Francesco Alfieri (1644) (Part I)
Common Elements from Alfieri
The plates of Francesco Alfieri supply some very interesting information
about his method of fighting. Without the words to accompany these plates,
however, the full extent of Alfieri’s form of combat cannot be fully
appreciated nor studied accurately. This document is an examination of
Alfieri’s plates in order to understand some of what Alfieri proposes in his
manual of fence.
First the common elements of Alfieri’s method will be discussed,
highlighting each particular general area which seems to be important from the
way that the combatants have been depicted in the plates. A brief narrative
accompanying each one of the plates will follow this.
It is completely pointless at this point in time to attempt to come to
any firm conclusions about Alfieri’s method of combat, as without the words of
the text it can only be an interpretation of the plates as they are presented.
What a person can gain out of this is some insight into Alfieri’s method of
combat, and some ideas about what he may be talking about. Hopefully, some time
in the future this particular text will be translated into English to make it
accessible to all those who cannot read Italian, but are very interested in
research of the various methods of Renaissance combat.
Of the Sword Hand
The
hand position of the combatant will decide in which direction the point will go,
along with the position of the wrist. In most cases it seems that the
illustrator has taken great care to illustrate the hand position of each
combatant carefully. Unfortunately, in a lot of cases a person examining this
text really needs to have a weapon in their hand to really know what Alfieri is
talking about. It seems that in most cases Alfieri, through his pictures biases
himself toward a vertical or pronated hand position. The hand position,
especially that of the sword is most important when studying the techniques of
any master, and it is only through experimentation that a person can really
appreciate what the particular theorist is talking about.
Of the Off-hand
Aside from the fight at rapier and dagger and the fight at rapier and
cloak where the off-hand is obviously used with a device of some sort in it,
there are very few instances where the off-hand is used. In most cases the sword
is used for defense and the off-hand is kept well out of the way. In two
instances the hand is used to parry the opponent’s sword by applying it to the
hilt of the weapon and not the blade. There is one instance of the sword blade
being parried with the open hand, and the last instance of the use of the
off-hand, it is used to disarm the opponent by removing the sword from his hand.
The only other places where the off-hand is not removed from all lines of
attack, the off-hand is being used in a passive defense or being used to
reinforce the parry of the sword.
Of the Feet
In most cases Alfieri has his figures with their sword foot forward. This
means that in most cases the combatants are in a more offensive position. This
is probably partially to do with the changes in footwork during the latter part
of the Renaissance. The placement of the sword foot forward places the sword in
a more offensive position, obviously it is considered to be more important than
that of the left hand.
The lunges presented in
Alfieri’s work with repeated emphasis highlight the influence of Capo
Ferro’s work. This particular aspect of Alfieri’s work will be discussed in
a later section below. As footwork goes, the lunge is presented as an important
part of the execution of the attack.
Alfieri does use diagonal steps
along with the forward motion of the lunge to change the angle of the attack
presented to the opponent. This gives us an idea that this is important as such
steps are demonstrated repeatedly in the pictures from Alfieri. Both riversa and
mandritta steps are used to affect a change in the angle of attack. Traverses
are also depicted regularly in the plates from Alfieri’s work. It is important
that these are used because they are useful to change the angle of attack and
also as a form of defence against attack. These depictions demonstrate a full
range of basic footwork used by Alfieri.
Alfieri also uses footwork in
the execution of voids. In several places they involve simple movements to
withdraw the body from the line of attack. Some of his voids involve simply
ducking under the opponent’s attack, while others demonstrate more complex
footwork in the execution of the volte or grand volte. He also uses such things
as the cross-step to engage closer with the opponent, or to manoeuvre into a
better position for an attack. One of the more complex responses to an attack
involving both an attack and defence is his low void, or rudimentary passato
sotto in order to avoid the attack of the opponent and still be able to strike.
As can be seen from the
extensive detail given to footwork in the pictures presented, footwork is vital
for the successful execution of the defences and counter-attacks presented by
Alfieri. Without much of the footwork, which is depicted, a great deal of the
manoeuvres suggested by Alfieri would not work. In keeping with this topic of
discussion, it is also important to examine Alfieri’s use of the lunge.
