If they liked this one, they may like the others.

About the Author

Who am I, and why should you listen to me?

How can they find you online?

And how can they get on your mailing list? [top tip: you can get on my mailing list with the form at the bottom of this post]

Publishing and Distribution

There is no sense in putting all this work into writing up your research if nobody ever reads it. So you need to make some decisions about distribution. Let’s start with copyright.

Copyright options

As the author, your work is automatically protected by copyright law. But, you have various options available to you whether you want to give it away, or get paid for it.

If you want to sell your work it is not strictly necessary but still a good idea to register your copyright. This can be done through various agencies. I use protectmywork.com.

If you publish your work yourself, then you don’t need to get anyone’s permission. If someone else publishes it for you, then you will need a contract with them that licenses your copyright to them. Freelance Academy Press has licensed the copyright to my book The Medieval Dagger for English language only, paperback and ebook only, worldwide distribution. I have the rights to the hardback and to foreign language versions. This is why you can find a German translation of the work, and you can only get the hardback from my online store (swordschool.shop), not the paperback or ebook.

Releasing the work for free can be done by simply stating your terms in the form of one of the creative commons licences. You can for instance allow:

  1. Free use to anyone for any reason, with no need to credit you (CC0)
  2. Free use to anyone for any reason, but you want credit (CC BY)
  3. Free use for non-commercial use, but anyone selling your work needs your permission (CC BY-NC)

And there are other options, allowing for the work to be changed or not. You can find the entire list here: https://creativecommons.org/about/cclicenses/

You apply the licence you want by simply stating it somewhere in your work, with a link to the licence terms. This booklet Show Your Work, for instance, is © 2023 Guy Windsor. This work is licensed under a CC BY-NC-ND 4.0

Which allows allows reusers to copy and distribute the material in any medium or format in unadapted form only, for noncommercial purposes only, and only so long as attribution is given to the creator.

Note that this noncommercial licence stops other people selling the work. I can still, for instance, produce a version of the book for sale.

For free distribution, you simply need to produce the book to a reasonable standard of editing and layout (any word processing software will do that), and export it as a PDF. Then share that PDF wherever you like. I would suggest including the following, which are easily forgotten:

  1. Your name
  2. Your copyright terms
  3. Page numbers
  4. A link to your website or anything else of yours that the reader may be interested in.

I cover publishing books and marketing them in detail in From Your Head to Their Hands: how to write, publish, and market training manuals for historical martial artists, so if you are planning on producing an actual book that people can buy, please refer to that.

This Thursday, November 30th, I complete a half-century. And even more exciting than me getting a year older (which to be fair is an annual event), the TOP SECRET project I’ve been working on with Katie Mackenzie is ready!!

The Swordschool Training Year Planner


Plan your training like a pro!

With this beautiful full-colour planner you can set goals, plan your training, and review your progress. Embark on a transformative journey using the Swordschool Training Year Planner to tailor your approach.
Aspire to mastery of the Art of Arms, and craft a lifestyle that will lead you towards it. From daily training goals to annual events, this planner works from the specific details of daily life to the overall theme of your year. Connect with like-minded enthusiasts on swordpeople.com and share your progress with the tag #planner. Design your days, map out the year, create monthly themes, and reflect with quarterly reviews.


This was Katie’s idea, and her graphic design work, so full credit to her. Bob Charrette very kindly let me use his line-art versions of the illustrations from the Getty ms (which he originally created for his excellent book Armizare).
My contribution was the introduction, and the overall structure of the planner.
You can get it in print, either paperback or spiral-bound, or to save on shipping costs, you can get the pdf to print at home. Please note, the paperback can be printed and shipped in the USA, but the spiral bound can only be printed in the UK, which will affect shipping times and costs.

