Instructional video showing the execution of the First Remedy of Largo and the binary choice that results from this particular crossing.
Here begins the play of two-handed sword, in wide play. This Master has crossed his sword at the point with this opponent, and says: when I am crossed at the points, I quickly turn my sword and strike the opponent on the other side with a fendente to the head and arms; or I thrust to his face, as you will see next.
I have given you a thrust to the face, as the Master before me had said. I could have also performed the other action he mentioned: attack right after crossing swords to the right, i.e. turn a fendente to the left side, to the head and arms of the opponent, as my master before me said. – MS Ludwig XV 13, translation © Tom Leoni
The first play deals with a critical situation: the crossing of the swords near the points, and the immediate tactical choice that presents itself depending on the quality of the incrosada – the pressure placed on the Remedy Master’s sword but the Player’s sword. For additional context, please refer to:
SWORDSMANSHIP IN THE ART OF ARMS, PART 6: ORDERING THE PLAYS OF ZOGHO LARGO
If the Remedy Master crosses – i.e. parries – and finds the line open, he will make a direct point thrust to the Player. If he finds the line closed – i.e. the Player’s cut has pushed his sword to the right – he will quickly cut over to the other side of the sword, striking head or arms with a fendente.
It’s important to remember that the text and image shown for any given play is not a prescriptive injunction that this play can only happen exactly as shown, but rather a descriptive example of principles to be applied in any similar situation. Therefore the same crossing – weak to weak – is also demonstrated from actions in Posta Longa and Posta di Finestra. As Fiore says:
These plays are all linked, and have remedies and counters both from the mandritto and riverso side, counter-thrusts and counter-cuts to each action, with breaks, parries, strikes and binds—all things that can be understood very, very easily. – MS Ludwig XV 13, translation © Tom Leoni
For additional information on the variable nature of applying Fiore’s martial principles, please refer to
Stable, Striking and Mutable: Fighting from the Guards of L’Arte dell’Armizare
In the demonstrations I perform the actions of the Remedy Master from a “refused” or back stance position, using a volta stabile di corpo (stable turn of the body) to add strength and structure to the defensive cut. This mechanic is covered in further detail here:
Fundamental Mechanics: Executing a Correct Fendente
Additionally, several of the demonstrations use sharps, because the qualities of the bind with sharps are much more noticeable than with blunts – sharps “stick” momentarily, blunts don’t. PLEASE NOTE: the blades we are using are sharp on the edges but dull at the points, that we are wearing safety gear, and that we are both well-trained. Don’t try this at home.
The plays could also be performed from a forward stance with a step of the left foot off the line to the left. The volta and the step could also be combined. Though not demonstrated here, these variations are taught at Northwest Fencing Academy and in the IAS.