Of the Lunge
In most cases where an attack is depicted in Alfieri’s plates, some
sort of lunge is used, whether it be a fully extended lunge or the punta
sopramano. Alfieri’s work was published in 1644, and through an examination of
the lunge it is easy to see the great influence that Capo Ferro has had with his
description and exposition of the lunge. Alfieri’s use of the lunge in so many
instances demonstrates that this is probably the most likely attack that a
person would be faced with, and he gives several suggestions of ways to defend
against it, and counter-attack.
The position of the body in the
lunge is balanced, allowing the combatant to be able to recover successfully
from the lunge either forward to pursue the opponent or to the rear if a retreat
is necessary. In most cases the angle of the body is not as exaggerated as in
Capo Ferro’s version of the lunge, there are, however, instances where the
combatant is quite low, but in most of these instances it is to avoid the high
attack which the opponent has presented.
Of Timing
As with most of the Italian masters, Alfieri mainly expresses himself in
stesso tempo (or single time). This particular idea highlights the idea that any
defence without a counter-attack is a waste of time. This is one of the main
principles, which the Italian school had. In most cases in the plates from
Alfieri the techniques which are described are in stesso tempo rather than dui
tempo (or double time). This means that for most of Alfieri’s techniques the
parry is executed while attacking rather than as two separate motions.
In most cases where the attack
is successful, an attack is initiated into the opponent’s attack rather than
after defending against the attack and then attacking in two motions. This is
the idea behind stesso tempo, to defend and attack in a simultaneous action.
There are at least two cases where the manoeuvre is a dui tempo attack. One is
where the combatant has lunged, disengaged from the opponent’s dagger and then
attacked, and the other is when using the cloak, these are the only two obvious
times where the engagement is not in stesso tempo. In most other cases the
engagements are in stesso tempo.
This
is a portrait of Alfieri, surrounded by various weapons. It is a typical
portrait that accompanies such manuals of fence. The picture can be dated
late in the Renaissance due to the style of clothing that is being worn. This
picture is meant to inspire confidence in the reader that the author does indeed
know what he is talking about, hence the array of weapons surrounding the
central portrait and the military style flags which border the picture.
This
particular plate is not meant to be interpreted as one of the wards which
Alfieri uses but is merely demonstrating the different parts of the sword. In
this case the hand is in pronation in an effort to keep the sword level. The
other thing about this particular plate is that the blade seems to be showing
the flat of the blade, whereas typically when the hand is pronated, the edge of
the blade would be showing. This is most probably an error of the artist, more
than a strange position for gripping the hilt. There are two rapiers, two
daggers and a rectangular buckler (or targe) lying at the combatant’s feet.
These are all typical devices used when using the rapier. Interestingly enough
it is only the single rapier, rapier and dagger and rapier and cloak which
Alfieri deals with.
Note
how the circles which, describe arcs around the blade, are all centered on the
wrist, this implies that Alfieri is advocating the use of the wrist as the main
balance and for maneuvering the weapon. As can be seen from these circles the
blade is divided into three parts, from the wrist to A, from A to D, and from D
to E. There are also numbers along the blade which also imply some sort of
division of the blade. B is showing the true edge of the blade, hence being
downward, whereas A is showing the false edge. Due to the position of C it seems
to be showing the balance point of the blade, especially considering that it is
situated in the middle of the circles. The numbers as stated before could also
be showing parts of the blade, but without Alfieri’s text it is difficult to
tell what any of the numbers or letters are demonstrating.
Fight at Single Rapier
The
pronation of the hand is designed to allow the combatant to point his tip at his
target in this situation. The individual in seconda (3) seems to have his hand
in pronation, but in this case it would be just as viable for the hand to be in
a vertical position. The individual in prima (2) could also have his hand in a
more vertical position rather than being pronated, but both allow the point of
the weapon to be pointed at its target so both are equally as viable.
The lines A and B seem to be showing a lower version of the same ward.
Also note the off-hand positions, 2 has his placed in front of his body, whereas
3 has his pushed to one side, possibly for balance. 3’s hand is withdrawn so
it can be interpreted that this is so that he can use the weapon more than the
hand in defence.
The
individual in seconda has his sword hand extended while the other in prima
extends his off-hand. The footwork is the same for both combatants, having their
sword foot forward, and their knees bent. In the picture one of the combatants
has removed his scabbard whereas the other has not.