To celebrate this major milestone (though why we care so much about numbers that end in a zero, I’m not sure), I’m also running a special sale on The Medieval Longsword course, and The Complete Rapier course, and all ebooks and audiobooks. You can find the courses here:
https://swordschool.shop/pages/guys-50th-birthday-sale
And because of the whole “50” thing, you can have them for just £50 each (plus sales tax if your location requires it), which is an 85% discount on their usual price.
The discount will run from today (Nov 28th), through to the end of the weekend (Sunday Dec. 3rd).
Until then, you can use this code to get 50% off the usual price on all digital products (ebooks and audiobooks) on https://swordschool.shop:
guyturns50
(all lower-case, and no spaces either end).
Please note the sale offers don’t extend to the print books, because the printers and shippers don’t seem to care about my birthday at all (astonishing!), so the costs of printing and shipping remain quite high.
Feel free to share the courses and the discount code with anyone you think might benefit from them. These discounts will expire on Monday December 4th.

There is a ton of jargon in most specialised fields, and historical martial arts are no different. A smallsword fencer cares about the difference between a colichemarde and a spadroon; falchion folk distinguish between messer, storta, and hanger. The same is true of academics who study old books and ways of writing (palaeographers. Not to be confused with palaeontologists, who study fossils). The historical martial arts world and academia overlap in many ways, and it’s useful to be able to speak a bit of academese when discussing our work, so I’ve put together an explanation of the more common academic expressions used in our field. The words in bold are the ones I’m defining, and you can find an alphabetised glossary of them at the bottom of the post. Pretty much every word in the list is the gateway to an entire universe of bookish geekery, and more than worthy of an entire post in its own right, so I have provided links to more extended discussions of them in case you have time on your hands. I have manfully resisted getting sucked into the etymology of these words (did you know that “book” comes from the proto-Germanic word “bokiz”, or beech (as in the tree), because beechwood was used for carving words into? Did you want to know? Ok, back to the topic…) 

This list is a work in progress- if you think there are words to add, please do email me to let me know, or post the word in the comments below. We're already at 38 from the original 33!

Let’s start with something that should be obvious, but isn’t. What is a ‘book’? 

In the Bible, a ‘book’ is a collection of writings attributed to one author, or a major chapter heading. The Book of Genesis, for instance, or The Book of Job. The Bible itself is (we would say) a ‘book’, which is divided up into ‘books’. If the Bible is presented in a single volume, it is a single physical book-like object. Fabris’ Scienza d’Arme comprises “book one” and “book two”, but has always been published in a single volume. 

Things get even more complicated when we’re talking about manuscripts. A manuscript is a text that has been written by hand. It’s usually abbreviated as ms or MS, and plural mss or MSS. It could be written on paper, vellum, or anything else, but if it’s written by hand it’s a manuscript. A shopping list scrawled in biro on the back of an envelope is a manuscript. My gorgeous first edition of Capoferro in the photo below is not a manuscript- it was printed in 1610.

Because they are produced by hand each manuscript is different, so you can have a single treatise (a treatment of a subject in depth- I’ll define it further later on) that exists in different forms, such as the four quite distinct versions of Il Fior di Battaglia by Fiore dei Liberi. Each version is of course ‘a book’, bound in a single ‘volume’ but the ‘treatise’ presented in each volume is somewhat different.

If the manuscript is illustrated, it has drawings in it. Most historical martial arts manuscripts are illustrated. But often not illuminated. The difference is, an illuminated manuscript is illustrated in colour, with gold and/or silver leaf. Fiore’s Getty ms barely qualifies as illuminated- he uses gold leaf for the crowns and garters (and silver leaf for the sword blades in the Morgan ms), and the capital F at the very beginning is illuminated too.

A handy rule of thumb: illustrated mss have drawings, illuminated ones are in colour. Text that is written in red (such as chapter headings, or indeed the names Fiore gives to his guard positions) is called ‘rubric’ which these days has come to mean a class or category, because of how red text was used in many medieval mss.

Vellum, or parchment, is a kind of rawhide, usually made from calves or goats, scraped clean, dried, and variously treated. Many but not all manuscripts that have survived from the middle ages were written on vellum.

In the earliest days of writing on something other than clay, wax, or stone, writings on parchment, paper, or papyrus were rolled up into a tube, called a scroll. Then in about 300 AD some bright spark thought they’d fold the sheets in half and stitch them together along the fold, like a modern book. These early books are called codices, singular ‘codex’. It’s got everything to do with how they are made, and nothing at all to do with their content (they do not usually deal with code). 

