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The International Armizare Society’s First Provost Exam! Part 1: Testing Process & Internal Skills Examination

Introduction

On the weekend of 9 – 10 February, the Society held its first Board of Examiners and Prize Play for the rank of Rettore d’Armizare, or Provost.

A Provost was the first of the upper ranks in the medieval fencing guild system, and the first formal teaching rank. Provost generally act under the guidance of a Master, and can teach as heads of chapters or specific programs. It is the first rank that is conveyed directly by the IAS, except in those cases where, for lack of a sponsoring academy, the association has directly awarded the rank of Free Scholar, as noted above. First and foremost, the Provost must have a proven track record in the instruction of the art, and is skilled in all weapons as described by Fiore dei Liberi’s treatise. Continue reading The International Armizare Society’s First Provost Exam! Part 1: Testing Process & Internal Skills Examination

Ranks, curricula, and pedagogy, Part I

This article is the first in a series of three articles that will cover curriculum building and its importance in the continued advancement and improvement of your students. I will use this as a foundation for the articles that follow, touching on ranking systems and finally, pedagogy and structuring and running a successful class and how to address different types of students by varying pedagogical approaches.fight training Continue reading Ranks, curricula, and pedagogy, Part I

Applied Armizare – Fiore’s Five Throws

Introduction

Fiore dei Liberi is known as the founder of a fully-functional, holistic system of combat, used with and without weapons, that he named l’arte dell’armizare — the Art of Arms. Grappling without weapons forms the introductory section of at least two manuscripts, and is known by practitioners as abrazare, or “the art of embracing.”

Dei Liberi is often referred to by modern practitioners (erroneously, but that is a subject for a separate article) as a“wrestling master” when comparisons are made with his Germanic contemporaries . In point of fact, there is precious little in the way of wrestling instruction in the corpus of works attributed to Maestro dei Liberi, and what is present is predominantly a repetition of techniques across a variety of weapons. A portion of this is undoubtedly due to his focus on a holistic style of combat. For this reason, not only is much of the underlying structure for a wrestling system found integrated into the dagger remedies, but also throughout dei Liberi’s self-referential work.

Continue reading Applied Armizare – Fiore’s Five Throws

Stable, Striking and Mutable: Fighting from the Guards of L’Arte dell’Armizare

“I am the sword and I am lethal against any weapon; lances, axes and dagger are worthless against me. I can become extended or withdrawn; when I get near the opponent I can enter into close play, perform disarms and abrazare. My art is to turn and to bind; I am expert in defense and offense, and always strive to finish in those. Come against me and feel the pain. I am Royal, enforce justice, propagate goodness and destroy evil. Look at me as a cross, and I will give you fame and a name in the art of arms.” –Il Fior di Battaglia, folio 25r, Fiore dei Liberi, 1410 (tr. Tom Leoni)[1]

Introduction

Fiore dei Liberi’s il Fior di Battaglia, a medieval martial arts manuscript dated to 1410 in the collection of the J. Paul Getty Museum and catalogued as MS Ludwig XV 13, uses an innovative instructional design to teach the techniques and principles of L’Arte dell’Armizare (the Art of Arms). Among the features of this system is the organization of longsword guards (positions from which the fighter attacks, defends or counterattacks) into three classifications: StabilePulsativa, and Instabile, or stable, striking, and mutable. Knowing the play of these three classifications of guards is an essential part of understanding Fiore’s strategy and tactics in the fight – in other words, the actual application of martial technique against an antagonistic opponent.

In order to better describe how the three types of guards are used strategically and tactically, I’ll first outline the pedagogical model of the manuscript, and then briefly outline the core elements of longsword play as taught by Fiore’s 24 First Masters on folios 22r through 24v. These masters teach lessons both specific to the sword and general to all weapons. For example, the four masters who teach the cuts and thrusts teach them for sword, axe and spear, but not for dagger, which are taught separately. Conversely, the First Masters of the armoured and mounted combat sections have lessons applicable to the sword, whether used single-handed or with both hands.   The focus of this article is on the play of the longsword, but since the manuscript teaches an interconnected system, I will draw from its entirety.

Continue reading Stable, Striking and Mutable: Fighting from the Guards of L’Arte dell’Armizare

SWORDSMANSHIP IN THE ART OF ARMS, PART FIVE: Wide and Close Play in Armizare

Gregory D. Mele, ©2014

[N.B: This article greatly expands and upon an earlier one “Understanding Wide and Close Play in the Martial Tradition of Fiore dei Liberi”, first presented in 2008 and later published with photo interpretations in In the Service of Mars, Proceedings from the Western Martial Arts Workshop (1999 – 2009), Vol. I. In addition to a new introduction that is about a third of its entire length, substantial revisions and citations extend throughout the article, so those familiar with the earlier work will still want to read this in its entirety.]

INTRODUCTION

A wide variety of Italian authors, from Giacopo Gelli to the famed fencing master, Luigi Barbasetti, had written on the man and his work in the late 19th and early 20th centuries. Further a new generation of Italian researchers, most notably Massimo Malipiero and Giovanni Rapisardi, were also working with this “father of Italian fencing”, building on the work established by Novati almost 100 years earlier.[1]

Continue reading SWORDSMANSHIP IN THE ART OF ARMS, PART FIVE: Wide and Close Play in Armizare