Sword in armour - Plays

Sword in armour – 10th scholar

Folio 34 v. a

Translation

This play is also from Posta Vera Crose in such a way. That is, that when the scholar is in that guard and one meets him, that as soon as he can reach the player, the scholar passes off the line and stabs him in the face, as you see it done here.

Interpretation

Conceptually, this play is very similar to the 1st scholar. Where the 1st scholar counters low, however, the 10th scholar counters high.

Once again, you begin by waiting in posta vera crose, inviting an attack from your opponent. For this play, they would most reasonably attack from, or at least transition through, posta serpentino lo soprano, attacking with an overhead thrust.

As described in the master play, slide your right foot across to open your hips. Transfer your weight from your left foot to your right, and drive your hips clockwise as you do so. This transition from a rear to a forward weighted stance gives a lot of power and momentum, allowing you to sweep your sword in a vertical plane across in front of you, clearing away the attack.

A lot of what happens next depends on how the blades cross. If you have crossed their blade close to the hilt, your opponents right hand will collapse slightly and they will turn very slightly clockwise. This allows you a path over their right hand.

Smoothly pivoting around the point where the blades cross, step through with your left foot and raise your right hand, reaching over your opponents weapon as shown. This should flow on from the master play in a single smooth, flowing movement. As your left foot grounds itself, use it to add weight and momentum to push your sword forward onto your opponents face.

Sword in armour - Plays

Sword in armour – 9th scholar

Folio 34 r. d

Translation

I also say that the scholar who is before me, who injured the player with the pommel of the sword in his face, could also do as I do. That is, advance with the right foot behind his left, and keep his sword on the players neck so as to throw him on the ground as I do.

Interpretation

This play is very similar to the 8th scholar, and indeed, you can easily finish your opponent with this play as a natural transition from either the 7th or 8th scholars

Having made the master cover, as your opponent recovers their sword, follow it by stepping through with your right foot. Use your sword to push your opponents weapon out of the way, clearing you a space to step into. Get in as close as possible. Ideally, you want the inside of your right thigh pressing against the outside of their left thigh. The closer you are, the easier the throw will be.

As your weight anchors onto your front foot, slide the handle of your sword onto the right side of your opponents neck. If they are half swording their own weapon, you can put your right arm under their elbow so that your forearm is pushing against their chest as shown. This will give you plenty to push against and you can be more confident of your throw. If they have boths hands on their sword handle, you will need to put your right arm over the top of their left, similar to the 8th scholar. Again, you want your forearm to rest against their chest as much as possible.

On a minor artistic detail, you might notice that the sword of the 9th scholar is drawn on the wrong side of the players blade. The position as shown is difficult to get into and requires a lot of cooperation. Your sword is supposed to be pushing your opponents out of the way.

Once in position, drop your weight down so that your thigh is parallel to the floor. Pivot your hips clockwise and scoop your right hand around and down to your hip. Your opponent will fall over your thigh landing on their back to your right side.

You will see variations of this same throw in the following plays.

Sword in armour - Plays

Sword in armour – 8th scholar

Folio r. c

Translation

As you can see, the scholar who came before me wounded the player in the face with the cross guard of his sword, and I can readily wound him with the pommel in his face as you see below.

Interpretation

This play can be used either as an alternative to, or a continuation of, the 7th scholar of sword in armour. You have already used the master play to cover your opponents attack and close the distance between you. Take a second step with your right foot to move in to very close range. Cover yourself with your sword as you step through, using it to jam your opponents movement. At this point, you can make the play of the 7th scholar if the opportunity is there. Whether you make that play or not, continue your movement so that the axis of your sword lines straight up at your opponents face, and your right elbow points over their shoulder as shown.

Keeping your elbow still, pivot your hips clockwise and swing your forearm up into your opponents face. It should feel a lot like making an upwardly angled roverso strike with a dagger.

This will cause a great deal of damage against an opponent with an open faced helmet. Even striking against a visor or bevor will, at the very least, disrupt your opponents balance and win you the initiative to make the next move. This play can smoothly transition to the 9th scholar to throw your opponent.

Sword in armour - Plays, Uncategorized

Sword in armour – 7th scholar

Folio 34 r. b

Translation

When I come to the guard in the narrow cover, if I cannot wound with a cut, I use the point. If I cannot injure with either of these, I will strike with the cross guards or pommel. This is done according to what I decide. And when I am in the narrow play, and the player believes I want to use the sword, I am going to grapple if it gives me the advantage. And if not, I am going to strike him in the face with the cross guards as I said before.

Interpretation

Having made the master cover, the scholar needs to flow on to another technique. When cutting and stabbing are not options, pommel striking and grapping come under consideration. In the end, the 7th scholar opts for a cross guard strike.