With the advent of pages came the knotty problem of how to number them. In a modern book we tend to number the first right-hand page 1, the other side of it 2, the next one 3, and so on. In manuscript studies we tend to call the first sheet ‘folio 1’. The side that is up when the page is on the right is ‘recto’, and the other side is ‘verso’. So, folio 1r is the recto side of the first folio. “As we see on f27v” means “as we see on the verso side of folio 27”. Numbering pages by folio is called ‘foliation’.

It doesn’t help matters that ‘folio’ also refers to the size of a volume.  Books come in various sizes, which are pretty standardised these days. But historically, if you take one sheet of vellum, the size of which is determined by the size of the animal it grew on, and fold it in half, you get a ‘folio’. If you fold it in half again, you get a quarto. One more fold, and you get an octavo. The Getty manuscript of Fiore dei Liberi’s Il Fior di Battaglia is a ‘folio’. Vadi’s De Arte Gladiatoria Dimicandi is an octavo. This matters because vellum is very expensive, and by folding it smaller you could produce the book in a smaller size using less vellum, saving a lot of money. The size of the book tells us something about how much money the author or publisher had to spend on it. The quality of the handwriting and the extent of the illustrations, and the decoration on the cover also tells us a lot- some very expensive books were small to fit in a pocket, not to save money. But in general, smaller=cheaper.

It doesn’t stop there- the next size down is “duodecimo” (McBane’s Expert Sword-man’s companion is a good example), and it continues down to sexagesimo-quarto! You can find out more about book sizing here: https://en.wikipedia.org/wiki/Book_size

Because vellum was so expensive, and tough, people would sometimes scrape all the ink off a book, and write a different book on the blank pages. A book that has been erased and a new one written over it is called a palimpsest. One very famous example of this is the Archimedes Palimpsest https://www.historyofinformation.com/detail.php?id=3996 in which some numpty-head erased Archimedes’ incredibly rare maths treatise and wrote in some incredibly common religious stuff instead. The deleted (but recoverable) work is called the undertext.

Books are normally bound in quires, gatherings, or signatures, which are a certain number of leaves folded and assembled together, before being stitched along the fold. These quires are stacked and stitched together to make the volume. This sizing convention (folio, quarto, octavo) persisted when paper became more widely available and largely replaced vellum, so Shakespeare’s “First Folio” was printed in that size because of the high status it suggested. 

The collation of a book is the structure in which the quires or signatures are bound. Most modern books have a regular number of pages in a quire, but it’s very common for older books to have an irregular structure, and when we collate a book and analyse that structure, it can tell us useful things about  the history of the book: what might be missing, what might have fallen out and been put back in the wrong place, whether the book has been rebound during its lifetime, and so on. 

Collation is usually abbreviated a,b,c etc to indicate the signatures, with a number afterwards indicating the number of pages. The collation of De Arte Gladiatoria Dimicandi is: a10 b4 c-d10 e8. This means there are five signatures, the first is 10 folia, so five sheets of vellum folded in half; the second has four pages (so, is made of two sheets), and so on.

Unhelpfully for aspiring scholars, collation also refers to a comparison study between different versions of the same text (such as for instance a comparative study of the four Fiorean mss.)

The printing press was developed in about 1450, and by the standards of the time it took off like a rocket, with the numbers of books printed going up every year. The earliest printed books looked a lot like manuscripts, because at the time, that’s what books were supposed to look like.  An incunable (or incunabulum, plural incunabula) is a printed book from the early days of print; the traditional cut-off point is 1500. 

You can buy a facsimile edition: a facsimile is an accurate copy of a book. For instance, both the HEMA Bookshelf high-end gorgeous leather-bound edition of the Getty ms is a facsimile, and so is my affordable-end throw-it-in-your-fencing-bag-priced edition. You can imagine what it did to my geeky heart when I realised that the HEMA Bookshelf facsimile went so far as to recreate the actual collation of the original ms!

