Tag Archives: Bolognese

Midwinter Armizare 2020 Tournament Rules

January 3, 2020 gregm

CSG’s Ben Horwitz (Black) and Keith Stratten (Blue) trade blows at 2018’s MidWinter Armizare Open

2020 Midwinter Armizare Open

Saturday, January 25, 2020 at 10 AM – 7:30 PM

Broadway Armory Park
5917 N Broadway St, Chicago, Illinois 60660

Tournament Rules

The Midwinter Armizare Open is a public display of skill with one and two-handed swords in a relatively rules-light format meant to emphasize the tactical priorities of fighting with sharp weapons in lethal combat. Midwinter Armizare Open 2020

TOURNAMENT ONE: LONGSWORD

Combatants will be divided into pools, fought under the below conditions, with an award to the overall victor. Combatants may also carry a dagger on their belt and switch to it when coming to grips.

TOURNAMENT TWO: SINGLE-HANDED SWORD

Due to the diversity of single-handed sword styles (and scarcity of focused exponents of the same), this will be a mixed-weapon tournament with the following, permissible weapons:

Medieval arming-sword;
Messer;
Side-sword;
Rapier (max blade length 45″);

Note: Sabers, backswords, broadswords, smallswords, etc are not permitted. (We love them, too, but we’re keeping this to fencing styles c. 1600 and earlier.)

TOURNAMENT THREE: PAIRED WEAPONS
The following weapon combinations are permissible:

Armingsword, sidesword or rapier, accompanied by:

Dagger
Buckler
Rotella

FINAL ROUND: THE WINTER KING

As a culmination of the event, the victors of the three tournaments shall fight a mixed-weapons bout using the previously denoted scoring conventions, with the victor to be declared the winner of the overall tournament.

HOW IT WORKS

CONVENTIONS OF COMBAT

With the Sword

Each bout is fought to a total of five landed blows;
The entire body is a target;
For our purposes a “blow” constitutes any “fight-ending action”:
- a solid cut with the edge, thrust, disarm or throw;
- a pommel strike to the center of the face;
- a thrust to the center-of-mass with the dagger.
Incidental blows, light touches, flicks or hits rather than cuts, punches and open-handed strikes that do not end in a throw or lock, etc will not be scored.

With the Dagger

Combatant may carry a dagger on their belt in the longsword tournament, and switch to its use as they see fit.
- Daggers may only strike with the point.
- If a dagger hit is scored, combatants must, after the halt, switch back to their sword.

Grappling

Grapples that end in a throw with party dominant will score a point.
Grapples lasting more than 5 seconds or deemed to be dangerous will be halted by the judges;
Grapples that go to the ground with no one dominant will be halted.

SCORING

Once a fight is concluded, the combatants will report their scores to the list-table. Fights are scored as follows:

Overall Victor receives 2 pts;
If the Victor was not struck he or she receives 1 pt additional;
The person who scored the first blow receives 1 pt;
If there were any double hits during the match, both parties lose 1 pt.
Therefore, in any match a combatant could score between 4 and -1 points.

These rules are not meant to be “realistic”, simply to prioritize drawing first blood and avoiding being hit and, most especially double-hits. No matter how many double hits, for the sake of simplicity, only 1 pt is lost. However, additional double hits are not refought, so if you rack up too many double-hits, the victory in that match is going to go with who scored the first blow, and your overall score is going to go down!

ADVANCEMENT: INDIVIDUAL TOURNAMENTS

There are two ways to advance to the final round of four combatants – by Score or by Accolade.

Score
After the Pool Round ends, total scores for each will be totaled, and the combatant with the highest score from each pool will move to the finals. (If two or person tie, then the person with the highest total of first blood scores will advance. If there is still a tie, the combatant with the most “never hit” scores will advance.)

Accolade
The list will be “balanced” by adding a fourth combatant chosen by the other combatants. If the list is already balanced, the Advancement by Acclaim will not be needed.

FINAL ROUND
Once the Finalist are assembled, they shall fight with the prior scoring conventions in a simple single elimination tree. (NB: In the event of a small final list (four or less), the finals may be fought as a pool at the judge’s discretion.

ADVANCEMENT: MIDWINTER KING

There are two ways to advance to the final round of four combatants – by Victory or by Accolade.

Victory

The winners of each of the three tournaments automatically advance to the Midwinter King round.

Accolade

The list will be “balanced” by adding a fourth combatant chosen by the other combatants. If the list is already balanced, the Advancement by Acclaim will not be needed.

Once the four finalists are assembled, they shall fight with the prior scoring conventions in a simple single elimination tree. Fighters will be paired randomly.

APPENDIX A: SAFETY REQUIREMENTS

WEAPONS

All weapons will be tempered steel, flexible in the thrust, in good repair and free of burs or rust. A list of acceptable and prohibited weapons follow, along with reasons why a weapon is not permitted. Any weapons produced by an “unknown manufacturer” (see list) will be evaluated by the judges.

Swords with a rounded point the width of a quarter or built in button/nail do not need a blunt, otherwise they should have a standard rubber blunt of equivalent. Steel daggers must have a secured blunt; the Cold Steel rondel trainer is the preferred weapon for the tournament.

Acceptable Weapons/Manufacturers

Albion Arms — All Maestro Line weapons other than the messer;
Alchem — “Fiore” longsword;
Arms & Armor — Fechterspiel, Spada da Zogho, Scholar Sword, Messer;
Blackhorse Blades
CAS IBERIA — Practical Bastard Sword, Flexi-blade rondel dagger
Cold Steel – Rondel dagger trainer
Danelli Arms — All basic and custom models;
Darkwood Armory — All rapiers, daggers, sideswords and messers; older Scrimator and Fechtbuch longswords;
Ensifer — Heavy Feder, Messer
Malleus Martialis
Pavel Moc — Feders and blunt longswords/messers permitted.
Regenyei — Feders and blunt longswords/messers permitted.

Banned Weapons

CAS Hanwei Feder (too flexible and prone to breaking)
Ensifer Light (too light, too flexible)
CAS Hanwei Tinker Longsword (too narrow an edge for safety)

“I don’t see XYZ sword…”

As noted, bring it and we’ll have a look. However, keep the following in mind:

Minimum weight: 1450 g (longsword), 1000 g (one-handed sword);
Maximum length: 130 cm
Edge-width: 1.5mm
Overly-flexible weapons are just as likely to be refused as overly-stiff ones.

ARMOUR

Head

Head protection must cover the entire head and front of the throat. There should be no gaps in coverage that would allow a thrust or strike to the face. A 3-Weapon Mask with SPES-style overlay or Absolute Force HEMA mask with back of head protection, should be considered minimally acceptable protection.

Throat

A covering to protect the throat. A solid, vs. foam gorget is strongly recommended, as is

Torso

Clothing should be puncture resistant, or three layers and completely cover the torso and arms completely. Padded jackets are strongly recommended for longsword fencing. Rigid chest protection, such as a modern fencing chest guard, is strongly recommended for female fencers.

