In the Italian fencing system, fighting is broken up into pieces of time called “tempi” or “fencing times” in English. For example, a fencing action might take place in a single tempo (one unit of fencing time), mezzo tempo (a half tempo), or due tempi (two times). It is a useful tool for teaching timing to a student and an action with less tempi is generally considered more desirable.
The Spanish fencing science takes the idea of tempi even farther by using a vector-based system of notating actions through movements.
Aristotle states in his book Physics “Time is the numeration of continuous movement.”
By this definition, we can reexamine tempi as the summation of different motions. In the Spanish science all fencing actions are described as “movements.” There are movements of the blade and footwork to move the body. By using the two together, we can not only understand fencing time, we can also create a shorthand notation for describing complex actions and their counters.
The Spanish fencing authors describe blade actions as a series of varying length vectors through space. To be more clear a vector is a line with magnitude and direction.
A vector that indicates motion to the right of the reader. (This vector has an undetermined magnitude.)
This allows the Spanish notation to be extremely precise when describing the motions of the blade associated with specific actions like cuts, the Atajo, or even Italian actions described by Spanish authors.
To better illustrate this, observe this map of three dimensional space with a sword pointed along the Diameter (or Line of Direction) towards the adversary.
Map of 3D space
Natural Movement
(En español – Movimiento Natural )
A Natural motion is one in which the blade falls to the earth. More specifically, the blade is lowered. One example would be a vertical cut downwards.
In a Natural Movement the blade is lowered.
Violent Movement
(En español– Movimiento Violento)
A Violent motion is one in which the blade rises. One example might be the chambering of a vertical cut.
In a Violent Movement the blade is lifted.
Forward Movement
(En español – Movimiento Accidental)
A Forward motion is when the blade travels toward the adversary along the Diameter (Line of Direction). One example would be a thrust.
In a Forward Movement the blade travels towards the adversary.
Backward Movement
(En español– Movimiento Extraño)
A Backward motion is when the sword is withdrawn away from the adversary along the Diameter (Line of Direction). One example might be pumping the arm back to execute a jabbing attack. (This is not a recommended action, and Don Luis Pacheco de Narváez describes how to defeat this pumping of the weapon arm in an adversary.)
In a Backward Movement the blade travels directly away from the adversary.
Offline Lateral Movement
(En español -Movimiento Remiso)
An Offline Lateral motion is when the point of the weapon is carried away from the Diameter (Line of Direction) either to the left or right. Notice that the Spanish create a special case for movements that bring the point away from the target. It might be tempting to merely use lateral movements as descriptors but the Spanish notation relates specifically to removing the threat from the adversary. This might be a parry or the chambering of a horizontal cut.
In an Offline Lateral Movement the blade travels either right or left away from the adversary. (The act of removing the point from presence to one side or the other.)
Aligning Lateral Movement
(En español – Movimiento de Reducción)
An Aligning Lateral motion is when the blade is returned from either the left or right back to the Diameter (Line of Direction). It is interesting to note that bringing the weapon across the Diameter is counted as two distinct movements. If the point is offline, bringing it towards the Diameter is an Aligning Lateral Movement, but when it crosses the Diameter and continues traveling in the lateral plane without stopping this becomes an Offline Lateral Movement. This is very useful for indicating the different tactical situations that are possible when a blade is leaving or entering presence. An Aligning Lateral Movement might be the delivery of a horizontal cut or bring the weapon back into line after the adversary has executed a beat.
In an Aligning Lateral Movement the blade travels either right or left towards the Diameter and towards the adversary. (The act of returning the point into presence from one side or the other.)
Mixed Movement
(En español– MovimientoMixto )
A Mixed Movement is a single motion that is a combination of two blade movements that don’t conflict. For example an Offline Lateral Movement can be mixed with a Violent Movement in a single motion to form a Mixed Movement.
In this image we see a mixed Movement consisting of a Violent Movement and an Offline Lateral Movement in a single Mixed Movement.
Counting Time Through Motion
Like the Italian system we can count time using the Spanish notation. An action with fewer movements is more desirable than an action with a greater number of movements.