An exact facsimile is not really an ‘edition’ of the treatise. Edition implies some editorial changes. It would be fair to call my translation and commentary on De Arte Gladiatoria Dimicandi an edition of the treatise, because it’s not just the facsimile, it’s also a translation and commentary, with an introduction giving background on the book, the author, and the dedicatee.

gloss is an explanation of a word or phrase, which is why the pdf at the bottom of this post is a “glossary”, a list of such explanations. But, when Peter von Danzig wrote a treatise in which he explains and expands on Liechtenauer's zettel (a set of mnemonic verses), that is also a “gloss”. Historically, glosses would often be written in the margins or between the lines of the original text. It would be fair to describe my own From Medieval Manuscript to Modern Practice as a gloss of Fiore's longsword plays.

So what about their content? What’s the difference between a treatise and an essay and a monograph? This definition from Wikipedia is accurate: “A treatise is a formal and systematic written discourse on some subject, generally longer and treating it in greater depth than an essay, and more concerned with investigating or exposing the principles of the subject and its conclusions. A monograph is a treatise on a specialised topic.”

So, a single treatise may come in many different editions. For instance, Fabris’ Scienza d’Arme was published as a printed book in 1606, but there is also a manuscript version, and of course his original text would have been a manuscript (which as far as we know does not survive).

It is often necessary to transcribe a work, especially manuscripts. This can be done ‘diplomatically’, in which you copy out every character, diacritic (a mark used to distinguish different forms of a character, such as ë, é, etc.) and punctuation mark as accurately as possible, or allowing for more interpretation, such as expanding abbreviations. The word “p˜” appears in the Fiorean manuscripts very often, and represents the word “per”, for. A diplomatic transcription would use p˜, a more liberal transcription would expand it to “per”. 

Translation is the process of converting the source text into a different language. There is no translation without interpretation, and there are differing degrees of translation. A literal translation (or metaphrase) converts each word into the target language without reference to the phrase it appears in or the work as a whole. This can lead to gibberish, especially when one word can have many different literal translations. “Match”, for example, could be translated into French as “allumette” (something to light a fire with), “partie” (a game), “rencontre” (meeting), “mariage” (romantic match), “égal” (equal), and so on.  It’s generally more useful to do an analogous translation (or paraphrase), which is one where you find the closest match in the target language to the phrase you are translating.

You may do a modernisation while you’re at it- you can for example convert all spellings to their modern form, or even go so far as to update the syntax (the rules of sentence structure. You know a sentence bad is when read it you do).

What about the images?

In a manuscript the images are usually hand-drawn. There are exceptions, usually presentation manuscripts that have the images printed, and the text written in by hand (such as we see in the manuscript version of Fabris’ book, mentioned above). The earliest prints were made by carving the reverse of the image you want out of wood, leaving the lines you want printed untouched. This was then coated in ink and stamped onto the page. These woodcuts are quite characteristic. There's a useful article on how woodcuts were made here: https://www.adelaide.edu.au/library/special/exhibitions/history-of-book-illustration/woodcuts/ The The first edition of Marozzo’s Arte dell’Armi had woodcuts, like this one, as borrowed from Wiktenaur:

Some time in the 15th century (perhaps as early as 1430) they developed a technique for engraving (with a hard-pointed tool) or etching (with acid) the reversed images onto copper plates. https://www.adelaide.edu.au/library/special/exhibitions/history-of-book-illustration/copperplate-engravings/This gives much finer definition that you can get in a woodcut. The technique of copperplate engraving became widespread in the 16th century, and produces images like this one from my 1568 copy of Arte dell’Armi:

Phew! that's a lot of stuff to be getting on with. I've put together a PDF of these terms as a handy reference guide, which you may find useful. It's here:

Academese Glossary v.1.02

And if you'd like some Further Reading:

For a really thorough look at the technical terms used to describe manuscripts, try Michelle P. Brown’s very thorough Understanding Illuminated Manuscripts: a guide to technical terms. 

C. S. Lewis's Studies in Words is also useful: it is specifically about the difficulties in reading and understanding old books. Thanks to Jay Rudin for the recommendation.

What the world really needs right now is obviously a better beginners’ guide to training in Fiore’s Art of Arms, right? So I have created one. So what's special about that?

I always, always, try to instil self-direction into my students. My job is to make myself redundant. I do this in practice by giving even beginners in their very first class some agency to choose what we cover. By the time they get to the seniors class (usually in a year or two), classes are entirely student-led: we cover whatever they need my help with that day.