Groin

A hard cup for all male combatants, which must not be visible while fencing. (Honestly, no one wants to see your cup and jock strap.)

Elbow and Forearm

Hard plastic, leather or steel elbow protection that protects the back and sides of the joint. Forearms should be protected by additional heavy padding, plastic, leather, etc.

Hands

Sturdy gloves or gauntlets must be used to protect the hands and wrists. Gloves must include protection on the sides and tips of the fingers sufficient to resist hard strikes from steel. An unsupplemented lacrosse glove is not sufficient. Most HEMA-dedicated synthetic gloves or gauntlets, such as Sparring Gloves and Black Lance or steel gauntlets are acceptable.

Feet

Shoes must be worn.

Bolognese Swordsmanship

Playing with the Imbracciatura

August 14, 2019 gregm

In his Opera Nova (1536) Achille Marozzo covers the use of a number of different shields. The vast bulk of the work (and indeed, the largest section of his book) focuses on the use of the sword and buckler, followed by the sword and targa (a small, square buckler), but he also dedicates considerable space to the sword and rotella (arm-strapped, round shield) that was a common infantry arm in the 14th – early 17th centuries. All of these weapons receive considerable attention by 16th century fencing masters, and even receive a little love by 17th and 18th-century writers. But Marozzo is also unique in providing four short chapters on another type of shield, the imbracciatura. This article takes a look at what this shield is, how it was used, and best of all, how to build your own!

What is an Imbracciatura?

A mid-15th-century depiction of foot soldiers, wielding the two shields taught by the Bolognese masters-at-arms, a large rotella (l) and a curved, body-hugging imbracciatura (r). Source: Chiesa di San Bernardo, Rimini.

The imbracciatura is an interesting footman’s shield of the late Middle Ages and Renaissance, a return to the long kite-shields of earlier centuries, though mounted so that it hangs vertically along the arm, in a similar fashion to the small, so-called “Hungarian shield” found in Eastern Europe during the 14th and 15th centuries. Also called a targone — not to be confused with the smaller, shield used in the gioco del ponte (“bridge game”) that survived into the 19th century — the key characteristics of the shield are a) size, b) shape and c) the appearance of a sharpened point, or brocco in the center or at the lower end. We’ll look at each in detail.

A late 15th-century depiction of a kite-shaped imbracciatura from the Oratorio di San Giovanni, Urbino. (Photo (c) Andrea Carloni.

SIZE
Large infantry shields never completely fell out of fashion, particularly in the Italian peninsula, and artwork of the period shows kite, coffin, or long rectangular-shaped shields continuing to be used alongside the round, “rotella”, which would become predominant in the 16th century, and the newer pavaise. The vertical strapping, while not new to this period, seems to become increasingly more common in the late 14th century, and predominant as we move into the Renaissance.

The key element is that these shields are very large- usually protecting the wielder from shoulder to mid shin.

SHAPE

Usually, the imbracciatura is depicted as either kite or oval shaped, however, by the middle of the 15th-century, rectangular and “coffin” shaped shields also appear in artwork. As this is well into the Humanist era, with its interest in classical themes, the appearance, at least of the rectangular shield, may have been a way to reference the Roman scutum, much like the cinquedaea evoked the gladius and pugio or the interest in dueling with rotella and partisan called up the memories of heroic Greece.

IL BROCCO

Marozzo’s guard for sword and imbracciatura. Note the brocco, or spike, at the base of the shield.

The presence of center-line spike at the bottom of the shield is generally considered a key feature of the imbracciatura, and Achille Marozzo calls it out specifically in his Opera Nova (1536), but these spikes are rarely found in surviving shields from the period. Although a strike with the end of the shield itself would be plenty damaging, and such shield strikes are called out with the unadorned rim of the rotella, before considering the spike a flight of fancy, it’s worth noting that such spikes are part and parcel of the even more massive, center-gripped dueling shields found in the fight books of Hans Talhoffer (1458, 1467), Paulus Kal (1460s) and others.

TARGONE BENTIVOLESCO c. 1500l Museo Civico Medievale di Bologna. (c) Andrea Carloni

SURVIVING EXAMPLES

A number of surviving imbracciature survive today, with a particularly well-preserved example found in the Bargello museum, in Florence, which most-closely approximates the one shown by Achille Marozzo. Florence is also home to a far-plainer, older rectangular shield that is remarkably well-preserved in the Museo Stefano Bardini.

Another, oval-shaped shield, elaborately painted with Saint George slaying the dragon, is found in the Civico Medievale of Bologna, and is dated to approximately 1480 – 1400. For all their great size, the shield are relatively light, formed of curved plywood, faced in linen and/or thin leather, and backed in a thin parchment .

Imbracciatura — late 15th to early 16th century, Museo Bargello. (c) Andrea Carloni
Bargello Imbracciatura detail, showing the curve of the shield’s body. (c) Andrea Carloni

Surface detail of the Bargello shield, showing the leather facing. (c) Andrea Carloni
An extremely well-preserved shield in the Museo Stefano Bardini, Florence.

Build Your Own Imbracciatura

If the above pictures and video has inspired you, here is how you can build a reasonably historical imbracciatura of your own. (Or you can download Imbracciatura.)

white & wood glue
3’x4’ thin plywood x2
muslin
canvas
thick leather strips
Nuts, bolts & washers
clamps or straps
jigsaw

Start by coating one side of the plywood sheets with wood glue. Here we’re using a trowel to spread the glue evenly over the entire sheet.

Take your muslin and spread it over the plywood, making sure the entire sheet is covered. We used a flat edge of a thick piece of plastic to push the muslin into the glue and eliminate any wrinkles.

Coat the top side of the muslin (which is now glued to the first sheet of plywood) with wood glue in the same manner as we coated the plywood.

Take the second sheet of plywood and lay it on top of the muslin. We’ve now made a sandwich of two sheets of plywood with muslin in between. Two sheets of plywood will gives us the mass we need and will allow us to bend the boards into place. The muslin between prevents the boards from cracking.

Clamp the perimeter of the plywood while the glue dries. We used two long clamps across the width to bend the plywood into place. Straps can also be used to get the desired curvature.

Let the glue dry overnight and remove clamps. Trim excess muslin. We now have a curved ‘blank’ to work with.

Mark the center of the plywood on both the top and the bottom. Trace half the shape of the shield on paper or any extra muslin. Place that ‘half’ pattern on one half of the plywood and trace it onto the wood. Flip the pattern and repeat on the other half.

Use a jigsaw to cut out the shape of the traced pattern (remember your eye protection!).

Coat the backside of the shield with white glue.

Lay the canvas over the glued side. We used the same flat edge of a flat piece of plastic to press the canvas into the shield and to remove and wrinkles.

Cut the canvas to the edge of the shield using a box cutter. Place the leather straps on the back side and mark their placement. The top strap should be just below the armpit while the small strap should be an arm’s length away so the hand can grasp it.

