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SWORDSMANSHIP IN THE ART OF ARMS: SERIES INTRODUCTION

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 I can become extended or withdrawn; when I get near the opponent I can enter into close play, perform disarms and abrazare.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

Introduction

At first glance, swordplay seems to take  relatively minor role in armizare, at least compared to its German contemporaries. Whereas there are nine tactical situations, or Remedii (“Remedies”) containing 78 discreet dagger plays, Fiore dei Liberi summarizes his sword teachings in three Remedies with just over forty plays, more than half of which concern grapples and disarms with the weapon. The twenty plays reserved for Zogho Largo (“wide distance”) are not even a fifth of the vast corpus of techniques found in the Liechtenauer compendia.

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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]

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