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Estel the Descender · 06-01-2002, 02:41 AM

I read in Froissart's Chronicles that a French squire used his two-handed sword as a lance during the battle of Poitiers. Presumably, he couched it like a lance. This was during the 1350s. In Ars Gladitoria:A Fighting Treatise, 15th century by Fillipo Vadi (found in <A HREF="http://www.chronique.com/Library/Fighting/vadi_translation.html)" TARGET=_blank>http://www.chronique.com/Library/Fighting/vadi_translation.html)</A> Chapter 6 describes the very same cuts taught by Maril plus one: the thrust. Fendenti means the downward cuts, rota means the upward cuts, volanti are the horizontal cuts, and the punta is of course the thrust. <BLOCKQUOTE>quote:<HR> Chapter 6 The seven strokes of the sword We are fendenti and we do question, of often cleaving and cutting with sorrow head and teeth in a straight way, and every low guard with our talent often we break , easily passing the one and the other. (NOTE: meaning "all of them") Our strokes leave bloody marks, and if we mix with rota of all the art we'll do our support. Fendente, we bring the fear of wounds, we come back in guard from passage to passage, note that we are not slow to wound. I am the rota and I have in me such strenght, if I mix with other strokes: that I'll often notch the arrow. (NOTE: meaning to be dangerous). I can't use loyalty and courtesy, rotating I pass trough straight fendente without hesitation I ruin arms and hands. People gives me the name rota, I look for the sword's falsity, (NOTE: the Italian word is "falsit‡", and can be interpreted both as "false edge" and as "falsity". Considering the previous stanza and the following sentence, I think that the second meaning is to be preferred.) I sharpen the mind of he who uses me. We are volanti and we always go crosswise, from knee upwards we wound, we are often banished by fendente and punte. Across us without failing goes the upwards striking rota, and with fendente warms our cheeks. Chapter 7 Of the punta I am she who question all the strokes, and I'm called the punta: I am venomous as the scorpion; and I feel strong, daring and ready, I often cause the changing of stances when somebody uses me in combat and when I arrive my touch means harm. Chapter 8 About cuts and thrusts Rota with fendente and volante against the thrusts are said, and so is shown that these are not so dangerous. And when they (the thrusts) come at our presence, all blows make them lose the way, also losing in the process the chance to strike. The swords stroke doesn't change direction: the punta has little value against he who quickly turns, the blows open their own way as they go. If you haven't a weak memory, if the punta doesn't hit, it loses its burst, and then all other blows are good to defend. Against one the thrust finds good use, and against many it does no more its duty: this is required by the document and act. (NOTE: the last part seems to be there only for the rhyme in Italian) If the thrust turns into rota do not fear: if it takes not at once a good fendente, it remains without fruit, in my opinion. Keep here your mind for a while, if punta enters and does not exit quickly, your partner will sorely strike back. Cutting a blow your sword is dead if the point loses its way while striking unless the low cross helps you. I'll strike a straight fendente with the sword and I'll pull you out of your stance, so that you go in a bad place. Don't lose an hour of time and learn the long times with the serene hand, this puts you over the others and honors you. Break every low stance. Low stances resist only weak loads, and so the heavier break them easily. A heavy weapon doesn't pass quickly in the opening, the light one comes and goes as an arrow with the bow. <HR></BLOCKQUOTE>The strokes were evidently used to counter other strokes: it was assumed that the knight was wearing good ol' Milanese armor. <BLOCKQUOTE>quote:<HR> Chapter 15 Reason (principles) of sword against the rota.There are many who base themselves in rotating strongly from each side; be sure to be warned as he rotates his sword, rotate your own, and you'll win the tests. Match yourself with him in striking, and be sure to go with your sword after his one. To make this clearer to your mind, you can go in boar's tooth, and if he rotates, you also rise from low to high. Hear and understand my principles you who are new to the art or expert too, I want you to be sure that this is the true art and science. Consider that, for a scale's line the partner will be in porta di ferro, this I put in your heart, be in posta sagitaria. Be sure that your point doesn't sway, that of the partner covers the sword, go slightly out of the way straightening up sword and hand with the point. When your sword has come at the cross, then do the thirteenth closing technique, as you see it well painted in our book with seven papers. You can also use in this art strokes and close techniques that you find simpler; leave the more complex, take those favoring your side and often you'll have honour in the art. Chapter 16 Sword teachings Your sword should be like a shield which covers you all. Now take this fruit, which I give you for your mastery. Be sure that your sword never be, striking or guarding, far from you. Oh, how a good thing it is to have your sword doing a short run. Your point should be directed in the face of the partner, in guards or while striking; you'll take away his courage, seeing always the point in front of him. And you'll do your play always in front, with your sword and with small turning, with serene and agile hand, often breaking the partner's time, you'll weave a web well different from a spider’s. <HR></BLOCKQUOTE>I hope my contribution helps![ June 01, 2002: Message edited by: Estel the Descender ]

06-01-2002, 02:41 AM	#28