Drill holes through the leather and the shield at the ends of the leather straps. There should be enough play in the straps to get an arm through. Don’t leave too much slop or it will be too loose. Put the bolt through the holes from the front of the shield so you can put the washer and nut on the back side.

Coat the front side with white glue. Now cover the front side with canvas, leaving 2 inches overhang.

Apply white glue around the edges of the shield

Trim the canvas, leaving 2 inches around the outside edge of the shield. Apply white glue to the canvas extending past the shield and double-fold the edge and apply it to the back of the shield.

(Another view)

Let the glue dry and paint your shield!

(this version does not have a brocco spike at the end, one might be added later)

You’re ready to fight!

Bibliography

Gelli, Jacopo, Guida del raccoglitore e dell’amatore di armi antiche, Milano, Hoepli, 1900

Gelli, Jacopo, L’arte delle armi in Italia, Bergamo, Istituto italiano d’arti grafiche, 1906

Marozzo, Achille, Opera Nova (1536)– English translation by Wanger, Jherek as The Duel, or the Flower of Arms for Single Combat, Both Offensive and Defensive, by Achille Marozzo, Lulu, 2019.

Andrea Carloni maintains an amazing Flickr account detailing primary sources for arms, armour and clothing of the Italian Renaissance.

Bolognese Swordsmanship, Event

L’Arte delle Armi: A Weekend of Bolognese Swordsmanship After Action Review

September 26, 2018 gregm

This past weekend (9/17 – 9/23/2018) was the latest “off-year” or “WMAW lite event” – the theme-focused event we hold with attendance no larger than those we can sleep at the Dekoven Foundation, the beautiful neo-gothic retreat center that has been home to the Western Martial Arts Workshop since 2005.

This year’s event was L’Arte delle Armi, or a Night at the Opera Nova, an event entirely dedicated to the Bolognese tradition of the 16^th century, and featured an international staff of instructors — Devon Boorman, Academie Duello (Canada), Christian Cameron, Hoplologia (Canada), Ken Harding, St. Louis School of Arms (USA), Greg Mele and Rob Rutherfoord, Chicago Swordplay Guild (USA), and Jacopo Penso and Moreno dei Ricci, Opera Nova (Italy) – with lessons derived from all of the major Bolognese masters-at-arms. Classes also covered the entire breadth of the tradition, from spada solo to two-handed sword, dagger vs. dagger to partisan and rotella.

The Classes

Christian Cameron addressing the troops in “Spear of Heroes, Part II: Partisan and Rotella,” which looked first at the classical Greek use of spear and shield and how that was re-imagined by Renaissance Italians.

Of the various ‘schools’ of European martial arts, none has a curriculum as diverse as the Bolognese. Often, modern practitioners just focus on sword and sword and buckler, treating the tradition as the antecedent of rapier fencing (it was) and the first “civilian, dueling tradition” (it isn’t), but in reality, the masters of this tradition taught the full complement of knightly weapons: one and two-handed sword, spear, poleaxe, dagger, along with every martial and civilian companion arm that can be included with the sword — bucklers, cloaks, daggers, gauntlets — and a variety of polearms associated with infantry soldiers, such as halberds and bills. It is a deep, rich tradition, and I am happy to say that it was represented as such during the event.

CSG’s Rob Rutherfoord showed the technical precision of the art in his Imbroccata class, and its “quirky” side in his final class on sword and gauntlet. Ken Harding, taught Marozzo’s spada solo, which is far more dynamic and aggressive than the more conservative “narrow play” of Manciolino and Dall’Aggochie.

The Imbroccata, or Punta Sopramano — Rob RutherfoordThere is a longer segment of the class here, but the sound volume is poor:
Marozzo was also particularly well represented in over six hours of instruction on the spada a dui mani (“two handed sword”). Originally, Maestro Roberto Gotti, who is the world’s foremost authority on Marozzo and his use of this weapon, was going to attend the event, but work intervened, so two of his senior students — Jacopo Penso and Moreno dei Ricci — attended in his place. I do not think anyone felt cheated as the guys presented two amazing workshops that really brought the power and elegance of this weapon to life.

The Two-Handed Sword of Achille Marozzo — Jacopo Penso and Moreno dei Ricci
Devon Boorman is a regular at our events, and taught a diverse array of classes, from tactical decision making in sword and buckler to that tour-de-force of Bolognese swordsmanship: wielding a sword in each hand. Here’s a peak of what it looks like when two men swing four swords at each other:

Two-Sword Demonstration — Devon Boorman (with Matheus Olmedo).

I taught a class on two-handed use of partisan, which was great fun, and for my money, is the most elegant polearm of all. But perhaps one of the most unusual, and well-received, classes, was Christian Cameron’s partisan and rotella class. This weapon combination was taught by Marozzo and Manciolino, and is recorded in 15th c judicial duels. It seems to have been a conscious effort by Italian fencers, influenced by the Humanist fascination with antiquity, to fight in a fashion they imagined would have been used by Achilles and Hector. In essence, it is a reconstructed martial art — 16th century style! Christian, who is a renowned researcher in Ancient Greek fighting arts made a point of showing how Marozzo’s play corresponds to their own reconstruction from vase art. It was a fascinating demonstration, and many people loved playing hoplite — so many that we now have some interesting ideas about an “Oplomachia” track (a “School of the Soldier”) for WMAW. I won’t say more now, besides, anyone know where we can get a few dozen pikes?

The full event schedule is here.

Evening Free-Play

Each night after dinner, we opened the gym to two hours of free-fighting that saw probably thirty or so people trying their hand at what they had learned that day. While most fighters wielded sword alone, sword and buckler or two-handed sword, a surprising number of folks decided to try their hand at partisan, and partisan and rotella…and to our horror, a few rapiers wandered onto the floor.

The Tournament

We don’t hold tournaments at WMAW, but we usually do some sort of low-key, friendly competition at the off-year event, and this year no exception: a three round tournament that included both judged and self-judged components, with a rule-set derived from the hints provided in Manciolino (1531) and the Anonimo Bolognese (c.1550).

This is informal combat at arms, was fought in three rounds:

A self-judged Challenge Round with spada solo;
A self-judged, Challenge Round with sword and any companion weapon or longsword;
A judged Final Round

Challenge Rounds

Rounds One & Two were a martial meet-and-greet: find a partner, call your hits and report to the Recorder of Deeds. The cleaner you fight, the more you fight; the more you fight, the better your chance to advance!

We have used this format at two previous “off year” events: You challenge someone to combat, each with your agreed upon weapons, and report your score to the Recorder of Deeds. Each round is 45 minutes long, so the more fights you get, the better your chances to advance!

What was different this year is that each bout was fought to a total of 5 points scored against one person, using the following scoring system, adapted from Antonio Manciolino and the Anonimo Bolognese:

The entire body is a target;
Cuts or Thrusts to the Head counts for three points;
Cuts or Thrusts to the Sword Arm or Leg counts for two points;
All other blows, including pommel strikes to the face, count for one point;
A throw that leaves the thrower standing is a victory. (“If you lift your opponent from the ground, you will be considered victorious.”);
After being hit, you have the time of one pass to strike back one blow at your opponent in order to redeem your honor.