Books are a very linear model, and while I can lay out my usual path through the enormous range of the Fiore syllabus, that restricts the reader’s agency to an unfortunate degree. But actually, very few of my readers ever read from cover to cover. Everyone skips ahead to the things they are most interested. And why not? They’ve bought the book, they can do whatever they want with it. 

So I have figured out how to include gradually increasing levels of choice for the reader/student in these workbooks. The series will comprise several workbooks. The first is the Beginner’s Course, of eight lessons each with about as much stuff as I’d cover in a single 90 minute class. In the first class of the first book, you get one simple choice. In the second class, there’s more freedom.  At every stage, if you need prior material to successfully approach the topic at hand, that will be flagged up. So even if you skipped that section for some reason, you can go to the specific prerequisite material and practice that before returning to the thing you want to do next.

There are as many correct paths through the syllabus as there are students to walk them. In this new series I have finally figured out how to represent that on the page. 

Every technique, every drill, is presented as written instructions with images from the source manuscript, and over 40 video clips. Each video is linked to with a QR code on the relevant page, so you can just point your smartphone at the page and it will open the video for you. There is abundant space for your own written notes, which is especially necessary when you are not working through the material in the order it appears in the text. 

It’s a choose your own path training manual.

Part One covers the following material:

Unarmed techniques

The four guards of abrazare (wrestling)

The first six plays of abrazare

The four steps (footwork)

The three turns (footwork)

With the Dagger

The four blows of the dagger

Disarms against forehand, backhand, and rising dagger thrusts

Counters to the disarms

Arm locks and counters

How to fall safely

A basic takedown/throw

With the Longsword

Six ways to hold the longsword

The seven blows of the longsword

How to parry and strike

How to counter the parry with a pommel strike

How to counter the pommel strike

The exchange of thrusts

Breaking the thrusts

Training on the pell

 

That's a lot of material- but thanks to the format it’s presented in, it should be thoroughly attainable.

The book is in layout now; all the video clips have been edited and uploaded, the QR codes created, and so on. We even have the covers. 

There is a limited number of pre-order slots available, which will help pay for the layout and cover graphic design work, and the editing costs. Pre-orders are for the print version, but also include the ebook. 

I hope to get the ebook version out to those that pre-order in a week or so, and the print workbooks ready to ship by the end of this month.

The workbook should be more widely available in May.

You can preorder the right-handed layout here: https://guywindsor.gumroad.com/l/aw1RHpreorder

And the left-handed layout here: https://guywindsor.gumroad.com/l/aw1LHpreorder

It is hugely satisfying for an author to see their work put to work. I received an email recently from Anthony Klon, who is using my Rapier Workbooks. He described how he's using the area for notes to make cross-referencing the steps of the Rapier Footwork form with the translation he's using.

I’ve been working through the Rapier workbooks and hit upon this idea. I was really struggling with having to flip back and forth between workbooks, scanning the TOC, then finding and reading a section and going back to Tom Leoni’s translation to see the original context. So it occurred to me to organize the footwork form like this. Every step in the form has 4 entries in this outline:
1) the action described in your text (eg, step, step, lunge, recover)
2) the terminology, if applicable (eg, the scannatura)
3) the plate in Capoferro where the technique can be found
4) the workbook volume and page number where the corresponding lesson on the technique may be found.

Now there’s far less flipping back and forth. If I get stuck or want to perfect a part, it’s easy to go straight to the plate or page for revision.

You can see the footwork form here:

I read a lot. Most writers do. You may think I spend most of my time reading sword books, but it isn’t so. Probably the most important books I’ve read in the last year or so are entirely sword-free! My home is filled with books- and about half of them are in boxes in the loft- clearly we should have made one of the children sleep in the cupboard under the stairs and used one of the bedrooms as a library.

As you can see from this photo of one bookshelf in my study, I read on a wide range of topics, and I clearly have no idea how to organise a library. My current approach is to find a space on a shelf in which a new book can physically fit, and let my visual memory make finding the book possible. 

Much of the non-fiction I’m reading at the moment is to do with health in one form or another. As I see it, there are three pillars to physical health: sleep, movement, and food. Movement explicitly includes breathing.