The master cover has swept your opponents sword off to your right side. The very close range and the mechanics of the play mean that it is safe to move in false time. Keep your left hand reasonably still in space and step your right foot past it. As your toes touch the ground, begin the strike with your right hand. It will feel something like you are punching your opponent in the forehead. Pivot the blade around the left hand and make contact as your weight sinks onto your front foot.

There is no need to try and drive this technique through your opponent. Stop the sword at vertical and then transition to something else. Eyes are particulalry vulnerable to stabbing attacks. At the very least, your opponent will be momentarily blinded, allowing you a free shot. In a perfect hit, it is possible to drive the cross guard straight through the eyeball and socket and into the brain, causing your opponent to collapse dead at your feet. Most likely is they will suffer a fractured eye socket and be unable to either see or continue fighting.

Sword in armour - Plays

Sword in armour – 6th scholar

Folio 34 r. a

Translation

This play is from the first master of Posta de Vera Crose and Posta Bastardo. That is, when the player thrusts at the scholar, who waits for him in this guard, the scholar immediately passes with cover off the line and thrusts to his face and advances with his left foot outside the players lead foot, as shown, so as to put him on the ground so that the tip of the sword advances beyond the neck.

Interpretation

Having made the master cover from either posta de vera crose or posta di crose bastardo, this play begins very similarly to the 1st scholar. Keeping the point of the sword high and the hilt low, step in deep with your left foot as you make your thrust. Although you certainly could drive the point into your opponents face from here, there may be circumstances at play making that unfeasable. So as the 6th scholar, you make use of another option.

Strike your opponent in the neck with your left wrist. You will be forced to use the radial edge of your wrist from posta de vera crose, and the ulnar edge from posta di crose bastardo. Make it a solid percussive strike. The sword blade should extend under your opponents jaw. If you extend your reach much past a 90 degree bend in the elbow, you will have overextended your structure, making it ineffective and weak. You need to be very close for this to work. Use your left thigh to lift and push the back of your opponents front thigh so as to disrupt their balance.

Having made this strike against the neck and thigh, you will be in the position shown. To complete the throw, exaggerate the movements you have begun. Drop your weight right down so that your thighs are parallel to the ground and your knees are flared out. This will push your opponents leg out from under them as well as making an obstacle for them to fall over. As you do so, keep your right hand locked to your body and pull your left hand around in an anticlockwise direction.

Your opponent will fall backwards over your thigh. Although the application and mechanics are slightly different, the general principle of this throw can be seen in the following plays.

Sword in armour - Plays

Sword in armour – 5th scholar

Folio 33 v. d

Translation

In the lower bind, a strong key, I have held you in such a way that you cannot escape, no matter how strong you are. Trouble and death I can give you. I could write a letter that you could not see. You have no sword, no helmet, small honour and little to celebrate.

Interpretation

The 5th scholar of the sword in armour continues directly from the 4th scholar. The two plays essentially show the start and finish of the same technique.

From the master play, step through with your left foot and roll your opponents sword over to your right. You will land in the position shown by the 1st scholar. Release your left hand from your sword and lunge forward. Slide your hand over your opponents right forearm and then up behind their arm to the back of their shoulder as shown by the 4th scholar.

Pivot on the left foot and arc your right foot around 180 degrees. Use your hips to shove into your opponents space. It is important to be right on top of them. Lock your left elbow tight against your body and lever your opponent down as shown.

To hold your opponent in place long enough to write a letter explaining how bad they are, you will need to keep your hips pressed tight against their body. The closer you can move up to their armpit, the greater your mechanical advantage will be. Your opponents hand should be pressed against their spine, while you push down on their shoulder.

If you look at the master play, 1st scholar, 4th scholar and 5th scholar, they make a nice cartoon strip of entering into narrow play and applying a lower bind. Once achieved, you can stab, strike or hold your opponent as desired.

Sword in armour - Plays

Sword in armour – 4th scholar

Folio 33 v. c

Translation

When I saw that there was nothing the sword could do to you, I immediately took this grappling hold. I believe, see and feel that your armour is not worth anything now that I have you in the strong lower bind. In the next picture, I will show you.

Interpretation

Having made the crossing of the master play, your sword and left hand are pointing towards the centreline of your opponent, as shown by the drawing of the 1st scholar. Due to your opponents armour, however, you can see that continuing the attack with your sword will be inneffective.

Step in deep with your left foot. Extend your left hand under your opponents elbow, and reach behind their shoulder. Keep your own sword hand back at your hip out of the way to give the technique some space, as shown in the drawing.