Scoring

When the bout was over, the Marshal scored the fight, using the following metrics:

Overall Victor receives 2 pts;
If the Victor was not struck, he or she receives 1 pt additional;
The person who scored the first blow receives 1 pt;
If there were any double hits during the match, both parties lose 1 pt.
Therefore, in any match a combatant could score between 4 and -1 points.

Advancement

There were two ways to advance to the final round of six combatants — by Score or by Accolade.

By Score
After the Challenge Round ends, total scores for each will be totaled, and the two combatants with the highest score and the two combatants with the highest number of first blood scores will move to the finals. (If one person wins both categories, then the person with the next highest total score will advance. Ties are broken by who received the least amount of double-hits.)

By Accolade
Two combatants shall advance to the finals by acclaim, one chosen by one’s fellows, and the other chosen by the Instructors.

Accolade of Peers
All participants in the tournament are given one vote that they may cast for any other combatant other than themselves or an Instructor. The combatant who receives the most votes shall advance to the finals.

This was close, as there were three fighters all tied in votes, Adam Franti of the Lansing Swordplay Guild edged the competition out to advance.

Accolade of Instructors
The Instructors shall choose one combatant whom they thought best represented their art and the spirit of the tournament, and this shall make the fourth challenger in the finals.

Again, this was close, but the instructors chose Brandon “Ted” Pool of the CSG because of his efforts to maintain a Bolognese form throughout his fencing, his use of correct technique to enter *and* exit the fight, and his low incidence of double-hits.

Elimination Round and Finals

Once the six second round combatants were assembled, they were split into two pools of three, fighting round-robin style under the previous conventions.

The winner of each pool was Ben Mendelkern from Madison, WI, and Matheus Olmedo of Academie Duello in Vancouver. The bout was fought sword and buckler (Ben) vs. sword and cloak (Matheus), with Matheus the overall victor. You can see a video of the final bout here:

Preliminary Conclusion on the Rules
So what did we think of the Bolognese rules?

Honestly? Meh.

The concept makes sense: points are weighted to one of the principle targets (the head) and the hardest to hit safely and not be hit (the leg). Thrusts to the body, while lethal, score less well because they aren’t fight ending. Of course, Manciolino himself says that swordsmen should target the dominant hand and make striking it a priority, yet this is not reflected in his rules (we know why — safety — or at least he alludes to this), and the Bolognese after-blow led to just as messy a set of resolutions as any other after-blow.

I addressed the first problem by making sword arm attacks score just as well as leg blows, but overall, with the rules making it less desirable to thrust to torso, and the after-blow increasing the number of double-hits, I am not sure the rules added anything new or interesting.

Assalti Demonstration

At our closing remarks on Sunday, I asked Devon, Matheus, Jacopo and Moreno to demonstrate several of the traditional assalti of the tradition. The assalti are one of the distinguishing traits of Bolognese swordsmanship — elegant solo-forms which can also be transformed into paired exercises. Arguably, if you don’t study the assalti you are skipping the heart and soul of the tradition. On the other hand, if you do them as some sort of elegant dance without understanding their application, you have nothing more than just that — an elegant dance.

Here are the assalti, as filmed by Jess Johnson and Shanee Nisry. I believe they speak for themselves.

Assalto One: Sword and Buckler — Devon Boorman

Assalto Two: Two-Handed Sword — Jacopo Penso and Moreno dei Ricci

Assalto Three: Sword & Cloak — Matheus Olmedo

Conclusion

Three years ago, this event could not have happened. There just weren’t enough people involved in Bolognese swordsmanship to fill the hall. When I announced it last year, I still wasn’t sure we could get enough bodies to fill a “Bolognese only” event. As it turned out, with a maximum allowed attendance of 85, we had 79 people — our best off-year showing since we began the event in 2009!

A lot of things have led to this change. In 2010 Tom Leoni published a translation of Manciolino’s Opera Nova, making one of the best, and certainly most concise, works of the Bolognese masters available to an Anglophone audience. To this is added Jherek Swanger’s translations of Viggiani, Dall’Aggochie, and most importantly, his new translation on Achille Marozzo. Finally, Stephen Fratus has made his work-in-progress translation of the Anonimo freely available, which means that every text in the tradition is now available in English. The Giovanni Dall’Aggochie Facebook group has become a centerpiece for discussing Bolognese fencing and is unusual for both the high level of signal-to-noise and the cordiality of posters. In short, there is now a small, but thriving community dedicated to his incredible tradition, and I hope this event has only added to its growth.

L’Arte delle Armi or a Night at the Opera Nova would not have been possible without the hard work of not only our instructor roster but our staff: John O’Meara, Nicole Allen, Tasha Mele and Marcie Vereline, to whom I am deeply grateful.

Armizare, Bolognese Swordsmanship, Rapier

Defining Tempo in Italian Swordplay & its Tactical Implications

August 1, 2018 gregm

A tempo is a movement that the opponent makes within the measures […] The reason why the name tempo was given to the movements made while fencing is that the time employed to make one movement cannot be employed to make any other. -Salvator Fabris, 1606

I was enticed to end this blog with the previous quote, 1) because writing is hard 2) because Fabris addresses both parts of the title of this blog in very clear terms. But… as the philosopher that each Italian swordsman references, directly or not, says: “We must take this as our starting-point and try to discover- since we wish to know what time is- what exactly it has to do with movement.” -Aristotle, c. 4^th century BCE.

Aristotle, tying together the concepts of Time and Motion in parts 7 through 13 of ‘Physics’ (Book IV), identifies three core components of their relationship. First, time directly follows motion and the two are inexorably linked, thus we can say any continuous motion that is encapsulated between two moments of rest is a single unit of time, or a single tempo. Second, because any motion can be divided into parts, and those parts follow one after another, we can identify those motions (as they relate to each other) as being: before, now, and after. Thus, motion can be counted or numbered by their parts. Lastly, because time is continuous, but objects can move and come to rest at different intervals, their locomotion can be identified as either proportionally long or short. We can thus say that tempo is defined by both by its motion and its rest.

For a simple illustration of all three concepts at work, lets look at someone standing still, who then begins walking forward, and then stops. In the first definition, “Time is Motion” as soon as the figure starts walking to the time he stops, he created one continuous action and is thus a single tempo (“what is moved is moved from something to something, and all magnitude is continuous.”-Aristotle). In the second definition, “Numbering the Motions” each step can be counted individually, so each step is its own tempo (“Hence time is not movement, but only movement in so far as it admits of enumeration.”-Aristotle). And in the third definition, “Motion is Proportional” each step can be made longer or shorter by the distance each covers. Wider steps are proportionally longer than shorter steps, but each still being a single tempo (“It is clear, too, that time is not described as fast or slow, but as many or few and as long or short. For as continuous it is long or short and as a number many or few.”-Aristotle).