Let’s compare two actions:
Diagonal Reverse (Riverso Squalembrato in Italian)
Mixed Movement combining an Offline Lateral Movement to the left and a Violent Movement in order to chamber the cut over the left shoulder
Mixed Movement combining an Aligning Lateral Movement and a Natural Movement to deliver the cut
Thrust
Forward Movement along the Diameter to deliver the thrust
Description of Defense or Counteroffense
Because the Thrust requires fewer movements than the Diagonal Reverse it can defeat the cutting attack in the first movement. In addition, we can use the counted movements of the adversary’s action to give the reader a guide to the timing of defense or counteroffense.
For example:
Countering the Diagonal Reverse
In the adversary’s first movement as the cut is chambered the fencer may strike with a thrust.
During the adversary’s second movement, the fencer may defend by placing the Atajo.
Final Notes
The Spanish notation is system agnostic so it can be applied to any weapon or tradition of fencing. In historical Spain, authors used this notated system of Movements to describe the actions of the single-handed sword and the two-handed sword called the Montante. The AEEA fencers in Spain today also use Destreza’s science and notation to analyze and teach the swordplay of other non-Spanish authors as well like Fiore.
Mary and I are currently in the Archivo de la Real Chancilleria in Granada in the South of Spain.
Yesterday we toured the Alhambra and I have good pictures of the fortifications and plenty of pictures of the amazing architecture and carving as well. As we travel through Southern Spain, Mary is hitting the archives and she is currently flipping through a hand written manuscript.
Later today we hop a train to Sevilla and then from there it is a bus to Sanlucar de Barrameda. Sanlucar is where the greatest fencing author in Spain, Jeronimo Sanchez de Carranza wrote his book.
This article is a fencing tip for amateur rapier fencers. In Italian rapier and classical fencing the arm is held straight from elbow to tip. Fabris favors an extended and straight arm, but he discusses the sword held at an angle as well.
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Those who hold the sword at an angle (with either the hand in third just above the knee or in second higher and outside the knee) do fortify their sword, but pay the price in giving the opponent much bigger openings and allowing him to come closer.
Fabris’ 1606 text as translated by Tom Leoni
And also this concerning the sword held at an angle:
It is much better to hold the arm withdrawn and the sword straight so as to form a direct line between the elbow and the point.
Fabris’ 1606 text as translated by Tom Leoni
Compare that to this 1997 classical Italian text:
In the completed guard the weight of the body should be distributed equally between the legs, with the torso profiled, and inclining slightly forward, head up and turned to the right, eyes on the adversary, shoulders down, right arm well extended and relaxed, elbow in line with the flank, hand in central position on the line of offense, midway between invitations in third and fourth, and forearm and weapon forming an unbroken line.
Gaugler’s Science of Fencing
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From these two quotes we can see that the Italians are wary of extending a bent wrist forward. A sword that is extended in a straight line from elbow to tip protects the hand behind the guard.
Kevins straight wrist protects his wrist and arm behind the guard.
From the front, the opponent’s perspective is more obvious. (Notice below that the swept hilt protects not only the hand but the entire forearm as well.)
By keeping his arm straight from elbow to tip, Kevin protects his wrist and arm.
Most amateur fencers don’t realize this target is exposed and they open a line to an easy attack that I call Uncle Puck’s Doorway. On a swept hilt rapier there is a V-shaped notch where the rings meet the sweeps and the superior half of the cross.
Kevin grips the sword at an angle with a bent wrist showing Uncle Puck's Doorway.
When this angle exists in the wrist, it creates a nice landing pad for an attack to the top of the arm. The bend in the wrist acts as the perfect backstop for the attack.
Kevin's bent wrist shows the open door and the angle creates a nice backstop for the attack.
An adversary who holds a sword extended and forward with an angle in the wrist is the gift that keeps on giving. If you are an SCA fencer and you are aware of this line of attack, you can be very effective in tournaments and group combat because newer SCA fencers often make this mistake.
For better or worse, here is a partial video of a class I taught at Known World Academy of the Rapier in 2007. Watching the video today, there are things I would change. I have added a description of the Italian techniques as described by the Spanish and the counters below. I have also included notes on my interpretive choices as well.