Estel the Descender Haunting Spirit Join Date: Mar 2002 Posts: 55	I read in Froissart's <I>Chronicles</I> that a French squire used his two-handed sword as a lance during the battle of Poitiers. Presumably, he couched it like a lance. This was during the 1350s. <P>In <I>Ars Gladitoria:A Fighting Treatise, 15th century </I>by Fillipo Vadi (found in <A HREF="http://www.chronique.com/Library/Fighting/vadi_translation.html)" TARGET=_blank>http://www.chronique.com/Library/Fighting/vadi_translation.html)</A> Chapter 6 describes the very same cuts taught by Maril plus one: the thrust. Fendenti means the downward cuts, rota means the upward cuts, volanti are the horizontal cuts, and the punta is of course the thrust.<P> <BLOCKQUOTE>quote:<HR> <B>Chapter 6</B> <BR><I>The seven strokes of the sword</I> <P>We are fendenti and we do question, <BR>of often cleaving and cutting with sorrow <BR>head and teeth in a straight way, <P>and every low guard <BR>with our talent often we break , <BR>easily passing the one and the other. (NOTE: meaning "all of them") <P>Our strokes leave bloody marks, <BR>and if we mix with rota <BR>of all the art we'll do our support. <P>Fendente, we bring the fear of wounds, <BR>we come back in guard from passage to passage, <BR>note that we are not slow to wound. <P>I am the rota and I have in me such strenght, <BR>if I mix with other strokes: <BR>that I'll often notch the arrow. (NOTE: meaning to be dangerous). <P>I can't use loyalty and courtesy, <BR>rotating I pass trough straight fendente <BR>without hesitation I ruin arms and hands. <P>People gives me the name rota, <BR>I look for the sword's falsity, (NOTE: the Italian word is "falsit‡", and can be interpreted both as "false edge" and as "falsity". Considering the previous stanza and the following sentence, I think that the second meaning is to be preferred.) <BR>I sharpen the mind of he who uses me. <P>We are volanti and we always go crosswise, <BR>from knee upwards we wound, <BR>we are often banished by fendente and punte. <P>Across us without failing goes <BR>the upwards striking rota, <BR>and with fendente warms our cheeks. <P><B>Chapter 7</B> <BR><I>Of the punta</I> <P>I am she who question all the strokes, <BR>and I'm called the punta: <BR>I am venomous as the scorpion; <P>and I feel strong, daring and ready, <BR>I often cause the changing of stances <BR>when somebody uses me in combat <BR>and when I arrive my touch means harm. <P><B>Chapter 8</B> <BR><I>About cuts and thrusts</I> <P>Rota with fendente and volante <BR>against the thrusts are said, and so is shown <BR>that these are not so dangerous. <P>And when they (the thrusts) come at our presence, <BR>all blows make them lose the way, <BR>also losing in the process the chance to strike. <P>The swords stroke doesn't change direction: <BR>the punta has little value against he who quickly turns, <BR>the blows open their own way as they go. <P>If you haven't a weak memory, <BR>if the punta doesn't hit, it loses its burst, <BR>and then all other blows are good to defend. <P>Against one the thrust finds good use, <BR>and against many it does no more its duty: <BR>this is required by the document and act. (NOTE: the last part seems to be there only for the rhyme in Italian) <P>If the thrust turns into rota do not fear: <BR>if it takes not at once a good fendente, <BR>it remains without fruit, in my opinion. <P>Keep here your mind for a while, <BR>if punta enters and does not exit quickly, <BR>your partner will sorely strike back. <P>Cutting a blow your sword is dead <BR>if the point loses its way while striking <BR>unless the low cross helps you. <P>I'll strike a straight fendente with the sword <BR>and I'll pull you out of your stance, <BR>so that you go in a bad place. <P>Don't lose an hour of time <BR>and learn the long times with the serene hand, <BR>this puts you over the others and honors you. <P>Break every low stance. <BR>Low stances resist only weak loads, <BR>and so the heavier break them easily. <BR>A heavy weapon doesn't pass quickly in the opening, <BR>the light one comes and goes as an arrow with the bow. <BR> <HR></BLOCKQUOTE><P>The strokes were evidently used to counter other strokes: it was assumed that the knight was wearing good ol' Milanese armor.<P> <BLOCKQUOTE>quote:<HR> <B>Chapter 15</B> <BR><I>Reason (principles) of sword against the rota.</I><P>There are many who base themselves <BR>in rotating strongly from each side; <BR>be sure to be warned <P>as he rotates his sword, <BR>rotate your own, and you'll win the tests. <P>Match yourself with him in striking, <BR>and be sure to go <P>with your sword after his one. <BR>To make this clearer to your mind, <P>you can go in boar's tooth, <BR>and if he rotates, <P>you also rise from low to high. <BR>Hear and understand my principles you <P>who are new to the art or expert too, <BR>I want you to be sure <P>that this is the true art and science. <BR>Consider that, for a scale's line <P>the partner will be in porta di ferro, <BR>this I put in your heart, <P>be in posta sagitaria. <BR>Be sure that your point doesn't sway, <P>that of the partner covers the sword, <BR>go slightly out of the way <P>straightening up sword and hand with the point. <BR>When your sword has come at the cross, <P>then do the thirteenth closing technique, <BR>as you see it well <P>painted in our book with seven papers. <BR>You can also use in this art <P>strokes and close techniques that you find simpler; <BR>leave the more complex, <P>take those favoring your side <BR>and often you'll have honour in the art. <P><B>Chapter 16 </B><BR><I>Sword teachings</I> <P>Your sword should be like <BR>a shield which covers you all. <BR>Now take this fruit, <P>which I give you for your mastery. <BR>Be sure that your sword never be, <P>striking or guarding, far from you. <BR>Oh, how a good thing it is <P>to have your sword doing a short run. <BR>Your point should be directed in the face <P>of the partner, in guards or while striking; <BR>you'll take away his courage, <P>seeing always the point in front of him. <BR>And you'll do your play always in front, <P>with your sword and with small turning, <BR>with serene and agile hand, <P>often breaking the partner's time, <BR>you'll weave a web well different from a spider’s. <BR> <HR></BLOCKQUOTE><P>I hope my contribution helps!<p>[ June 01, 2002: Message edited by: Estel the Descender ] __________________ Qui desiderat pacem, præparet bellum. E i anîra hîdh, tangado an auth.