When Aristotle writes, he refers to the things that are moving as ‘bodies.’ In fencing, each ‘body’ is a part of the fencer and his weapon that is capable of closing distance, mainly the hand (tied to the weapon or defensive implement), the body (which can come forward or back) and the feet (which carry and support the body). Each one of these parts can make a ‘tempo’ in each of the three above definitions. Not only can they make a tempo on their own, often they create tempi together.

The joining of these bodies in motion creating tempi, I will call ‘Timing.’ This timing not only refers to how the fencer joins their own motions but how he imposes his motions between (or inside of) his opponent’s. When Fabris says: “the time employed to make one movement cannot be employed to make any other” and “make sure that the tempo necessary for your attack is not longer than the tempo given by your opponent” he is referring to the timing of our action as well as its proportional length (respectively). For example, if the opponent moves his sword from right to left, he can cannot in the same instance, move his sword from left to right. While this ‘body’ is in motion, a proportionally shorter motion should be made by the opponent to ensure the attack can not be parried. The imposition of timing our action within the opponent’s is referred to as ‘in tempo.’ (“Further ‘to be in time’ means for movement, that both it and its essence are measured by time (for simultaneously it measures both the movement and its essence, and this is what being in time means for it, that its essence should be measured”-Aristotle).

With the consideration of Timing, and the essence of the nature of fencing (to hit while not being hit), certain opportunities arise, mainly when is it appropriate to strike the opponent. Giovanni dall’Agocchie, c. 1572, gives us 5 opportunities or tempi, which one can appropriately time a proportionally shorter attack than our opponent’s attempt at a defense (or at the very least making a defense very difficult).

In reverse order that Dall’Agocchie lists them, they are: 1) “while he raises his foot, that’s a tempo for attacking him” 2) “as he injudiciously moves from one guard to go into another, before he’s fixed in that one, then it’s a tempo to harm him” 3) “when he raises his sword to harm you: while he raises his hand, that’s the tempo to attack” 4) “when his blow has passed outside your body, that’s a tempo to follow it with the most convenient response” 5) “once you’ve parried your enemy’s blow, then it’s a tempo to attack.” The reason I have listed them in reverse order is because when read this way, they are presented in a certain order of precedence, from the time the opponent begins to close measure to the point he is attacking you (ie. “the movement[s] that the opponent makes within the measures”). Each moment in time can be ‘numbered’ this way.

The first two opportunities apply to the Agent (the fencer who is seeking to strike first). If the opponent is stepping forward, he can not simultaneously step back, and if he is changing guards, he can not occupy the space he just left.

The last three opportunities apply to the Patient (the fencer dealing with the Agent’s attack). As the opponent raises their hand to attack they are momentarily less able to deal with an attack themselves. While Dall’Agocchie specifically mentions raising the hand as a method to prepare an attack, this idea can be expanded to deal with all methods of preparing an attack, in short, anything the Agent does to put their sword and body into a position to deliver their intended strike (be it feint, beat, pulling the arm back, raising it, etc.). Now, if the Patient is actually receiving the strike, he can deal with it in two main ways, 1) void 2) parry. There are many forms of these two actions and also a continuum of actions between the two that incorporate both a void and a parry. While the opponent is extended for their attack (thus leaving a strong defensible position), the Patient can apply option 1 or 2 and return a strike (a repost), or more preferably, timing their action so that they strike simultaneously against the attack.

With the above knowledge of the appropriate times to strike, it can be seen that both the Patient and Agent have opportunities to wound, so the matter of protecting oneself from them is paramount. In short, to ensure safety while one moves, and thus creating a tempo or opportunity to be struck, their motions should be proportionally smaller than the opponents necessary action to strike. For instance, if one wishes to step into measure, the step should be small, or it can be made on the rear foot, or it can be timed with an accompanying motion of the sword to create a barrier in which the opponent’s sword has to move around (thus lengthen the proportionate time of his strike). If one wishes to change guards, they can make small changes, or keep the point in presence to dissuade an attack. If the fencer wishes to prepare an attack, it should be done mindful of the position of the opponent’s weapon, making sure the preparation and subsequent attack is shorter than the motion of the opponent’s weapon to its intended target.

The question then becomes, if I know what opportunities exist to strike, how to protect myself from those moments, if the opponent does not offer one, how do I create one in which to attack? The concept of Provoking deals with this question. Dall’Agocchie defines these types of actions like this:

“Said provocations, so that you understand better, are performed for two reasons. One is in order to make the enemy depart from his guard and incite him to strike, so that one can attack him more safely (as I’ve said). The other is because from the said provocations arise attacks which one can then perform with greater advantage, because if you proceed to attack determinedly and without judgment when your enemy is fixed in guard, you’ll proceed with significant disadvantage, since he’ll be able to perform many counters.”

These actions are made with the intent to force or entice the opponent to move, thus creating a tempo in which to attack. As Dall’Agocchie mentions, Provocations come in two forms, the first, a proactive motion that forces the opponent to create a tempo, and second, a passive invitation to entice him to strike. However, both of these methods require a motion by the provocateur. So, even if we seek to provoke a tempo, it is required of us to give a tempo. Again, the tempo we create to force one from our opponent needs to be proportionately smaller than the opponents motion to strike, or otherwise create a situation where this is true.

Bibliography

“Physics by Aristotle” http://classics.mit.edu/Aristotle/physics.4.iv.html. Translated by R. P. Hardie and R. K. Gaye

Leoni, Tom. Art of Dueling. Chivalry Bookshelf, 2006

Swanger, Jherek. On The Art of Fencing. Online, 2007

Bolognese Swordsmanship, Event

L’Arte delle Armi: A Bolognese University of Arms for the Complete Renaissance Swordsman

January 15, 2018 gregm

(Or, A Night at the Opera Nova)

September 21 – 23, 2018

The Chicago Swordplay Guild and the DeKoven Foundation present an event celebrating one of the great fencing traditions of Renaissance Italy!

Located at the picturesque DeKoven Center, home to the Western Martial Arts Workshop, the conference is a retreat with attendance limited to the 70 students that DeKoven can host. Your registration fee includes ALL classes, meals and lodging onsite at the beautiful DeKoeven campus.

This is a unique event and a unique opportunity to train in a private environment with some of the finest modern teachers of the Art of Defense. Act now, because attendance is limited to the 70 folks we can house on site, paces will go fast. We look forward to crossing swords with you!

Instructors:

We are pleased to bring an international cast of renowned instructors including:

Devon Boorman, Academie Duello (Canada)
Moreno dei Ricci, Guardia di Croce (Italy)
Jacopo Penso, La delle Arme (Italy)
Ken Harding, St. Louis School of Arms
Greg Mele, Chicago Swordplay Guild (USA)
Robert Rutherfoord, Chicago Swordplay Guild (USA)
Christian Cameron, Hoplologia (Canada)

Classes will include spada solo (sword alone), spada e brocchiero (sword & buckler), spada e rotella (sword & shield), spada a due mani (two-handed sword), prese contra daga (dagger defenses), polearms and more!