These are counters to Italian technique taken from Pacheco’s New Science and the Manuel Cruzado’s 1702 commentary, The techniques of the vulgar common fencing….
ITALIAN TECHNIQUE – The Gaining and Regaining:
“The gaining is formed, placing the sword over, and transversal to the opposing one, without making in it aggregation, nor contact, for which reason they call it gaining in the air.”
This describes the Italian rapier practice of finding the sword without touching it. It’s a commonality between Fabris, Giganti, and Capoferro. In classical Italian fencing today, engagement with contact is more typical and you will find many of the same actions are possible in Italian foil if you start with a blade seizure.
SPANISH COUNTER
“…when his opponent makes the gaining, that is from the measure of proportion, before he finishes the remiss movement, he will make a transverse compass with the right foot to the opposite side: and turning the point of the foot to the right rectitude, so that the imaginary line from it cuts the diameter…“
Before the adversary finishes gaining the weapon, take a diagonal advance with the right foot to the right side, pre-turning the foot to the right side.
“…he will make a mixed movement violent and accidental that serves as an aggregation of the opponent’s sword, and as an attack to his face: and continuing with a curved compass of the left foot and to its side, he will go closing the obtuse angle, that until then will correspond to him, making a Movement of Conclusion on the outside…“
Threaten the adversary with a thrust to the face with superior engagement of the blade.
There is a question of interpretation here. The opponent’s response to this threat is not explicitly described but it is clear that we close the high line and our engagement moves from the inside line to the outside line. If the adversary parries, we may lift the guard to close the high line and then execute the movement of conclusion on the outside line with a curved compass of the left foot. We see evidence of the same type of wheeling cut from an atajo on the inside in the system so this interpretation is not invalid theory even if I like it less now.
Another possible interpretation I like more is that the diagonal advance (transverse compass) is accompanied with a disengagement from the inside to the outside line to affect an attack to the face which closes the high line and is finished with a movement of conclusion as before. The text does not explicitly describe a disengagement, but this interpretation seems martially more sound to me.
DISCUSSION ON PRECEDENCE OF THE POINT – Then follows a short discussion on how to engage the adversary’s weapon and parrying
Unfortunately, my wife and normal demonstration partner couldn’t make it and as I attempt to demonstrate at speed, I am working with a volunteer from the class. The tall gentleman in the red is trying to use a French foil parry with a bent wrist which doesn’t protect him as well from the assault. Because I am trying to demonstrate something specific, I need to force him into a parry that gives precedence to the point.
With the French parry he provides, I could blow through with a forced glide or the General Technique of Narrowing (which is similar to a classical Italian transport of 2nd).
Part of the reason I favor the other interpretation now against the gaining in the air is that the disengagement with the transverse compass provides better cover against unpredictable technique. It’s pretty easy to close the entire outside line by creating a cross of the swords. Once you have commitment on the outside line, the movement of conclusion is the natural response.
ITALIAN TECHNIQUE – The Botonazo (Lunge on the Inside Line)
“…making what is called a gaining, helping themselves with a simple compass of the right foot, without moving the left, almost along their left transversal line, and with an extreme of the arm and body, and the hand fingernails up, without separating oneself from the adversary’s sword, they strike with a thrust in the face.“
SPANISH COUNTER
“At the beginning of the remiss movement (before it ends) the Diestro will make a curved compass with the right foot, and to its side, or he will move over his center, and he will strike with a thrust in the right collateral, …“
As the adversary engages, take a curved step to the right side moving your center over his weapon. The ‘center’ is defined as either the point at which your hand grips the weapon or the handle. This indicates that we are taking control of the line through subjecting the adversary’s weapon in engagement and striking on our right side.
ITALIAN TECHNIQUE – The Golpe (Beat)
“The beat of the sword consists of three movements, violent to place oneself above the diestro’s sword, remiss for the transversalness, toward his left side, and the diestro’s right, and the last natural for the beat.”
This describes a beat across my blade down and to my right side. (A simple beat in 4th using classical Italian terminology.)