Far and away the best book on sleep I’ve ever read is Why We Sleep, by  Matthew Walker. It’s a thorough description of the current scientific research on the subject, by a career scientist in the field, and includes a lot of actionable advice if you're having trouble sleeping. (Let me note here that all links are affiliate, which means I get paid a small fee if you buy the book, which costs you nothing but helps me keep the lights on. If that bothers you feel free to just search for the book by title and author.)

When it comes to food there are so many conflicting views on the subject. Some people still believe that dietary fat is bad for you! Probably the most important book I’ve read on the health implications of food is Personalized Medicine. It has lead me on a fascinating quest into the way my body reacts to certain foods. You can read more about that here. While on the subject of food, the best cookbook my wife and I have used in a very long time is Ian Haste’s The Seven Day Basket. Almost every recipe we’ve tried so far has been a family-wide hit: my younger daughter declared that the beef rendang we had the other night ought to be our Christmas dinner this year. 

Regarding movement, I regard all exercises as breathing exercises, and have done for a very long time. James Nestor’s new book Breath is an utterly unmissable overview of the subject, with in-depth examinations of a huge range of breathing styles and their effects. For a more complete review, see here.

And on the subject of health, ageing is becoming a more urgent interest as I near 50. The only book I’ve found worth reading on the subject (because it dives deep into the science of what’s actually happening at the cellular level as we age) is Lifespan, by David A. Sinclair. It’s excellent. If you want to know about rapamycin, mTOR, fasting, metformin, NMN, and a badgillion other ageing related things, read this book. It might literally add decades to your life.

Alright, a couple of martial arts books for you. 

Fear is the Mind Killer by Kaja Sadowski is essential reading for anyone running a club or teaching a class. It is an extraordinary resource, especially in the areas of creating the club culture you want, and in how to train for the real thing. I cannot recommend it too highly.

The Book of Martial Power by Steven J. Pearlman is also unmissable. It’s one of the very few martial arts books that goes deep into principles, and as such anyone training literally any martial art should read this book. It’s awesome.

And finally: a friend of mine is writing really fun thrillers starring an ex-porn star called Butch Bliss. I could describe the books at length, but why bother when you can get a free taste by joining his mailing list here: https://dl.bookfunnel.com/pyx8j9tgfm If you like the novella he’s giving away, you’ll love the two novels in the series so far: Hidden Palms, and Snake Road. Just the thing for a long flight (back when aeroplanes were a thing) or indeed for taking your mind off the plague. 

If you're enjoying reading my writing about books, then there are many more such posts on this blog! Here are all the ones I could find, there are probably more. My command of “topic” and “tag” is not what it could be.

7 great martial arts-as-a-path books 

My top 3 non-fiction books of 2013

5 essential non-martial arts books every martial artist should read 

Fiore scholars, you must have this book. A review of Flowers of Battle

Game of Thrones and the Medieval Art of War (Book Review)

A Gentleman’s Guide to Duelling: Review

Making History review of my father's More Sherlock Holmes than James Herriot

The Ill-Made Knight, well made indeed.

Let’s illuminate Invisible Women this lead to me starting a podcast

How to Sharpen Pencils: an Appreciation

Awesome fiction: Traitor’s Blade, by Sebastien de Castell

The best book on armour, ever?

14 good reasons why you should buy the new I.33

Book Review: The Essence of Budo

 

I’ve been practising various forms of breathing exercises for about 30 years now. They are the foundation of all my training, to the point that literally every exercise of any kind is always first and foremost a breathing exercise for me. You can see that in this recording of last Friday's trainalong class: the topic is hips, but it's all breathing really:

I’ve written a short training guide on breathing (which is included in Theory and Practice of Historical Martial Arts, and created a whole online course for it (bundled in with the Solo course). And I still learned a lot from James Nestor's Breath. Go buy it, read it, it’s one of those no-brainer must-reads. (All book links are affiliate, so I get a small commission if you buy them. It costs you nothing.)

In essence, the book covers Mr Nestor’s odyssey through the sometimes strange, sometimes wonderful, always interesting, worlds of breathing practice, starting with that age-old question- nose or mouth?