Class Schedule

A full schedule of the event is available: Arte dell Armi Schedule.

Key-Note Address:

Italian Arms & Armour of il Cinquacento (XVIth Century), by Dr. Jonathon Tavares of the Art Institute of Chicago.

Contests-at-Arms

A Contest-of-Arms with Sword, Rapier and their trusted companions: the Buckler and Dagger, derived in part from the competition outline by Antonio Manciolino (1531).

More details forthcoming!

Accommodations:

(Details for getting to Racine can be found on the WMAW website)

Location:
The DeKoven Center
600 21st Street
Racine, WI 53403

On campus; double and triple rooms. You will be able to request the roommate of your choice when you register, and we will make every effort to accommodate you. Lodging is from Thurs to Sat.

Nine hot meals.

Costs:

All-Inclusive price: $ 470.00

No cancellation refunds after August 1st, 2018

Registration Form:

Download this fillable PDF form, save it, and then e-mail it to the registrar at wmaw.registrar@gmail.com

Reg form Arte delle Armi

Contact Info:

wmaw.registrar@gmail.com

Event, Featured

MidWinter Armizare II — This Time with Daggers!

November 14, 2017 gregm

Let it Be Known to All that Profess the Study of Arms, that the Chicago Swordplay Guild does Challenge All Men and Women of Good Character and Keep Blade to Inaugurate the New Year in a Competition of Arms

WHAT
In conjunction with the Midwest Historical Fencing League and Forteza Fitness & Martial Arts the Midwinter Armizare Open is a public display of skill with one and two-handed swords in a relatively rules-light format meant to emphasize the tactical priorities of fighting with sharp weapons in lethal combat.

WHERE & WHEN
Date : Saturday, 27 Jan 2018
Location: Forteza Fitness & Martial Arts, 4437 N. Ravenswood Ave, Chicago, IL 60640
Schedule:
10:30 – Sign In
11:00 – Introduction: Rules and Demo
11:30 – Sword in One Hand
1:00 – Break
1:30 – Longsword
5:00 – Awards
5:30 – After Event Party

HOW: Tournament Rules and Equipment Requirements can be found at Midwinter Armizare Open 2018

JOINING: Registration is $50. Register online through the Forteza website.

Bolognese Swordsmanship

Using Viggiani’s Perfect Schermo as a Bolongese Fencing Primer

July 12, 2016 gregm

[Ed: This article is an addendum, particularly in video, of an earlier post: The Perfect and Imperfect Schermi of Angelo Viggiani . Readers familiar with that article might want to jump right to the below video, aka, the “good stuff”. Of particular interest, note the footwork. Renaissance fencing footwork, particularly prior to the lunge, is conservative in its steps, with the body weight carried over the balls of the feet. This does not mean the fencers are walking around on their toes, but it does mean that the foot moves in a flatter fashion, rather than striking out onto the point of the heel, as is seen in modern fencing, and a fair bit of HEMA reconstruction. ]

Angelo Viggian’s provides and short and succinct analysis of fencing in Book Three of his Lo Schermo of 1575 (full disclosure, Book Three is short and succinct, the philosophical discussions of Book One and Two are long, rambling and frankly, rather turgid), reducing the older, Bolognese system of guards to the seven principle guards necessary to use a cut-and-thrust sword alone, introducing a new, “rational” naming system for the guards, and expounding on a “perfect” system of a single, universal parry and response that can be taught in 30 minutes of instruction.

Written as a dialogue between the fencing master, Rodomonte, and his student, il Conte, Viggiani recommends that the swordsman provoke an attack while he is in the Guardia Defensiva Stretta (Bolognese Porta di Ferro e Stretta) and parry with a true edge, tondo riverso, finishing in Guardia Alta Offensive Perfetta (Bolognese Guardia d’Alicorno), from where he immediately launches an imbroccata with a deep acrescimento of the front foot, finishing back in the original starting guard:

RODOMONTE: It behooves you (to deliver your enemy some desired blow) that (being in that guardia stretta, difensiva with your right foot forward) you turn the point of your sword toward your left side, diagonally, so that the point faces that same side, and the pommel is on your right, as if you wanted to lay hand to the sword, and from here uniting all the strength of your body together, do the same rovescio tondo with those same turns of the hand and the feet of which I have told you, and in the same manner; but pay heed that in this delivering of the rovescio, the swords meet each other true edge to true edge,but that the forte of your sword will have met the debole of mine, whereby mine could be easily broken by virtue of the disadvantage of such a meeting, and also because of the
fall of the cut; and you will also be more secure, being shielded by the forte of your sword.
CONTE: How should I avenge myself of the insult?
RODOMONTE: While my mandritto is beat aside by your rovescio tondo, it will go by your right side; lift up your sword hand somewhat, and turn the true edge toward the sky, and make the point of the sword drop somewhat, and move yourself toward me with your right foot forward with a big step, and then immediately drop your left arm, and make your right shoulder throw your right arm forward, declining toward me from high to low, with that punta sopramano offensiva, accompanying it in all of the said manners; and if I do not give you a response with some blow, do not halt there, but lift your sword, and going with it a span forward of your right knee, you will fix yourself in guardia stretta offensiva, perfetta; this is a perfect offense, which you must do following the insult received from me, and following your defense. But if I turned to some other blow in order to offend you, then you, with the same rovescio tondo, will always be able to beat back my sword toward your right side, and return to offend me in the chest with the same punta sopramano, offensiva, perfetta; and thus after you defend yourself, you will always be able to offend me again in the chest with the punta sopramano perfetta; therefore it is the most perfect and secure blow that can be found, and to express it succinctly, this is called “Great blow”, because it is necessary to make a conjoining and a union of all the strength of the body, of the wits, of the senses, and of the art; and accompanying the said blow, reveals one to be endowed with knowledge, with heart, and with temperance.
Watch, I pray you, how I do it.
CONTE: I am watching, and with great happiness.

(Book Three, 118 – 119)

Put into practice, this is what we get:

To be clear, while he is far more detailed in his discussion of the body mechanics and tactical theory behind his perfect defense, the idea of a “universal parry” was not new to Viggiani — it appears as early as Fiore dei Liberi in 1409, was the basis for Antonio Manciolino’s sword alone lessons in 1531, and was espoused by his contemporary, Giovanni Dall”Aggochie. However, what is interesting,about this “Perfect Fencing” is that, unlike those other masters, Viggiani also intended this simple flow between two guards to be used for offense as well:

I would like you to step, vaulting at him diagonally, and wearying him continuously, now with a mezo mandritto, and now with a mezo rovescio, and often with a variety of feints, taking heed nonetheless always to keep your body away from the point of his sword, because he could easily give you the time and the occasion to seize the advantage of placing yourself in guard.

(Book III, 46)

From your perspective, then, when you are stepping, approaching the enemy, and go closing the step, then you have much advantage; for as much closer as you are with your feet, you will have that much more force in your blows, and in your self defense, and otherwise accordingly will you be able to close with your enemy in less time.