In the video, I have included an additional movement of the adversary which takes the point off the diameter to chamber the beat. Whenever the point is removed from the line of offense, the Advantage of the Right Angle is a possible counter.
SPANISH COUNTERS
“The Right Angle has control over this technique, and causes its effect against the second and third movement, the diestro making a semicircle with the wrist from the inside to the outside, striking with a thrust in the right collateral due to the jurisdiction of the arm:…”
As the adversary attempts to lift his blade to strike yours, you may elude it with a disengagement and strike with a thrust on the outside line closing to the right.
“and if he does find it and makes the beat, the diestro can make use of the mixed movement of remiss and natural, that the swords make and continue the circle forming a vertical, or diagonal reverse, making a backward compass for the first, or for the other a mixed on backward and of trepidation to the right side: …”
A mixed movement remiss and natural carries the point off the line and down. In this case, we complete the circular action into a full vertical circular cut and end with a vertical strike to the head. In this demonstration, I am using a curved compass to the right instead of a retreat as described in the text. The direction of the remiss movement is not specified and I have chosen to close the line of attack with the circular action.
Technician: This is Capoferro Tech Support, can I help you?
Caller: Yes, I am currently in a duel and I would like some help.
Technician: Can I get some information about your opponent?
Caller: Sure. He has a sword.
Technician: Can you tell me anything else?
Caller: He’s got black hair and brown eyes.
Technician: [audible sigh]... Can you tell me if he is skilled, unskilled, or bestial?
Caller: How can you tell?
Technician: A bestial fencer will throw many blows with great impetus and has no understanding of tempo or measure.
Caller: I don’t think that’s him; he’s just standing there.
Technician: Does he have his sword out?
Caller: Yes and it is pointed at me.
Technician: Are you within his measure?
Caller: I don’t know.
Technician: Can he currently strike you with a lunge?
Caller: Yes, he’s already hit me twice… I’m bleeding a bit from the shoulder. That’s why I called you.
Technician: You should have told me that first. I need you to immediately retreat out of distance.
Caller: Ok… I have retreated… He seems to have relaxed a bit.
Technician: That’s good. I need to know if your opponent is clever.
Caller:**Loudly aside** Hey, are you clever or what? **Into the phone** He says he isn’t clever.
Technician: I want you to assume the guard and cover the inside line with your blade. Turn your point towards his forward shoulder aligning your edge so that you cover his blade with your strong against his weak.
Caller: Ok… this seems to be working. I think he might be impressed or something. He might even be afraid. I love fencing!
Technician: Now, he should execute a cavazione and try to strike you on the outside high line. Be ready to counterattack by rolling your hand into secunda, closing the line and counterthrusting. Are you ready?
Caller: Ok.
Technician: I want you to gradually move forward with tiny steps directly towards him.
Caller: Ok… I’m taking tiny steps… He hasn’t done anything yet. I think it may be working. Oh oh… he attacked the outside just like you said!! I’m counterattacking!! Ahhhh Ahh ohhh ohhh!! He feinted!! He feinted!! He parried my counterattack!! I’m bleeding again!! Yes.. I’m definitely bleeding!! I hate fencing!! I hate it!!
Technician: Calm down. Calm down! I need you to listen to me. I need you to retreat out of distance again.
Caller: Ok… Ok… I’m retreating. He relaxed again. What would happen if I rushed him? Would that work?
Technician: It would probably work for him.
Caller: What does that mean?
Technician: Don’t worry about it. Here’s what you need to do.
Caller: Ok, I’m ready.
Technician: Are you out of distance?
Caller: Yes.
Technician: Can you see the adversary?
Caller: Yes.
Technician: When you are ready, I want you to repeat after me. Are you ready?
Caller: Yes.
Technician: “I want to sincerely apologize for having offended you.”
Caller: **Loudly aside** I want to sincerely apologize for having offended you.
Technician: Now put your sword away and see if he lets you leave. ***********************************
For the record, covering the inside line and counterattacking the cavazione in 2nd is Plate 7. I’ll leave it to you guys to figure out what the clever fencer’s response was.
