Italian Rapier

8/11/2019 Italian Rapier

1/56

Introduction to Italian Rapier

David and Dori Coblen


2/56

Contents

Introduction .................................................................................................................................................1

Fundamental Concepts ..............................................................................................................................2The Rapier ................................................................................................................................................2

Hand Positions ........................................................................................................................................3

Standing in First Position .......................................................................................................................4

Salute .........................................................................................................................................................4

Guard ........................................................................................................................................................5

Lines of Aack .........................................................................................................................................5

Placement of the weapon .......................................................................................................................6

Guards of third and fourth ................................................................................................................6

Invitation ..............................................................................................................................................7

Engagement .........................................................................................................................................7

Central ..................................................................................................................................................8Oense ......................................................................................................................................................8

Defense .....................................................................................................................................................8

Measure ....................................................................................................................................................8

Tempo .......................................................................................................................................................9

Aacks in Time ....................................................................................................................................9

Counteraacks .....................................................................................................................................9

Countertime .......................................................................................................................................10

Footwork ....................................................................................................................................................11

Advance ..................................................................................................................................................11

Retreat .....................................................................................................................................................11Cross 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 Aack ......................................................................................................................................14


3/56

Oense ........................................................................................................................................................15

Simple Aacks .......................................................................................................................................15

Straight Thrust ...................................................................................................................................15

Disengagement ..................................................................................................................................17

Glide ....................................................................................................................................................18

Counterdisengageent........................................................................................................................19Cuts .....................................................................................................................................................21

Defense .......................................................................................................................................................22

Simple Parries ........................................................................................................................................22

Circular Parries ......................................................................................................................................22

Compound Aacks ...................................................................................................................................24

Feints .......................................................................................................................................................24

Actions on the Blade .............................................................................................................................25

Blade Seizures ....................................................................................................................................25

Beats ....................................................................................................................................................25

Contraries ...................................................................................................................................................27

Counteraacks .......................................................................................................................................27

Arrest ..................................................................................................................................................27

Time Thrust ........................................................................................................................................27

Arrest with Reassemblement ..........................................................................................................28

Inquartata ...........................................................................................................................................28

Passata Soo .......................................................................................................................................29

Front foot void to the right ..............................................................................................................29

Left Handed Parries ..........................................................................................................................29

Countertime ...........................................................................................................................................30Feint in Time ..........................................................................................................................................30


4/56

Appendix 1 - Summary of Single Rapier plates in Capoferro ............................................................32

Plate 7 ......................................................................................................................................................32

Plate 8 ......................................................................................................................................................34

Plate 9 ......................................................................................................................................................36

Plate 10 ....................................................................................................................................................37

Plate 11 ....................................................................................................................................................38Plate 12 ....................................................................................................................................................40

Plate 13 ....................................................................................................................................................42

Plate 14 ....................................................................................................................................................43

Plate 16 ....................................................................................................................................................45

Plate 17 ....................................................................................................................................................46

Plate 18 ....................................................................................................................................................48

Plate 19 ....................................................................................................................................................59

Plate 20 ....................................................................................................................................................51


5/56

1

Introduction

This document aims to distill the fundamentals of Italian rapier fencing into a form that a be-

ginner 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, Barbasei, 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 dened and many of the authors

from this time had slightly dierent preferences regarding their use. In general, I have chosen to

use more modern denitions 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 ear-

lier texts did, I have aempted 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 Capoferros 1610 text on the

rapier, Gran Simulacro dellArte e dellUso della Scherma(Great Representation of the Art and

Practice of Fencing)

Readers familiar with Capoferro and other Renaissance fencing authors will notice that Ive in-

cluded a great deal on dui-tempi parries as well as feints, which tend to be deemphasized in the

primary texts. While counteraacks should clearly be emphasized in rapier fencing, learning toparry correctly is equally important. The simple parry is the most natural response that a begin-

ning fencer makes against an aack, 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 condence 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 dierences in timing between defen-

sive and counter-oensive actions, which helps the student to recognize the most appropriate

and eective situations to employ the counteraack.

Throughout this document, I have chosen to describe everything from a right-handed perspec-

tive. Left-handed fencers should simply reverse instances of right and left as appropriate.


6/56

2

Fundamental Concepts

The Rapier

A rapier is a single-handed swordprimarily 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 pro-

tect 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 appropriatelength 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.

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, thetrue edge will be in line with your

knuckles. Most parries should be

done with the true edge.