53: All the answer to this question is reduced to you being in advantage, and the enemy in disadvantage, because if you go in tempo, such that you are in disadvantage of the sword, and your enemy is in advantage of guard, your going would undoubtedly be worse; but if it were the contrary, it would certainly be better.

(Book III, 52 and 53)

Once we put the mechanical advice together with the above tactical device, the Offensive “Schermo” looks like this.

Taken together, the reader is given a short set of basic set actions that can be used offensively or defensively. Combined with the master’s rather detailed description of the underlying body-mechanics encoded in moving from guard to guard and his thorough lessons on tempo and initiative (arguably the best of any fencing master prior to the 17th century) a student has a perfect primer in Bolognese fencing, one that can then serve as a launching point towards using the variant “universal defenses” found in the works of Antonio Manciolino and Giovanni Dall’Aggochie.

Further Research:

Readers interested in a further exploration of Viggiani’s “Perfect Schermo” and its context may also be interested in:

Lo Schermo, translated by Jherek Swanger

Viggiani-Oversize-Plates, courtesy of Steven Reich

The Perfect and Imperfect Schermi of Angelo Viggiani – Rob Rotherfoord

Using Angelo Viggiani’s Three Advantages to Understand Initiative in 16th-century Italian Swordplay – Rob Rotherfoord

Understanding Viggiani’s Lo Shcermo – Gregory Mele

The Truly Universal Parry – Gregory Mele

The Spada Solo of Antonio Manciolino – Gregory Mele and Rob Rotherfoord

The Complete Renaissance Swordsman – Manciolino’s Opera Nova in a modern, English translation by Tom Leoni

Delle’Arte di Scrimia Libri Tre by Giovanni Dell’Aggochie – translation by Jherek Swanger

Bolognese Swordsmanship, Featured, News, Rapier

Our First Renaissance Free Scholar and first-ever Provost!

February 11, 2016 gregm

This past Saturday saw a momentous occasion for the Chicago Swordplay Guild: our second Free Scholar’s Prize and our first-ever in Renaissance Swordsmanship. The Prize is not a play, a tournament or an exam, though it has elements of them all. It is a right of passage whose origins extend back over half a millennia, and is the most ceremonial event we have in the Guild, as well as the most personally meaningful to the student being tested.

[For more information on Prizes as they were historically and used in the CSG, see What is a “Playing of the Prize”?

To qualify to play the prize for Free Scholar, students have completed at least five to seven years training in the weapons for the curriculum being tested; in this case the Bolognese side sword, the rapier, rapier & dagger, wrestling (abrazare) and unarmed defense against the dagger. Physical exams in these disciplines amounted to about four hours of testing, and there was also a written exam for each. Additionally, each student is required to submit a written, research paper; here is Robert Rotherfoord’s paper on the Universal Parry and Great Blow in Bolognese fencing. Once the exams have been passed and the final paper accepted, then the Prize can be held.

Going back to our first Prize in 2001, it has been the CSG’s tradition to never inaugurate a new rank without bringing in outside teachers and swordsmen to stand as challengers, specifically to avoid nepotism and developing a salle art rather than a truly martial one where students learn how to defeat students in their school, and their school alone. As Dean, I felt it crucial I find three of the best Renaissance swordsmen in North America to stand as Challengers, and fortunately, my first choices all said yes. Thus, John and Rob found themselves standing across the list from:

Devon Boorman, Maestro d’Arme, Academie Duello;
Puck Curtis, Maestro d’Arme, Sacramento Sword School;
Bill Grandy, Head Coach of Historical Fencing, Virginia Academy of Fencing.

All of these men are long-time practitioners and teachers of the Art of Defense; Devon and Bill run two of the largest HEMA programs in the world. In addition, while Devon practices the same arts we do in the CSG, the other Challengers brought surprises of their own to the table. Bill Grandy is also a longtime student of Salvator Fabris’ rapier method, and is familiar with Bolognese side sword, but his cutting-sword focus is in the German messer and longsword. Puck is one of the world’s premier exponents of La Verdadera Destreza, a system that rivaled the Italian tradition and uses a different set of strategies and tactics to achieve the same goal: pointy end into the other man. I had made these choices by design, as the idea was to make the Prizors not only display their ability to fight a like style, but to use their art against a foreign one.

The format of the Prize is similar to that played for Scholar, only with three weapons: each Prizor faces three Challengers in a three minute round of combat, for nine rounds of combat in total. They then hold the field in matches of three good blows against all Scholars who wish to challenge with either the sidesword or rapier. Challenges at are fought under a set of rules somewhat more “permissive” than those of the 16th century, in large part because of access to additional safety gear:

The entire body is a target;
Strikes may be made with the point, edge or pommel of the sword;
Disarms, grapples, leg sweeps and throws are permitted, but combat will stop once both parties are unarmed, or one is thrown to the ground.
Combatants acknowledge their own blows, and the Judge intervenes only to part combatants with his baton for safety reasons or because a throw or disarm has occurred.

The First Passage: Side Sword

12688232_10207699068607605_94902517001921310_n — Robert Rotherfoord excepts a challenge in side sword from Guild Scholar Davis Vader

The candidates had asked to fight the weapons in chronological order: sword, rapier & dagger and then rapier alone. It was determined that the order of challenges would be Puck third, Devon second and the honor of the first blow would go to Bill. Well before their arrival in Chicago, I had been in contact with the Challengers and discussed John and Rob’s particular fencing quirks, strengths and weaknesses, so each was not only going into the list to fight them, but to test specific things, most particularly, their weak points.

The first round was dedicated to the sword alone, which is Robert Rotherfoord specialty. As you watch the fights you will see that he and John use the art somewhat differently: as a rapier specialist, John gravitates towards the later style advocated by Angelo Viggiani, including the powerful use of a rising parry transforming into the punta sopramano/imbroccata (overhand thrust) made on a short lunge, or the use of the same thrust as a provocation to set-up follow on actions.

John O’Meara vs. Bill Grandy

John O’Meara vs. Devon Boorman

John O’Meara vs. Puck CurtisRob, who favors Manciolino and Dall’Aggochie, uses shorter thrusts and more cuts made with steps off-line.

Robert Rotherfoord vs. Bill Grandy

Robert Rotherfoord vs. Devon Boorman

Robert Rotherfoord vs. Puck Curtis
The fights were vigorous and also great fun to watch; the audience loved the dynamic elegance of the Bolognese system’s flowing, looping cuts and powerful thrusts.

The Second Passage: Rapier & Dagger

John and Bill square off with Rapier and Dagger

The second round was with the rapier & dagger, the newest part of the Renaissance scholar curriculum, and a very demanding one, as it requires constant changes of initiative while wielding two dissimilar weapons both in conjunction and separately. It can be very fast and exciting to watch, and as I personally had not seen Destreza’s version of the system, it was personally interesting to watch how it played against the “Salvatoran Art”.