Pivot on your left foot, arcing your right foot around behind you in a clockwise circle. Your left foot should end up level to or slightly behind your opponents right foot. Your hip should be pushing against theirs. Keep your left elbow locked against your hip and lever your opponents shoulder down into a ligadura sottano (lower bind).

There are numerous examples of the lower bind throughout the Fior di Battaglia. You will see it used in the following plays.

Sword in armour - Plays

Sword in armour – 3rd scholar

Folio 33 v. b

Translation

When I come to the narrow with this player to make the previous play, but can do nothing due to his armour, then I push the elbow so strongly that it makes him turn. If his armour is strong, I will want to try this.

Interpretation

You have just broken your opponents attack as the master of sword in armour, and have entered narrow play. Due to your opponents armour, you are not able to effectively wound them with your sword. The break, however, will cause them to turn slightly. As the 3rd scholar, you are maximising this potential opportunity.

Reach forward with your left hand. Keep your fingers together to avoid accidentally catching them on something and hurting yourself. With the fingers pointing down, put the palm of your hand on your opponents elbow. Anchor your weight on your left foot, and give a solid shove to the elbow, turning your opponent to your right.

There is a degree of timing involved in this. You need to catch your opponent as they are moving. Once they have both feet solidly on the floor, the effectiveness of the elbow push will be greatly reduced.

Depending on how far they turn, you will be to their side, or possibly even directly behind them. From here, a range of new opportunities will present themselves, despite your opponents armour. Look to the armpit, the side of the ribcage, the backs of the legs or any other unprotected area.

Grip your sword in the middle of the blade with your left hand. Use this to direct the point to your chosen target and drive it into your opponent before they recover their balance.

The elbow push is also used in the following plays.

Sword in armour - Plays

Sword in armour – 2nd scholar

Folio 33v. a

Translation

When I see my thrust cannot enter either in the chest or face, because of the visor, I remove the visor and put the point in his face. And if this is not enough for me, I will use other, stronger plays.

Interpretation

This play is a variant on the exchange of the thrust. From the master play, you pass your front foot offline. Step through with your left foot and use the resulting hip movement to beat your opponents attack to the right. Keeping your hands low and your point high, lunge forward, stabbing your opponent.

What makes this play stand out is that it is a response to a very specific point in armour development. Helmets had evolved to a stage where visors were strong enough and common enough to be recognised as making certain previously legitimate techniques redundant. Fiore is writing at just the moment after visors require a workaround, but before they are being latched closed as part of a typical build.

Having made the beat, you will be in the range of narrow play. Just as your hips finish their rotation to the right, position your sword to its line of attack, then reach out with your left hand and push the visor up. Your right forearm should be locked to your right hip. Push the right hip forward and use that motion to drive the sword point into your opponents face.

You will also see the exchange of thrusts in the following plays.

  • Sword in two hands – 8th scholar of the 2nd Master
  • Sword in armour – 1st scholar
  • Spear on foot – scholar of the 1st 3 Masters
  • Spear on foot – scholar of the 2nd 3 Masters
  • Spear vs cavalry – 1st scholar

The 3rd scholar of pollaxe also resolves the problem of visors in much the same way.

This play ends with the delightfully pragmatic piece of advice that if it doesnt work, then try something else.

Sword in armour - Plays

Sword in armour – 1st scholar

Folio 33 r. d

Translation

I am the first scholar of the master who is before me. I do this thrust because of its cover. Also the Posta di Vera Crose and Posta di Crose Bastardo can do this thrust. I say that immediately the player delivers a thrust to the master or scholar that was in one of these guards, then the master or scholar should keep their body low and pass off the line, crossing their opponents sword and keeping the point directed at the face or chest, and the sword low as shown here.

Interpretation

The first scholar exchanges the thrust and immediately enters into narrow play. This is a natural consequence of following the cover of the Master of Sword in armour.

From either Posta Vera Crose or Posta di Crose Bastardo, step the front foot offline. If you move it to the right, you will dominate the centreline. If you slide to the left, you will change the angle of attack. Sweep your sword across your body from left to right, redirecting your opponents attack to the side. You do not need to move it very far. As soon as it clears your right arm, you are safe.

Step through with your left foot. Because both you and your opponent are using a half sword grip, you need to fight from the narrow play. When your left foot lands, the point of your sword should be nearly touching your opponent without needing to extend your arms at all.

Lock your right forearm onto your hip. Use your left hand to direc the point to a gap in your opponents armour. Push forward with your right hip, driving the point in.

You will also see the exchange of thrusts in the following plays.

  • Sword in two hands – 8th scholar of the 2nd Master
  • Sword in armour – 2nd scholar
  • Spear on foot – scholar of the 1st 3 Masters
  • Spear on foot – scholar of the 2nd 3 Masters
  • Spear vs cavalry – 1st scholar