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 op-

ponents 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 nger 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 lile

ngers lightly around the grip. The pommel should rest at about the center of the wrist.

The parts of a rapier

Holding a rapier


7/56

3

Hand Positions

There are four primary hand positions in Italian rapier fencing and three secondary hand posi-

tions. The primary hand positions are rst, second, third, and fourth.

In rst 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.

The secondary hand positions are called rst-and-second, second-and-third, and third-and-

fourth.

In rst-and-second, the hand is turned halfway between rst and second so that the knuckleguard 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 knuck-

le guard point diagonally downwards to the left.

Hand in third and fourth positionHand in rst and second position Hand in second and third position

Hand in fourth positionHand in third position

Hand in second positionHand in rst position


8/56

4

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 yourleft side pointed downwards as though it were in a scabbard. Curl your left hand into a st 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 any-

one who may be observing. A full salute can be performed the following way:

Starting from rst 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 secondposition. 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 rst position.

In less formal situations you can salute only the person in front of you.

Step 7Step 6 Step 8Step 5

Step 2Step 1First position Step 3 Step 4


9/56

5

Guard

The guard is the position that you stand in when fencing in order to be able to quickly aack,

parry, or counteraack. Starting from rst position, assume the guard position in two move-

ments.

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 posi-

tion. Raise your left arm so that it is in front of your chest.

When you are nished, your feet should be at right angles with the heels in line and about two

shoe lengths apart. Your weight should be centered a lile more over your left foot than your

right foot.Your left leg should be bent and your right leg should be nearly straight with onlya slight bend. Your torso should be proled 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 ank. Your weap-on 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.

Lines of Aack

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 aack to your chest arriving over your arm would be in

the outside high line.

Lines of Aack

The guard positionComing on guard part 1


10/56

6

Placement of the weapon

Conceptually, there are three dierent positions

that your weapon can be in: invitation, engage-

ment, and central. Practically speaking, although

these positions can be assumed with the blade andbody in many dierent congurations, the most

commonly used placement of the blade to eect

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 engage-

ment.

Guards of third and fourth

Starting from the on guard position, the guardin third is assumed by moving your forearm and

weapon to the right of the ank 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 opponents left

shoulder. An invitation in third exposes your inside

(high and low) line, and an engagement in third

closes your outside high line.

The guard of fourth is made by moving your fore-

arm and weapon to your inside while rotating yourhand to third-and-fourth hand position. Your fore-

arm and weapon should form a straight line and

your tip should be pointed at, or just to the right

of, your opponents 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 opponents center, the guard willnot adequately protect the line that it is intended to

protect.

A guard in third

A guard in fourth


11/56

7

Invitation

For an invitation, your weapon and arm are moved so that you deliberately expose a specic

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 opponents options for aacking

you.

Engagement

While an invitation deliberately exposes

target to your opponent, an engagement

works by closing o a target area by mov-

ing 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 aack 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 aack

you with a line change (disengagement)

rather than with a direct aack (straight

thrust). Depending on the situation and

where your opponents blade is, you can

make an engagement with or without

blade contact. In an engagement with con-tact, the strong or medium of your blade

should be placed over the weak of your

opponents blade, so it is dominated and

pushed to the side. An engagement with-

out 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 fourth

Dori engages in third


12/56

8

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 ex-

posed 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 opponentstarget, in this position, your weapon is considered to be in line. In general, if your opponent

wishes to aack you while you are in either of these two positions, the aacker 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 aack or risk being hit as well.

Oense

Oense is the act of aacking your opponent. An aack can be either simple or compound

based on the number of movements it requires. An aack made in one movement is a simple

aack, and aacks consisting of two or more movements are compound aacks. Dierent foot-work can be used for an aack - for instance, a simple aack could be performed while station-

ary, with a lunge, with a passing lunge, or with a running aack.

Defense

Defensive actions are actions that prevent your opponents aack from hiing you. These can

be done either by moving your body out of the way of the aack or by using your weapon or

o hand to parry (deect or block) the aack. The aack made immediately following a parry is

called a riposte.

Measure

Measure refers to thr distance that you must travel in order to reach your opponents torso

with your sword. At its simplest, you are in close measure if you can hit your opponents chest

simply by extending your arm. Wide measure is when you can reach the opponents chest with

a lunge, and you are out of measure if you would have to take a step in order to reach your op-

ponents chest with a lunge.

Measure becomes slightly more complicated if you take into account your opponents arm.

