Martial Arts Of The World - Webs
Martial Arts Of The World - Webs Martial Arts Of The World - Webs
322 Masters of Defence ing both in it and against it profoundly changed individual combat. Moreover, social and technological forces severely affected the conditions under which combat took place. As a result, throughout the Renaissance, Masters of Defence began to more systematically study and analyze fighting in an effort to raise the art of combat to a higher degree of sophistication and effectiveness. Crucial changes came about with the convergence of, among other factors, the discarding of heavy armor (primarily due to the advent of firearms), the reduced role of the individual warrior on the battlefield, and the rise of an armed urban middle class. In this environment, Renaissance Masters of Defence began to teach fencing and fighting both publicly and privately. Specialized civilian fighting guilds and Schools of Defence began to thrive. Masters such as Joachim Meyer, Jeronimo de Carranza, Henry de Sainct Didier, D. L. P. de Narvaez, Salvator Fabris, Joachim Koppen, Francesco Alfieri, Jacob Sutor, and others became highly regarded experts. They approached their craft seriously, earnestly, and scientifically. Martial arts masters, who traveled and tutored widely, arose both from the gentry and the lower classes. Italian and Spanish instructors of the new rapier ultimately became the most admired. The intellectual climate of the Renaissance influenced their profession, in that geometry, mathematics, and philosophy played major roles in their styles. The history of European arms and armor is one of established continuity marked by sudden developments of forced innovation. Renaissance sword blades were generally lighter than medieval ones, and the thrust was used to a far greater extent during the Renaissance. The fundamentals that early Renaissance masters built upon were not entirely of their own invention, however. They called upon a long-established foundation from medieval fighting methods. Like much of the progress in Renaissance learning and scientific advance, their art was based on principles that had been established for centuries. The Bolognese master Achille Marozzo, one of the most significant masters of his day, was one of the first to focus on the use of the thrust over the cut. He produced two manuals on fence, Opera Nova (1536) and Il Duello (1550). His countryman, Camillo Agrippa, was another to focus on the thrust over the cut, and in 1553 produced one of the earliest rapier manuals, “His Treatise on the Science of Arms with a Philosophical Dialogue,” which received wide acclaim after being translated into English. These masters, among others of their day, revealed methods that reflected the transition by early Renaissance martial artists to civilian cut-and-thrust swordsmanship and the emerging emphasis on urban self-defense. By the late 1500s the vicious new slender civilian thrusting sword, the rapier, became the favored dueling weapon. In 1595 Master Vincentio Saviolo wrote “His Practice in Two Books,” one of the first true rapier manuals,
an influential treatise at the time, which retains its popularity. Saviolo was instrumental in bringing the art to England when he settled in London to teach his method. A fellow Italian master, Giacomo Di Grassi, had another major rapier manual, translated into English, under the title His True Arte of Defence, in 1594. Also, Salvator Fabris was a master from Bologna who in the late 1500s traveled in Germany, France, and Spain and synthesized the best of many other teachers. Their methods reflect important changes in the blades, techniques, and attitudes of Western Masters of Defence. Because firearms had rendered the traditional individual weapons of war less relevant on the battlefield, the focus of masters was now less on weapons of war and unarmed skills than on personal civilian dueling. Masters now became far less concerned with running schools for common warrior skills than with teaching the upper classes the newly popular art of defense. Of these later masters, Ridolfo Capo Ferro, author of Gran Simulacro (Great Representation/Description) of 1610, is considered the undisputed Italian grand master of the rapier and the father of modern fencing. He taught a linear style of fence and emphasized the superiority of the thrust over the cut in order to utilize the rapier’s advantage of quick, deceptive reach. Other notable Renaissance masters and their works include Vigianni’s Lo Schermo (The Shield) of 1575, the Milanese master Lovino’s Traite d’Escrime (Fencing Treatise) of 1580, Jacob Sutor’s 1612 Neues Kunstliches Fechtbuch (New Artistic Fencing Book), and Nicoletto Giganti’s 1606 Scola overo Teatro (School or Theater). There