Longsword

Understanding the Punta Falsa

Post author:Sean Hayes
Post published:August 27, 2019
Post category:Applied armizare Armizare IAS Curriculum Instructional Longsword Miscellaneous Pedagogical

Ending the largo section of MS Ludwig XV13 (a.k.a. “the Getty Manuscript”) is a play known as the Punta Falsa or Punta Curta - the False Point or Short Point,…

Spada Instructional Video: First Master of Zhogo Largo

Post author:Sean Hayes
Post published:October 19, 2016
Post category:Applied armizare Armizare Flower of Battle Instructional Interpretation Longsword Pedagogical

Instructional video showing the execution of the First Remedy of Largo and the binary choice that results from this particular crossing. Here begins the play of two-handed sword, in wide…

SWORDSMANSHIP IN THE ART OF ARMS, PART FOUR: STABLE, STRIKING AND MUTABLE, REVISITED. THE TWELVE GUARDS OF THE SWORD

Post author:Sean Hayes
Post published:July 13, 2016
Post category:Flower of Battle Instructional Interpretation Longsword

[NB: Part Four of this series is a revision and clarification of an early article, which can be found on the Chivalric Fighting Arts blog.]

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SWORDSMANSHIP IN THE ART OF ARMS, PART TWO: The Seven Blows of the Sword

Post author:Jason Smith
Post published:June 28, 2016
Post category:Armizare Flower of Battle Interpretation Longsword

iore’s art is a holistic one, adaptable to a variety of situations and circumstances (in armis, sine armis…). Why then, is so little said of the mechanics of cuts and the tactical framework for initiating an attack? Popular wisdom says Fiore’s art was not intended for use by newcomers to the art, but rather by experienced men-at-arms. This is easily backed up by even a cursory read through the introductory material, where Fiore lists his accomplishments in preparing men for feats of arms – a veritable who’s who of well-known medieval fighters.

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SWORDSMANSHIP IN THE ART OF ARMS, PART ONE: THE SIX MASTERS OF SWORD COMBAT

Post author:Gregory Mele
Post published:June 21, 2016
Post category:Armizare Flower of Battle Instructional Interpretation Longsword

he lessons on the two-handed sword begin with two variations of the guard Posta di Donna opposing one another, followed by six unnamed masters. These masters are not so much poste – though many of them do correspond to specific poste, as they do different ways that the sword can be used in combat: in armour and without, in one hand or two, thrown, and so forth. As explains its nature, they reveal the interrelation between the various forms of sword use, the close-quarters methods of the dagger, and specific “mixed weapons” techniques taught at various points throughout the manuscript.

We are two guards and we are alike but contrary to one another. As with all other guards in this art, alike guards are contrary to one another, with the exception of the point guards (Posta Longa, Breve and Mezza Porta di Ferro); with point guard against point guard, the most extended guard can reach the opponent first. Anyway, what one guard can do, its opposite also can. These guards can perform a volta stabile and a mezza volta.[1] A volta stabile lets you play forward or backward (from one side only), without moving your feet. A mezza volta is when you pass forward or backward, so you can play on the opposite side forward or backward. A tutta volta is when you use one foot to describe a circle around the other foot; in other words, one foot stays in place, the other circles around it. The sword also has three movements: volta stabile, mezza volta and tutta volta. These two guards are both called Posta di Donna. There are four more concepts in this art: passing forward, passing backward, an advancing (accrescimento) of the front foot, and pulling back the front foot (decrescimento).

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