From out of measure, you might be able to hit the arm with a lunge. From wide measure, youcould 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


13/56

9

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 foryou. 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 aack, counterat-

tack, or parry and riposte. Any movement that you make, especially in measure, is a potential

tempo in which you can be aacked. 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.

Aacks in Time

An aack is said to be in time if it is made duringthe tempo of your opponents movement.

For instance, if your opponent aempts to engage your blade, and you aack with a disengage-

ment in the middle of his movement, your aack is called a disengagement in time. In general,

you should try to aack 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 aack in time as

your opponent tries to advance into measure, engage your blade, aack your, or recover from a

failed or parried aack.

Counteraacks

A counteraack is a specic type of action in time in which the tempo that you use to aack is

your opponents aack. For this to be successful, the amount of time required to execute your

counteraack should be less than the time required for your opponent to complete their aack.

By the time the opponent has nished their aack, they should be hit. A counteraack has both

an oensive and a defensive element: hiing the opponent and not geing hit. Hiing the op-

ponent can be done with either a thrust or a cut. Not geing hit can be accomplished by: using

your weapon to deect the aack, moving your body out of the way of the incoming aack, or

using your unarmed left hand to deect the aack.


14/56


15/56

11

Footwork

Footwork allows you to properly seek measure with your opponent and to successfully aack

when you have reached it. Proper footwork is vital to success as a fencer. In practice, empha-

sis should be placed on proper form, making small, precise steps, and explosive lunges. Your

movements should be smooth so that you dont bob up and down as you move. As you developprociency, 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. Dont 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 anadvance, lift your right foot, move it forward about one shoe length and set it down heel rst.

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 rst and move it straight backwards are far as necessary (typically

about one shoe length), then lift your front foot, toe rst 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 for-

wards 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.


16/56

12

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 aack 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 rst and start to step

forward. Next, straighten your left legso that it pushes your body explosively

and violently forward. As your left leg

is straightened, snap your left arm back-

wards so that it is fully extended behind

you. Finally, your right foot should land

toe rst just as, or just before your weapon reaches its target.

In the lunge position, your arm should be fully extended and about shoulder height. Your body

should be proled 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 at on the oor.

To recover from the lunge, bend your left leg and push o 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 anaack 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 yourThe xed-foot lunge

The lunge


17/56

13

weight rests over your right leg. The end result should look very similar to a lunge, but with

your feet a lile 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 xed foot lunge will feel awkward and

throw you o-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 aack 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 aack. To do an advance lunge,

make an advance while extending your sword arm. As soon as you nish the advance, immedi-

ately 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 aack. 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.


18/56

14

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 armand start shifting your weight forwards so

that it is over your right leg. As you reach

full extension, push o 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 ung backwards. It

can either be used to protect you from an

opponents counteraack or riposte, or to

grab their weapon or arm.

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 its posi-

tion with the recovery.

Running Aack

A running aack is very similar to a passing aack, but with more forward momentum. When

you push o of your right foot it should leave the ground, so that both feet our momentarily in

the air. Your aack should land just before or as your left foot hits the ground. To recover, con-

tinue forward with cross steps until you are past your opponent and out of distance. This typeof aack should be made at an angle to your opponent in order to avoid a collision.

The passing lunge


19/56

15

Oense

Simple Aacks

A simple aack is an oensive action performed with a single blade movement. A simple aackcan be performed with a thrust or with a cut. For now, we will focus only on aacks made with

the point. Many of these aacks can be performed with dierent types of footwork - a lunge,

a xed foot lunge, a passing lunge, or a running aack. 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 opponents weapon. At full extension, your weapon andarm 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 aack so that your opponent cant just

stick their arm out and hit you. As you hit your opponent, you blade should bend upwards.

A lunge with opposition in second


20/56

16

To make this an action in time, begin your aack the instant your opponent changes to an in-

vitation (either from an engagement or another invitation). Your aack should hit at about the

moment your opponent would have nished making the invitation.

Examples:

Fencer Opponent

Invites in third

Delivers a straight thrust to the chest on the

inside line with the hand in fourth positionReceives 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

A lunge with opposition in fourth


21/56

17

Disengagement

A disengagement refers to freeing your weapon from your opponents engagement, (or aempt-

ed engagement or parry) so that you change the line that your point is directed to by traveling

either under or over your opponents blade (most commonly under).

You can aack with a disengagement when your opponent has protected their target by engag-

ing your sword. To make a disengagement, free your blade by moving your tip under your

opponents 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 opponents blade,

and then smoothly nish the lunge.