was also Sir William Hope, a military veteran who taught and between 1691 and 1714 wrote numerous books, including The Scots Fencing-Master (1687) and The Complete Fencing-Master (1692). Other contemporary works treat the use of the slender thrusting small-sword, sabers, cutlasses, spadroons, and assorted cavalry blades. Germany produced important Renaissance masters, also. Paulus Mair, an official from the city of Augsburg, compiled three large manuals covering a great variety of swords and weaponry. Fechtmeister Joachim Meyer wrote his own teachings down in 1570, as did Jacob Sutor, who described his methods in 1612. In general, the Germans resisted adopting the rapier in favor of their traditional weaponry. The English fighting guilds, like the German ones, resisted for some time the encroaching civilian system of the Hispano-Italian rapier in favor of their traditional militarily focused methods. During the 1500s, The Corporation of Maisters of the Noble Science of Defence, or the “London Company of Maisters,” was an organized guild offering instruction in the traditional English forms of self-defense. Training was offered in the use of swords, staffs, pole-arms, and other weapons. It also included wrestling, pugilism, and grappling and disarming techniques. In keeping with the Re- Masters of Defence 323
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an influential treatise at the time, which retains its popularity. Saviolo was<br />
instrumental in bringing the art to England when he settled in London to<br />
teach his method. A fellow Italian master, Giacomo Di Grassi, had another<br />
major rapier manual, translated into English, under the title His True Arte<br />
of Defence, in 1594. Also, Salvator Fabris was a master from Bologna who<br />
in the late 1500s traveled in Germany, France, and Spain and synthesized the<br />
best of many other teachers. <strong>The</strong>ir methods reflect important changes in the<br />
blades, techniques, and attitudes of Western Masters of Defence. Because<br />
firearms had rendered the traditional individual weapons of war less relevant<br />
on the battlefield, the focus of masters was now less on weapons of war and<br />
unarmed skills than on personal civilian dueling. Masters now became far<br />
less concerned with running schools for common warrior skills than with<br />
teaching the upper classes the newly popular art of defense. <strong>Of</strong> these later<br />
masters, Ridolfo Capo Ferro, author of Gran Simulacro (Great Representation/Description)<br />
of 1610, is considered the undisputed Italian grand master<br />
of the rapier and the father of modern fencing. He taught a linear style of<br />
fence and emphasized the superiority of the thrust over the cut in order to<br />
utilize the rapier’s advantage of quick, deceptive reach.<br />
Other notable Renaissance masters and their works include Vigianni’s<br />
Lo Schermo (<strong>The</strong> Shield) of 1575, the Milanese master Lovino’s Traite d’Escrime<br />
(Fencing Treatise) of 1580, Jacob Sutor’s 1612 Neues Kunstliches<br />
Fechtbuch (New Artistic Fencing Book), and Nicoletto Giganti’s 1606<br />
Scola overo Teatro (School or <strong>The</strong>ater). <strong>The</strong>re was also Sir William Hope,<br />
a military veteran who taught and between 1691 and 1714 wrote numerous<br />
books, including <strong>The</strong> Scots Fencing-Master (1687) and <strong>The</strong> Complete<br />
Fencing-Master (1692). Other contemporary works treat the use of the<br />
slender thrusting small-sword, sabers, cutlasses, spadroons, and assorted<br />
cavalry blades.<br />
Germany produced important Renaissance masters, also. Paulus Mair,<br />
an official from the city of Augsburg, compiled three large manuals covering<br />
a great variety of swords and weaponry. Fechtmeister Joachim Meyer<br />
wrote his own teachings down in 1570, as did Jacob Sutor, who described<br />
his methods in 1612. In general, the Germans resisted adopting the rapier<br />
in favor of their traditional weaponry.<br />
<strong>The</strong> English fighting guilds, like the German ones, resisted for some<br />
time the encroaching civilian system of the Hispano-Italian rapier in favor<br />
of their traditional militarily focused methods. During the 1500s, <strong>The</strong> Corporation<br />
of Maisters of the Noble Science of Defence, or the “London Company<br />
of Maisters,” was an organized guild offering instruction in the traditional<br />
English forms of self-defense. Training was offered in the use of<br />
swords, staffs, pole-arms, and other weapons. It also included wrestling,<br />
pugilism, and grappling and disarming techniques. In keeping with the Re-<br />
Masters of Defence 323