The
combatant on the right (5) has his hand pronated. This is to allow a quicker
attack due to the hand already being in position to strike at his opponent. The
position of the blade with the hand in this position would also allow the hand
to be moved effectively in the parry. The combatant on the left (4) has his hand
in a more vertical position. This allows the combatant to have various options
in attack and defense. The hand could also be slightly supinated. This plate
depicts two different versions of the terza ward. One of the combatants is
leaning back on his back foot (5) while the other leans forward (4). It should
also be noted that 5 is more side-on than that of 4, this is to present the
least amount of target area. 4 has his off-hand more in a position to defend
himself, whereas 5 has his more withdrawn.
The
swords are crossed quite low and it could be interpreted that these combatants
are at a rather close engagement. An easy extension on the part of either
combatant would no doubt hit their opponent. Both have their sword foot forward.
Both combatants are still wearing their scabbards and hats, and the tip of 5’s
sword is quite close to the face of 4. Lines A, B, C and D offer other options,
A and D being a high guard and B and C being a low guard.
Both
combatants are in a terza ward and are leaning back on their back foot. Both
have their swords extended and their off-hands kept well back. The grip of the
combatant on the left (6) seems to have a more relaxed grip on his weapon. His
forefinger does not seem to be wrapped as far around the ricasso of his weapon,
his hand is also more exposed. The combatant on the right (7) seems to have his
hand in a vertical position.
Both
have their sword foot forward. The lines A, B, C and D demonstrate other
options. A and B being high, and C and D being low. Both are wearing hats but it
seems that either they did not have scabbards, or they have been discarded. The
points of the weapons are aimed at their opponent’s face.
This
is a depiction of a lunge and a failed defence against it. Alternatively it
could be a picture depicting the range gained by using the lunge, the lines
showing different targets. 8 has executed the lunge, 9 is attempting to withdraw
his body from the attack. With the extension of the lunge the blade of 9 is
unable to strike 8.
The
lunge itself is obviously based on the lunge described by Capo Ferro in his work
this can be seen by the position of the legs and the body. The off-hand is
extended behind for balance. The lunge attack has been made on the inside line
to avoid the defence of the hand and the sword.
The
lines depicted in the picture show different options for attacks. The line from
C to B is an attack to the head, the line D to E attacks the lower body, the
line H to F is an attack to the leg, and the line G to A seems to be a high
attack, possibly a cut of some sort.
Both
combatants have their sword foot forward and their weight balanced, with their
centre of gravity between the feet. Both combatants have their knees bent to
assist with balance and easy movement. Even though 9 is voiding backwards he
still keeps his feet in the same position and balanced. Notice how both
combatants are looking at the attack, which is in motion.
This
plate depicts the execution of a stesso tempo attack on the lunge, and in
response to a lunge. 11 has simultaneously parried and attacked in a single
motion, in response to 10’s lunge attack. The blade has passed on the inside
line and struck the shoulder or the upper chest area.
The
combatant also seems to have traversed to ensure that the opponent’s defence
has been removed and so that the opponent’s blade is taken out of line.
Alternatively it could be the response to the opponent’s attempt at a punta
riversa, attacking straight and using the line of the opponent’s blade to
guide it in the attack. Both combatants have their sword foot forward. Lines A,
B and C offer different lines of attack; line A being to the head, line B being
a stoccata to the body, and line C being an attack to the leg. 11 seems to be
watching the blade of his opponent.
This
plate depicts the execution of a stesso tempo on the on a lunge in response to
the opponent’s lunge. 12 attacks with a lunge aiming for the head, 13
simultaneously parries and attacks in a single motion, he uses both footwork and
the angle of the blade in the attack. The blasé has passed from an outside line
to an inside line to strike the head. The angle of the blades in the attack
means that 13 is able to use the hilt of his weapon to control his opponent’s
weapon.
Lines
A, B and C offer different lines of attack, A being to the head on the other
side of the blade, B being an imbrocatta to the body, and C being an attack to
the lower leg. Both combatants are in a lunge position and therefore have their
sword foot forward. 12’s sword hand is in a supinated position whereas 13’s
is pronated; the off-hand in both cases is kept well out of the way, and to
provide balance for the lunge. The attack of 12 could have been a punta riversa
by the position of the feet, but it is difficult to tell.