Throughout the aack, your tip should travel continually forwards towards its target. The

movement should be made primarily with your ngers 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 aack 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 en-

gagement in fourth, a half disengagement would go to the outside low line.

Disengaging without an aack - simply changing lines can be a useful tool for controlling dis-

tance. 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, orre-engaging your opponents sword.

To make this an action in time, begin your aack the instant your opponent aempts to engage

your weapon. Your aack should hit at about the moment your opponent would have nished

making the engagement.

Examples:

Fencer Opponent

Engages in third

Aacks with a disengagement to the chest on

the inside line with the hand in fourth position

Receives the hit


22/56

18

Fencer Opponent

Invites in fourth

Aacks 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 opponents 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 opponents blade is.

To make this an action in time, engage the opponents weapon as soon as they place it in aneutral position, then nish with your aack 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 aacks with

a glide to the chest on the outside with the handin second position, maintaining blade contact

throughout the aack.

Receives the hit

Fencer Opponent

Places the weapon in line

Makes an engagement in fourth and aacks with

a glide to the chest on the inside with the hand

in fourth position, maintaining blade contactthroughout the aack.

Receives the hit


23/56

19

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 direct-

ed 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 aack by glide to the chest on the

outside with the hand in second position,

gaining control of the line with strong oppo-

sition to the rightReceives the hit

Fencer Opponent

Makes an incorrect engagement in fourth,

with the point angled inwards

Makes an aack by glide to the chest on the

inside with the hand in fourth position, gain-

ing control of the line with strong oppositionto the left

Receives the hit

Counterdisengagement

A counterdisengagement is used in opposition to your opponents disengagement. Like a disen-

gagement, its primary use is as an aack, but you can do them without aacking as well. Since

a counterdisengagement is made in response to your opponents disengagement, it is always

performed as an aack in time. One example of a situation in which you can perform the coun-

terdisengagement is this: starting from your engagement, your opponent frees their blade andaempts 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 nish your circle. As you reach full extension, nish your lunge smoothly, so that the

entire aack happens in one, smooth movement.


24/56

20

You could also use a counterdisengagement to close distance with your opponent safely. Sup-

pose you have engaged, or aempted to engage your opponents blade in fourth. Your op-

ponent retreats while freeing their sword and aempting to engage in third. You can make a

counter-clockwise counterdisengagement as you advance forward to maintain distance while

controlling your opponents weapon.

Examples:

Fencer Opponent

Engages in third

Frees weapon with a disengagement, but

does not aack

Follows the opponents blade in a clockwise

movement, nishing 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 aack

Follows the opponents blade in a counter-

clockwise movement, nishing with a lunge

with the hand in fourth position.

Receives the hit


25/56

21

Cuts

While Italian rapier is heavily thrust oriented, the weapon can used for cuing as well. Cuts

should be made primarily with the true edge of the weak of your weapon. To be eective, 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 stron-ger than a cut from the elbow, which would be slower and stronger than one from the wrist.

When you aack 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 mandrio. 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 nal cut can be either a mandrio, a riverso, or a fendente.


26/56

22

Defense

Parries with the sword are made by deecting the opponents 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 dis-

tance. 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 in-

stance, 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

Aacks 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.

OrMakes 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


27/56

23

Fencer Opponent

Invites in fourth

Aacks with a straight thrust to the

chest on the outside line

Makes a simple parry of third and ripostes with astraight 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


28/56

24

Compound Aacks

Feints

A feint is a simulated aack intended to provoke a response from your opponent (typically aparry). As the opponent moves to parry your aack, you can change the direction of your aack

to end in the line exposed by the parry. A feint typically consists of two (or at most three) move-

ments.

The most typical use for a feint is to make a simulated aack to provoke your opponents parry.

As they parry, make a disengagement and nish your aack in the new line. When you feint,

extend your arm fully, as if you were going to make a simple aack, either direct, by disengage-

ment, or by glide. Though your arm is extended, your body should be kept back so that you

have not commied to your aack. Keep your hand in third position, and then as your oppo-

nent parries, make a small disengagement under their blade and rotate your hand to either sec-

ond or fourth position as you lunge so that you aack with opposition. If the opponent makes acircular parry, follow their blade around in a circle so that you end up in your original line. This

movement is called a deceive.

The nal action of a feint can be made with a lunge, a passing lunge, or a running aack. 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 counteraacks.

