Re-focus

After having a horrible realization that, other than moving it around to reorganize the garage, I haven't touched my swords in months. Time to fix that. I'm going to make a promise to do at least 15 mins of solo drills/sword handling a day. Rather than spread my attention to other weapons and manuscripts, I'm going to focus on the longsword. For fun, maybe I'll try doing some German longsword instead of just Armizare.

One Mind, Any Weapon

   The title refers to a motto I've seen used by the US military forces, usually in regards to firearms usage, meaning that whatever weapon winds up in your hands, it is your mental attitude that matters most. YOU are the weapon. I've written about this before and it is my particular bent towards interpreting Medieval Martial Arts. Armizare, Fiore's art, is a weapon-based Archetype System. By that I mean that each of the weapons you are instructed in, dagger, one-handed sword, longsword, spear, & poleaxe, acts as an archetype for that particular "class" of weapons. For instance, the longsword can, in practical terms, be a stand-in for any two or one handed ~4' long weapon. This is my answer to the question of why we don't see maces, single-handed axes, or warhammers represented in the manuscripts - they are already there, just in archetypal form. The Germans have the messer material, Fiorists have the sword in one hand and mounted sword sections.

   Now, the archetypes are not a perfect analogue across the board. For instance, in the messer/arming sword you have that lovely little piece of metal that protects the hand. Hand guards, to my knowledge, are not really that common on maces, hammers or axes, so any technique where you come into Kron/Frontale (and if you don't have an armoured gauntlet on) life will be not that happy for you. The medieval arts are not the only martial arts to take this approach - in my limited knowledge of them, the arts of Escrima and Kali operate on a similar model - what is done with the sword is done with the stick is done with the knife is done with empty hands. Armizare rolls the same way - the Remedy of the 1st Master of Dagger (at least how I interpret it) is similar to the Remedy of the 1st Master of Longsword. The Breaking of the Point is done almost the exact same way across all weapons. It's beautiful.

   The thing I love about the mindset of "One Mind, Any Weapon" is that is applies to anything and everything. Think of all the ads you've seen for DVDs or books that will teach you to use improvised weapons - magazines, pens, books, backpacks, etc. All of that is covered in "One Mind, Any Weapon".

   Try this as an exercise - Look around the room you're in and pick the first 3 objects that catch your eye. Utilizing whatever art(s) you're trained in, figure out a couple ways you could use that object to defend yourself. It's kinda fun, in a paranoid sort of way ;)

A re-examination of Le Jeu de la Hache

After some thinking while walking the dog today, I've decided that there is a proper usage for Frog DNA while reconstructing Le Jeu de la Hache - to inform you insofar as stance and footwork goes. But that's it. Le Jeu, neatly enough, contains it's own discussion of tactics & strategy. Le Jeu is a self-contained system of usage for the pollaxe:

- Guards (2)
- Tactics against various blows
- Overall strategy
- Specific tactics against particular scenarios (vs. a left-hander, etc.)

Types of footwork, attacks, principles, even the guards themselves are never really spelled out, but are, in Italian fashion, experienced in the plays themselves. However, I think that as a community, we can agree on certain basics of Medieval martial arts - the stance, the passing step, the gathering step, & the triangle step.

It will be difficult, but I am going to try to re-examine my interpretation of Le Jeu while trying to pare back any influences from Armizare. I doubt that I'll ever arrive at a truly "pure" Le Jeu, but it should be a good exercise.

Upcoming project

I have a theory about pollaxe usage with a short haft. By "short" I mean:

Average = User's Height +/- 1 foot

Shorter than average =  User's Height - 1.5 feet

The main reasoning behind my theory is actually a picture featured in Sydney Anglo's book Medieval & Renaissance Martial Arts in the polearms section (sorry but I don't have the book handy, so I don't have a page number) - but here is a low res copy from the ARMA site

It's the one on the right.

It's hard to see here, but it depicts French and Portuguese knights fighting in the lists with axes. What is intriguing is that all of the axes are Short and that the knights are gripping them with their main hand almost directly under the head of the weapon and the back hand approximately halfway down the haft.

My theory is that this grip gives you approximately the same queue space as an Average axe, while still allowing, with grip movement, similar abilities to strike with the croix. Naturally, a Short axe will change the tactical nature of your fight - more grappling and close play, possibly some lack in the ability to make throws.

As soon as I finish putting new flooring in my downstairs, and can clean out my garage (meaning I can actually get to my axes again) I will start taking measurements, etc.

I will keep you posted.

