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Tag: Meyer

This post is intended to be useful to the attendees at the recent seminar I taught with Chris Vanslambrouck in Madison, Wisconsin. It may also be of interest to folk who couldn't make it.

First up, huge thanks to Heidi Zimmerman who organised the seminar. It literally couldn’t have happened without her. And thanks also to Chris Vanslambrouck, who co-taught the seminar, with related plays from Meyer. Given that there was also a lot of Meyer technique being taught that weekend, it’s a miracle we covered so much ground, so hats off to the students. I’ve assembled a list of the material we covered, some planned, some answers to questions posed by the students.

Saturday: Fiore Longsword

We started with the most  basic blows, and saw how they created the guards.

The blows were:

  • Mandritto fendente
  • Roverso fendente
  • Mandritto sottano
  • Roverso sottano
  • Thrust

You can find a more complete version of the drill we used here:

And the guards they created were:

  • Posta di donna destra,
  • Posta di donna lasinestra,
  • Posta longa,
  • Tutta porta di ferro,
  • Dente di zenghiaro, coda longa

You can find all the guards here: https://swordschool.com/wiki/index.php/The_12_guards

We then did a parry and strike from donna, against the mandritto fendente, and a parry and strike from dente di zenghiaro, against the same blow. The latter is the beginning of our Second Drill:

 

This lead us to the universal counter-remedy: the pommel strike (as shown in the 8th play of the master of coda longa on horseback).

We then defended against thrusts with the Exchange of thrusts:

Then Breaking the thrust:

In the afternoon session we covered the rear-weighted guards (donna and fenestra), and briefly went over the 3 turns (volta stabile, meza volta, tutta volta), and the four steps (accrescere/discrescere; passare/tornare).

We then did a not-very-deep mechanical dive into the guard bicorno, including how to use it to prevent an exchange, and as a feint. This included an introduction to the woman in the window drill:

 

We finished up our survey with the 4 corners drill: https://swordschool.com/wiki/index.php/Four_corners_drill

All of this material can be found in book form in The Medieval Longsword, as an online course here.

Capoferro Rapier

The following day, Sunday, we did a pretty thorough overview of Capoferro's rapier. We began with basic footwork:

  • passes,
  • lunge,
  • step,
  • lean

Which you can find here:

Then played Hunt the debole (to get an idea of what the sword is supposed to be doing- keeping you safe!).

We then worked through Plate 7 (stringer on the inside, thrust through the left eye):

 

And plate 16 (stringer on the outside, thrust to the neck):

Plate 8 (slip the leg)

Plate 10 (enter against the cut),

Plate 13 (the scannatura)

And plates 17 and/or 19, the avoidances of the right foot or waist:

We also did a pretty deep dive on the mechanics of the lunge. We didn't video the Madison seminar, but I covered the lunge in a similar way in this seminar:

 

We also looked at the mechanics of passing, specifically the difference between the passing foot pointing forwards or out to the side.

Then we constructed a mechanically sound seconda position, starting from first principles. I covered this in a blog post, here: Function First, then Form

We then went through my system for teaching students the basic skill of parrying with the dagger, in four stages. You can find the four stages on this wiki page: https://swordschool.com/wiki/index.php/Rapier_and_dagger_drills

And we then applied those skills in executing Plate 23:

And then had a look at murdering left-handers in Plate 38:

All of this rapier material is covered in the Complete Rapier Workbook, and in the new Duellist’s Companion 2nd edition. If you prefer an online course, you can find it here: https://swordschool.teachable.com/p/rapier

Thanks again to the lovely Heidi for organising it, Chris for introducing us all to Meyer, and to the most excellent students.

About a month ago I was checking through a pdf of Vadi's De Arte Gladiatoria Dimicandi, and thinking how lovely it would be to just pluck the manuscript off a shelf and curl up in an armchair with it. So I looked into getting a copy printed and bound locally. It was going to cost about £40. “Huh, that seems expensive” I thought to myself. “I wonder how much it would cost to get it printed by the company that does my print on demand publishing?” Then I thought- “you know what, I can't be the only person who wants one.” A quick email to my list triggered a deluge of “yes! do it! do it now! I want one!” responses, so I looked into the costs of getting it laid out and a cover designed.

Then it hit me that I really better do Il Fior di Battaglia first. That's a way more popular manuscript, and sales of it could very well subsidize producing Vadi… four weeks later, my facsimile of Fiore dei Liberi’s magisterial Il Fior di Battaglia is #1 in fencing on Amazon (where he assuredly belongs!) as well as #1 in “hot new releases” in martial arts!

The notion of a 600 year old book being a “hot new release” is gloriously ironic, but there you have it. The only modern text in the book is a note in the back saying where the manuscript is, and some details about it. I wanted to keep myself out of these books as far as possible; I mention my Mastering the Art of Arms books, of course, but also Bob Charrette's ArmizareTom Leoni's translation of the text, and some other resources, on the grounds that most readers of the book will be interested. But this is Fiore's book, not mine. It is his manuscript, laid out, but not edited, translated or commented on. It's just its own pure gorgeous self.

 

Our spiffy logo

And now Vadi is laid out, uploaded to the printers, and I'm eagerly awaiting the proof copy.

The ease and sheer pleasure of producing these facsimiles has lead me to create a new imprint, Spada Press, which even has its own (very basic, don’t go there! ok, you can if you want, but I warned you) website up at www.spada.press  I expect I’ll shift all my book publishing over to that imprint, to help keep the various aspects of my work separate. Expect facsimiles of Meyer (the 1560 ms), at least one other Fiore ms, Marozzo, Fabris, and hopefully Capoferro, in the near future. I welcome requests!

On the subject of books: I have been delighted by the way my beta-readers have been responding to the first draft of The Theory and Practice of Historical European Martial Arts, which I released a 100 copies of recently. While they like the book, they have also made some really useful suggestions for improvement. I hope to get the book finished within the next four months or so. Also, the second edition of Veni Vadi Vici went to the editor at the end of last week— I have completely rewritten the book, reorganised it, and added a ton of material to the introduction. It’s probably 8 months or so from being published, but this was a major milestone in its production, and it is a much, much better book. Veni Vadi Vici was my first self-published book, and it really shows. The second edition has benefitted greatly from the constructive criticism of many readers, and the expert help of friends and colleagues. I hope it does them justice. I will be sending out ebook copies of the finished book to everyone who backed the crowdfunding campaign, and to everyone I can reach who has bought the well-meaning but flawed Veni Vadi Vici since it launched.

I would say that was a cracking start to 2017, wouldn't you?

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