Examples:

Fencer Opponent

Engages in third

Simulates an aack by disengagement to the

inside high line

Aempts a simple parry of fourth or a circu-

lar parry of fourth

Eludes the parry of fourth with a disengage-

ment 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


29/56

25

Fencer Opponent

Engages in fourth

Simulates an aack by disengagement over the blade

(cut-over) to the outside high line

Aempts a simple parry of third or acircular parry of fourth

Eludes the parry of third with a disengagement un-

der 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 aacks that remove your opponents weapon from its

position in line during your aack. These are most useful when your opponent is on guard in

central, or has placed their weapon in line. These aacks are typically started from out of mea-

sure 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 opponents blade as you stepinto measure. Once you are in measure, nish your aack with a glide. When you start the

blade seizure make sure that your arm moves rst 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 counteraack.

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 opponents blade intended to dislodge it from its position in guard

or the line of aack. The beat should be immediately be followed with a simple aack or feint. Abeat is named for the line in which your blade encounters the opposing steal. For instance, start-

ing 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 oppos-

ing steel, followed by a swift aack.


30/56

26

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 opponentsweapon, 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 engage-

ment 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 opponents

blade and delivering a blow to the left with your hand in third and fourth position.


31/56


32/56

28

Arrest with Reassemblement

With a rapier, the easiest response to an

aack 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 reas-semblement 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

opponents sword if it is still in front ofyou.

Inquartata

An inquartata is used against aacks

to your inside line. As the aack 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 lengthsto 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

An arrest with reassemblement by gathering the front foot back

The inquartata


33/56

29

Passata Soo

A passata soo works by ducking un-

derneath your opponents blade, and is

best used against aacks to your outside

high line. You can do this with a runningaack, 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 aack 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.

Front foot void to the right

An aack 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 aack.

Left Handed Parries

Parrying with the left hand can be eec-

tive when used well. O hand parriesshould not be used against cuts for obvi-

ous reasons. The opponents 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 aack nishes. The blade

can be deected 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 un-

der the sword are particularly useful.

The passata soo

A-left handed parry with a passing lunge


34/56

30

Countertime

Countertime actions are performed by deliberately provoking a counteraack from your op-

ponent that you are already prepared to defeat. The counteraack can be defeated with a parry

and riposte in countertime, or a counteraack in countertime.

Examples:

Fencer Opponent

Aempts a blade seizure in fourth

Counteraacks with a disengagement in time

Defeats the counteraack with a parry in

third and riposte to the outside high line in

countertime

Or

counteraacks with a time thrust in third incountertime

Or

Counteraacks with a passata soo in coun-

tertime

Receives the hit

Fencer Opponent

Engages in third

Feints by disengagement to the inside highline

Counteraacks with an arrest to the outside

high line

Defeats the counteraack with a parry in

third and riposte to the outside high line in

countertime

Receives the hit


35/56

31

Feint in Time

The feint in time is used to oppose actions in countertime.

Examples:

Fencer Opponent

Aempts a blade seizure in fourth

Feints by disengagement to the outside high

line

Aempts a parry in third in countertime

Or

Counteraacks with a passata soo in coun-

tertime

Defeats the parry in third with a disengage-

ment counterclockwise under the blade to the

inside line

Or

Defeats the passata soo with a parry of sec-

ond 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

Aempts a parry of third in countertime

Defeats the parry in third with a disengage-

ment counterclockwise under the blade to the

inside line

Receives the hit


36/56


37/56

33

Fencer C Fencer D

Engages in Fourth

Feints by disengagement to the chest

Counteraacks 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


38/56

34

Plate 8

Fencer C Fencer D

Engages in Fourth

Aacks 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

Aacks with a riverso to the face followed by

mandrio fendente to the head

Receives the hit


39/56

35

Fencer C Fencer D

Engages in Fourth

Aacks with a disengagement to the face

Counteraacks with a thrust to the face in sec-

ond while passing forward and using the left

hand to grab the opponents sword arm

Receives the hit


40/56

36

Plate 9

Fencer C Fencer D

Engages in Fourth

Feints by disengagement to the face

Aempts to counteraack with a thrust in

second while passing forward and using the

left hand to grab the opponents sword arm.