John O’Meara vs. Bill Grandy

John O’Meara vs. Devon Boorman

John O’Meara vs. Puck Curtis

Rob Rotherfoord vs. Bill Grandy

Rob Rotherfoord vs. Devon Boorman

Rob Rotherfoord vs. Puck Curtis

The Third Passage: Rapier Alone

John's quick variation of the passata sotto catches Bill Grandy in mid-lunge — John’s quick variation of the passata sotto catches Bill Grandy in mid-lunge

The rapier used alone is the first weapon taught in the Renaissance curriculum and goes back to the very first year of the Guild’s history. It is an easy weapon to understand, but a difficult one to master. Although we draw material from a variety of c.1600 sources, far and way the core of our curriculum comes from the monumental text by Master Salvator Fabris.

However, as the third weapon fought, you can see the fatigue starting to kick in and the Prizors periodically retreat or come to grips just to catch their breaths, rather like “the clinch” in modern boxing.

John O’Meara vs. Bill Grandy

John O’Meara vs. Devon Boorman

John O’Meara vs. Puck Curtis

Robert Rotherfoord vs. Bill Grandy

Robert Rotherfoord vs. Devon Boorman

Robert Rotherfoord vs. Puck Curtis

Final Passage: “The Ordeal”

Scholar Jacques Marcotte challenges Rob to three blows of the side sword

In times past it was the custom that Prizors must fight no less than three Challengers of the grade sought, before the Prize would be considered won, but that he must stand against any and all challengers who might come forth to test him. Likewise, having faced three challenges in each of the three weapons of the Free Scholar, the candidates then stood against any Scholar would would challenge them to a match of three good blows with the rapier or sidesword.

John Runs the Gauntlet

Rob’s Gauntlet
You can see both fatigue and the effect of earlier cuts to the sword arm taking their toll in these bouts, as Rob drops his sword twice because his hand is getting numb.

(You may also hear me asking David Farrell if he is wearing his long underwear. As it turns out, yes, yes he was. Don’t ask.)

The Investiture

Robert Rotherfoord and John O'Meara -- the Guild's first Free Scholar and Provost of Renaissance Swordsmanship, respectively. — Robert Rotherfoord and John O’Meara — the Guild’s first Free Scholar and Provost of Renaissance Swordsmanship, respectively.

Historically, once all the bouts were over, if the Prizor was judged victorious by the four Masters, he would be declared “a well-tryd and sufficient man with divers weapons”. He would then (after collecting the change littering the stage) swear his oath of obligation, and be escorted by his new peers back to the school and from there off to do much drinking. Fortunately, our guests felt that the John and Rob easily fulfilled the requirements of their new rank, leading to the ceremony of Investiture.

Our modern Guild’s Scholar’s oath is adapted directly from that of the Elizabethan London Company of Masters, requiring the student to treat those above and below him or her with respect, to train diligently and with pride, but not vanity, to be sure that their actions and deeds in the list or the classroom bring renown, not shame, to their fellows and teachers, and to be a good citizen.

Robert Rotherfoord's Free Scholar license. — Robert Rotherfoord’s Free Scholar license.

Kneeling and reaffirming this oath on the hilt of a sword, the gentlemen received their new licenses and their green garters were replaced with gold ones. As stated in the ceremony itself:

Gold was considered the noblest of metals, exceeding all others in value, purity and finesse. It represents the light of the sun, and the nobility of princes. It is also associated with excellence and achievement, and its bearer surpasses all others in valor. As such, the golden garter is a fitting symbol of a Free Scholar of the Art of Arms.

As John was Rob’s teacher in rapier and rapier & dagger, it only seemed appropriate they he bestow the garter himself. However, as this would normally be the provenance of a Provost…

We caught John off-guard and informed him that such he was about to be!

This decision was not made lightly by myself or the three Challengers. John joined the Guild in the year of its founding (1999) and has spear-headed the Rapier curriculum since 2002. Over that time, there have been many ups and downs — a steadily evolving curriculum that went through a few reboots, a seeming curse where every time new Scholars were made, life took the away from both the Guild and the Art, significant, side-lining injuries with long recovery time and more. Thus, it is some how particularly appropriate that John received his rank of Provost at a time when our Renaissance swordplay program is larger and more robust than ever before.

John O'Meara's Provost license, just prior to its signing. — John O’Meara’s Provost license, just prior to its signing.

Some of Mr. O’Meara’s accomplishments leading to his award of Provost:

Led the Guild rapier program since the year Two-Thousand & Two;
Created and refined the Novice and Companion Curriculums now used within this Guild for wielding the Single Rapier, and written a substantial, illustrated manual for the same;
Created and refined the Scholar curriculum now used within this Guild for wielding the Rapier, both alone, and paired with its ancient companion, the Dagger;
Instructed and successfully elevated Thirteen Students to the rank of Scholar;
Successfully elevated two Students to the rank of Free Scholar;
Instructed students from outside the Guild at diverse, international Workshops;

Thus, it was my particular honor as the Guild’s founder and Dean to elevate Mr.John O’Meara as the CSG’s first Rettore di Schermo Rinascimento (Provost of the Art of Renaissance Swordsmanship).

Besides the gold garter, as a Provost John was given a ceremonial chain of office; its links representing the long line of teachers who have preceded us. The chain is not whole, just as our lineage was broken long ago, but instead is closed by a pendant of St. George the Dragonslayer, paragon of chivalry, for this is a chivalric art, and it is through its values that what was broken is again made whole. In this sense, the chain becomes a fitting symbol uniting past to present, and present to future.

This was a truly special day — the culmination of a decade and a half of hard work as well as the inauguration of the next phase in the Guild’s history, particularly in the field of Renaissance swordsmanship. My thanks to Maestri Boorman and Curtis and Coach Grandy for attending and helping bestow the Provost rank, and to John and Rob….words cannot express my pride.

Gregory D. Mele
Founder, Dean and Guildmaster
Chicago Swordplay Guild

[You can find a great many more photos of the event both in our Gallery and on the CSG Facebook Page]

Bolognese Swordsmanship, Event, Rapier

Announcing a Playing of the Prize for Free Scholar

February 1, 2016 gregm

Event

Viva Italia! Celebrating 600 years of Italian Martial Arts (Sept 16 – 18, 2016)

January 12, 2016 gregm

Mark your calendars for September 2016, because REGISTRATION IS OPEN!

The Chicago Swordplay Guild and the DeKoven Foundation present an event celebrating the ancient & living traditions of the land that brought you Fiore, Fabris, Marozzo, Galileo, DaVinci, Casanova and … spaghetti!

Located at the picturesque DeKoven Center, home to the Western Martial Arts Workshop, the conference is a retreat with attendance limited to the 60 students that DeKoven can host. Your registration fee includes ALL classes, meals and lodging onsite at the beautiful DeKoeven campus.

This is a unique event and a unique opportunity to train in a private environment with some of the finest modern teachers of the Art of Defense. Act now, because ttendance is limited to the 70 folks we can house on site!paces will go fast. We look forward to crossing swords with you!