This
picture depicts the execution of a stesso tempo attack on a punta mandritta in
response to a lunge attack. 14 lunges aiming at the chest, 15 steps to the side,
parries the hilt of his opponent with his off-hand, and simultaneously delivers
a thrust to the throat over the parry. Both the attack and the defensive
maneuver would have occurred in the forward motion. The blade has passed from an
outside line to an inside line by traveling over the opponent’s blade.
14
has his sword foot forward due to his execution of the lunge, due to the
cross-step in the execution of the punta mandritta, 15’s off-hand foot is
forward rather than his off-hand foot. 14’s off-hand is removed to the rear,
whereas 15’s off-hand is being used in defence in the hand parry. The sword
hand of 14 is in a vertical position, and the sword hand of 15 is pronated.
The
lines A and B offer different lines of attack, A is a high line attack, possibly
aimed at being a cut, or the set-up for an imbrocatta from prima. Line B is a
stoccata to the body, which would have to travel under the opponent’s blade to
be able to strike; this would be a harder target due to the position of the
opponent’s weapon.
This
plate depicts the execution of a stesso tempo attack in response to a punta
sopramano on a lunge. 17 off-hand parries across the body to the hilt of 16 as
he thrusts stoccata to the body, maneuvering himself beneath the attack of his
opponent. The attack follows an inside line, passing inside the opponent’s
sword arm to strike the chest.
16
has his sword foot forward, and 17 has is off-hand foot forward, this means that
the attack of 17 was actually a crossover step rather than a single forward step
for the lunge. It could also be a punt sopramano to the rear, using the
opponent’s forward motion to impale him on the weapon. The hand of 17 is
pronated in the attack, whereas the hand of 16 seems to be either vertical or
supinated. Lines A and B offer different lines of attack, A being an attack to
the head, and B being an attack to the lower leg.
This
plate is the depiction of the execution of a “stop hit” in stesso tempo on a
lunge in response to a high line lunge, 18 ducks beneath the thrust of 19 to
deliver the blow to the head. The attack of 19 was either a lunge and the
counter-attack has forced him back, otherwise the attack may have been a cut
aimed at the head. The attack of 18 passes on an inside line, possibly using a
diagonal step to improve the angle of the attack. Lines A and B offer different
lines of attack, line A being an attack to the wrist and line B being an attack
to the lower leg.
Both
have their sword foot forward for the execution of their attacks to gain
distance on their opponent, though 19 seems to be somewhat off balance in the
execution of his attack. The sword hand of 18 is supinated, and that of 19 is
vertical.
This
plate depicts the execution of a stesso tempo attack using void and thrust in
response to an attack to the leg, known in modern fencing as a “stop hit”.
21 draws his feet together while thrusting to avoid the attack and delivers an
imbrocatta to the chest. The attack of 20 seems to be a lunge at the leg, sword
foot forward. 21’s void brings the feet together, withdrawing the legs and the
lower body from the attack. Lines A and B offer different lines of attack; A
being a high line attack, and B being an attack to the wrist. The hand of 20 is
supinated whereas the hand of 21 is vertical.
This
is a depiction of the execution of a stesso tempo attack on a crossover lunge in
response to a lunge. 23 cross-steps and lunges, parrying and thrusting
simultaneously to the head, in response to 22’s attack. The blade has passed
on the inside line to hit the head. 22 seems to be caught in mid-lunge, thus
this particular maneuver would take an accurate knowledge of timing and distance
for its correct execution. There is also the fact that if the parry was not
successful then 22 would kill 23. Lines A and B offer different lines of attack;
A being an attack to the head, and B being a stoccata to the body.
22’s
sword foot is forward, and 23 has his off-hand foot forward, due to the
cross-step. The hand of 22 is supinated and the hand of 23 is vertical. 23 has
his eyes fixed on his target, whereas 22 seems to be looking away, which is very
typical of the lunge described and depicted by Agrippa.
This
plate shows the execution of a punta mandritta on the lunge using a low void. 25
lunges to the right ducking 24’s blade and thrusting in a punta mandritta to
the chest. 24 could be also executing a punta sopramano, or is in mid-lunge.
Lines A and C offer different lines of attack; line A being an attack to the
head, and line C being a stoccata to the lower leg.
25’s
left hand is raised to protect the face and head, both have their sword hands
pronated, 24’s off-hand is extended rearward for balance. Both have their
sword foot forward in the attack to give better range on the attack. 25’s
centre of balance is over his right foot.