Of course you should breathe through your nose. Practically no exceptions, if the nose is available. But he has his nose plugged and does mouth-only breathing for ten days to find out what the consequences are- and they are really, profoundly, horrible. This is in the best tradition of self-experimentation. He has suffered so we don’t have to.

Unlike most books on the subject, and unlike most practitioners, Mr Nestor also looks at sinus and airway architecture and its importance for good breathing. He takes his study into dentist’s offices, the catacombs under Paris (looking at old skulls), and goes into detail about why our jaws and palates are smaller than they should be, and what to do to change that. Fun fact: though it’s often stated that you can’t add bone mass over 30, you absolutely can add bone mass in your face at pretty much any age. Nestor proves it by actually doing it, with medical scans before and after.

I won’t go into all of the breathing practices he does cover, suffice to say it’s a lot, and some I’d never heard of before. He highlights the work of people like Katharina Schroth, and Alexandra David-Néel, who have been mostly forgotten now but did amazing things with breath as recently as last century. Most interestingly for me, he goes in depth into Tummo breathing, the origin of the Wim Hof method which I practice most days. 

I do have three minor caveats. 

Firstly, he does the classic page-turner trick of getting half-way into a story then switching to another story, before circling back. It’s annoying to me, because I didn’t need the extra incentive to keep reading. This is a generally a well written, well researched, and utterly fascinating book about one of my core interests. It didn’t need the help. I understand why editors insist on such things but I found it intrusive.

Secondly, though he does describe a lot of anthropological studies and a lot of European, Russian, Indian, Tibetan and American breathing experts and practices, he skips right over the Chinese! Qigong gets a passing mention on page 188, but that’s it. It’s an odd lacuna. It feels to me like there’s a chapter missing.  Perhaps he’s working on a follow-up volume dedicated entirely to qigong? 

Thirdly, and most importantly, you need to watch out for the condition I think of as “popular science-itis”, which can be summarised as a) making unverifiable claims, b) imprecise use of language leading to misleading statements, and c) overstating the evidence.*

For examples:

a) describing a breathing technique as “a calming practice that places the heart, lungs, and circulation into a state of coherence” (p 221). What, exactly, is that supposed to mean? And how do you test it? There are similar descriptions of unverifiable effects elsewhere in the book, but to Mr Nestor’s credit he usually sticks to more verifiable/falsifiable statements. 

b) “The body has switched from anaerobic to aerobic respiration”, when what I think he means is that specific muscle fibres have switched: the body as a whole (and especially the brain) would have been generally respiring aerobically the whole time. 

c) Extrapolating more general conclusions than a specific study might warrant, or stating things in too-conclusive terms, such as “mouthbreathing was making me dumber”, a remark based on a single study done in rats regarding problem solving, and one in humans regarding oxygen supply to one part of the brain (p30). As a description of subjective experience it would be fine (“I felt that mouthbreathing was making me dumber”), or a more qualified statement to introduce the interesting research would also have been fine (“mouthbreathing may have been making me dumber”). 

He’s generally very good about such things, and he is having to balance telling a gripping story (that’s the “popular” bit in “popular science”) with getting the science across. This is not an easy trick to pull off, and he does an excellent, if not perfect, job. As with anything health-related, take what you read with a grain of salt, and go read the original studies before betting your life on their conclusions. 

But, and this is a huge but: there are so many things in the book that every human should know, and so many practices that you can simply and safely try for yourself, that you’d be a fool not to read it. Go! Even if you think you're already an expert, go. And if you know nothing about breathing, go still faster. I'm certain you won't regret it.

*and let the record state that I fall into the same three traps rather more than I should!

In From Medieval Manuscript to Modern Practice I took the innovative step of using redirect links to video clips instead of photographs to illustrate my interpretation. This is much better in terms of representing movement, but it can be tedious to type out the links in a browser. Given that you need a web browsing device to see the videos, I thought a pdf with all the links embedded would be helpful. That way, whatever device you're reading the book on, or especially if you're old-school and have a printed copy, you can load this pdf onto your video-browsing device and easily find whatever video link you want.

You can find the PDF here:

Free Handout: From Medieval Manuscript to Modern Practice video links pdf

I hope you find it useful!

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