Disengagement underneath the opponents

sword and thrusts to the chest while making an

inquartata

Receives the hit


41/56

37

Plate 10

Fencer C Fencer D

Engages in Fourth

Aacks with a riverso to the face

Counteraacks with a thrust in fourth to

chest, underneath the sword

Receives the hit

Fencer C Fencer D

Engages in Fourth

Pulls back the sword as if to aack with a riverso

to the face

Aempts to Counteraack with a thrust infourth 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


42/56

38

Plate 11

Fencer D Fencer C

Invites in a high transverse fourth with the

point aimed at the opponents left shoulder

Steps forward to engage in fourth

Passes in second underneath the opponents

sword

Receives the hit

Fencer D Fencer C

Engages in third

Feints by disengagement to the face with the

hand in fourthAempts to parry

Rotates the hand to second and passes un-

derneath the opponents sword

Receives the hit


43/56

39

Fencer D Fencer C

Engages in fourth

Feints by disengagement to the face with the

hand in third

Raises sword in aempt to parry

Rotates the hand to second and passes under-

neath the opponents sword

Receives the hit

Fencer D Fencer C

Engages in fourth


Aack in contratempo by passing under-

neath the opponents sword with the hand inthird

Or

Parries third, then rotates hand to second

and passes underneath the opponents

sword

Receives the hit

Fencer D Fencer C

Engages in third

Aempts to engage in fourth

Aack by passing underneath the oppo-

nents sword with the hand in third

Receives the hit


44/56

40

Plate 12

Fencer D Fencer C

Engages in low fourth

Aacks with a disengagement to the chest

Counteraacks with a passing lunge while

parrying the disengagement with both hands

and thrusts in third to the chest

Receives the hit


45/56

41

Fencer D Fencer C

Engages in low fourth

Feints by disengagement to the chest

Aempts to counteraack 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 with-

draws the sword to clear the opponents blade

and cuts with a riverso to the face while void-

ing to the right

Or

Parries the aack, and then passes forward

with the left leg and thrusts to the chest while

holding the sword in both hands

Receives the hit


46/56

42

Plate 13

Fencer C Fencer D

Engages in third


Deects the aack to the outside by parrying

with the left hand over the arm, then passes

forward with the left leg and thrusts to the

ank with the hand in second while grabbing

the opponents sword arm with the left hand

Receives the hit


47/56

43

Plate 14

Fencer D Fencer C

Engages in fourth


Counteraacks 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


Counteraacks under the sword by lowering

the body and lunging underneath the swordwith the hand in second

Receives the hit


48/56

44

Fencer D Fencer C

Engages in fourth


Parries in third with the point high, then ro-tates the hand in second and strikes under the

arm while passing forward and grabbing the

opponents sword arm

Receives the hit

Fencer D Fencer C

Engages in fourth


Parries in third with the point high, then ro-tates the hand in second and strikes under the

arm while passing forward and grabbing the

opponents sword arm

Withdraws the right leg, parries to over

the right arm with the o hand, and strikes

underneath opponents arm with the hand in

second.

Or

Withdraws the right leg, parries under the

arm with the o hand, and strikes either the

chest or the face with the hand in second.

Receives the hit


49/56

45

Plate 16

Fencer D Fencer C

Engages in third

Aacks with a disengagement

Counteraacks with a thrust in fourth, withor without a lunge

Receives the hit

Fencer D Fencer C

Engages in third

Disengages, beats in fourth, and then aacks

with either a thrust to the face, or a riverso to

the arm

Receives the hit

Recovers back to a guard of third


50/56


51/56

47

Fencer B Fencer C

Engages in third

Feints by disengagement with the hand in

fourthStrikes the opponent in the face, near the ear,

while making a diagonal step to the right

with the right foot, to avoid the opponents

aack

Parries with the left hand over the right arm,

passes forward and strikes in second while

grabbing the opponents sword arm.

Receives the hit


52/56

48

Plate 18

Fencer B Fencer C

Engages in third

Aacks with a disengagement to the facePasses forward and strikes with a thrust to

the face in fourth

Receives the hit

Fencer B Fencer C

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


53/56

49

Plate 19

Fencer D Fencer C

Engages in third


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


54/56

50

Fencer D Fencer C

Engages in third

Disengages in order to engage in fourth and

strikes in fourth with a pass forwardOr

Disengages, makes a beat in fourth, and cuts

the face with a riverso

Receives the hit



55/56

51

Plate 20

Fencer D Fencer C

Engages in third


Parries in fourth while making an appel (footstamp), then passes forward a strikes in sec-

ond to the face while grabbing the opponent

Or

Parries in fourth and ripostes in fourth with-

out passing or grabbing the sword arm.

Receives the hit


56/56

Fencer D Fencer C

Engages in third


Aempts to parries in fourthDisengages to the outside and thrusts to the

face in second (test says counterdisengage-

ment, but may be wrong)

Receives the hit


Documents

Italian Rapier