The
plate depicts the execution of a stesso tempo attack using a volte in response
to a lunge. 27 body voids 26’s lunge, using a volte, and thrusts stoccata in
response. 27 does not necessarily have to thrust due to 26’s forward momentum.
27 spins on the ball of the front feet to execute the void, the off-hand is
moved up and out of the way. Lines A, B and C offer other options; line A is a
high attack, line B is a thrust to the face, and line C is a low parry, or
removing the blade giving a passive response to the attack.
Both
have their sword foot forward, 26 is in the execution of a lunge, and 27’s
foot keeps his body pointed toward his opponent and supplies some direction to
the point of the weapon. 27’s hand is pronated allowing further direction,
26’s hand is vertical. 27 still is watching his opponent
This
picture is the depiction of the execution of a stesso tempo attack using a volte
in response to a lunge. 29 voltes to avoid the lunge of 28 and thrusts to the
head. The opponent’s blade may be deviated by the hilt to ensure clearance.
Lines A and B give other options; line A is a high attack, and line B is a parry
either 1st or 2nd.
This
is a grand volte as both feet have moved, the off-hand is moved out of the way.
Both have sword foot in the frontal position, though 29’s rear foot is moving
toward the front and side due to the grand volte. 29’s eyes are on his target,
but still watching the opponent’s blade. 28’s hand is pronated, 29’s hand
is supinated. There is a slight lean in the body of 29 as he reaches out to
ensure the range of his counter-attack.
This
is the execution of a stesso tempo attack using, a low void or rudimentary
passato sotto to the rear. 31 avoids 30’s lunge with a low void and thrusts
stoccata in response. There is some forward movement in 31’s action due to the
placement of the front foot. Lines A and B offer other lines of attack; line A
is an attack to the head, and line B is an attack to the belly. The movement of
30 would mean that 31 does not have to move forward.
31
is still watching the target and his opponent’s blade. Both have sword foot
forward. 31’s off-hand is in front of his body for balance and defense, both
combatants have their sword hands pronated.
The
execution of a stesso tempo attack using the hilt to deflect the opponent’s
blade, during a simultaneous lunge is depicted in this plate. Both combatants
lunge, 33 deflects 32’s blade with the hilt and passes it over his left
shoulder, the successful attack strikes the opponent in the chest. 33 also
possibly a void with the upper body to avoid the attack. 32 is fighting with his
left hand, obviously used to show how to deal with a left-handed opponent. Lines
A, B and C offer other options; line A is a high attack, line B is a parry in
either 1st or 2nd, and line C is a thrust to the body.
Both
combatants are in a forward motion due to the double lunge, which is being
executed, as such, both have sword foot forward, and their off-hands are removed
behind them. 33’s hand is pronated, while 32’s is in a vertical position. 33
is still watching his opponent and his attack.
This
plate shows the execution of a stesso tempo attack, using the left hand to parry
in response to a lunge on a cross-step. 35 executes a cross-step lunge, 34
parries with the left hand across his body, lunges, and delivers an imbrocatta
to the chest of his opponent. Both combatants are in a forward motion and the
attack of 34 has passed on the inside line. Lines A and B offer other options;
line A is a high attack, line B is a imbrocatta to the lower body or leg.
34
has his sword foot forward in lunge position, 35 his off-hand foot forward due
to his cross-step lunge. 34 watches his attack, and has his arm at full
extension. 34’s sword hand is pronated, due to the attack imbrocatta. 35’s
hand is either supinated or vertical. The off-hand which, parries the sword of
his opponent, is against the flat of the blade and is guiding the opponent’s
weapon away.
This
plate is a most interesting one as it commits two actions on the attack
simultaneously, the execution of a stesso tempo attack and simultaneous disarm.
It is most interesting because 36 has his arm wrapped around the sword of his
opponent. Both combatants lunge, 37 thrusts and disarms simultaneously, the
hilts of the weapons have come in contact allowing 37 to disarm 36. 36’s arm
seems to be tangled somewhat around the blade of 37. The combatants have forward
motion, though 36’s movement could be in attempt of a riversa. The lines A and
B offer other lines of attack; line A is an attack to the head, and line B is an
attack to the lower body. Both attacks are straight.
Both
combatants have their sword foot forward, and both have their sword hands in a
vertical position. 37 seems to be watching his opponent. 36’s positioning
indicate the execution of a punta riversa.
Part
2