Book Review - "Armizare" by Robert Charrette

I just finished Fiore dei Liberi's Armizare: The Chivalric Martial Arts System of Il Fior di Battaglia by Robert Charrette.
First off, buy this book. Seriously. This is, by far, the best overview of Armizare yet. The organization of the book, the writing, and the photography are all clear and easy to understand. Okay, some of the photos (which are black & white) make it difficult to clearly tell relative blade position - but hey, it's hard to tell in the manuscripts too. Rather than do a page-by-page review, I will give overall opinions. For the most part, I agree with Charrette's interpretation of Armizare. What falls outside the "most part" are really just slight differences - I tend to hold Frontale more off to one side or the other, depending on which foot is forward for example. The weapons and armour shown throughout the book are gorgeous.
This may seem like a weak review, but the book, and the research within, speaks for itself. If you are just generally interested in the art of Fiore dei Liberi, buy this book. If you are a student of the German masters and are curious about what "them Eye-talians do" (I'm looking at you Teague *wink*), pick up this book. If you are already a student of Armizare, then you need this book. Need.

Lately I've been worried about something - that I do not have the necessary self-motivation to pursue HEMA to the highest degree. That is, one of my ambitions had always been to become one of "the Names" in WMA - you know, the people who seem to be on the instructor list of almost any event, the people who when you think of a specific art you think of them (example: Italian rapier = Tom Leoni). The thing is that I've always known this about myself - even as a musician during high school I really didn't like solo practice. Group practice I looked forward too but I couldn't really get up the gumption to practice the sax on my own on a regular basis, but I would practice because it was necessary for group practice/concerts to go well. While I was living in Eugene, solo practice was easy for the same reason - it made group lessons at UO or the salle go smoother (and there was the added pressure of teaching).

Part of what has put me into a non-practice rut since moving from Eugene (I think) is partially due to money issues. My wife is in her first year of teaching after finishing graduate school, I am contemplating graduate school, and so thinking about buying new armour, or enough wasters to start teaching Armizare, traveling half-way across the country for events, etc. begins to put a strain on our finances that we just can't handle right now. That is the reason I've been looking into other sword arts to study - arts that require less armour to practice, arts whose weapons are less expensive, etc. - because longswords, poleaxes, and their required bouting/safe practice armour is expensive.

Options so far have included:
-Rapier
-Sword & Buckler (of various traditions)
-Bolognese School
-Military Sabre
-Backsword/Baskethilt swords (mainly because single-sticks are cheap)

I uess I'm jsut putting this out there is the hope that others have had the same issues and maybe have some advice for me?

Musings - Don't get Lost in the Forest by Focusing on the Trees

I was recently made aware of the fact that I have been focusing far too much on individual weapons (i.e. which do I prefer more: longsword, poleaxe, spear, etc.?) and losing the forest for the trees. Instead, my focus needs to be on the system as a whole - as the Marine saying goes "One Mind, Any Weapon". All of the weapons, as cool as they are individually, are just tools. I find myself wondering (and this is probably just an effect of my lack of training time) whether I should spend my time on the longsword, or the axe, or sword & buckler, or whatever and the answer is all of the above. There is room in Armizare for all of these weapons, if by no other option than by simply following the principles therein. For instance I've been playing with my homemade mace - made from one of these Brass Mace Heads from Kult of Athena, a 30" piece of an old axe haft, and some brass tacks (it ain't pretty, but it works) - using Fiore's principles. It's been an eye-opening thought experiment, shadow-boxing with my mace. I really suggest it - find a weapon that is not in your canon (or is not a "normal" HEMA weapon - flail, etc.) and play with it, making sure to follow the principles of your flavor of HEMA.

Axe videos

Sweet Mary it's been awhile since I posted anything!

Anyways, here are some great videos on axe play from a group from the Netherlands (I believe)

First up is a bout between two gentlemen in harness.


Second up is more of a demo video. All of it is very good, but the poleaxey goodness starts at 3:15.

In the both videos there are some moments where blows are obviously being pulled. Of course they are! These guys are using real axes and have their visors up - this is "loose play" or slower-speed sparring. They are not trying to kill each other, just show what they can do.

All in all, these are great videos (and there are more on their youtube page) and it's just great to see people training with the greatest weapon of them all

;-)

Book Review: The Knightly Art of Battle

This is a book review of "The Knightly Art of Battle" by Ken Mondschein, from the Getty Museum.

While this is not a full translation or facsimile of the Fiore manuscript held by the Getty Museum in LA, this is a wonderful introduction to the manuscript for non-Fiorists and Fiorists alike. The introduction is clear and concise, as are the brief introductions to each section.

The highlight (for me) were the high-res images included in the book. While it doesn't include the whole manuscript, most of the "important" images are: the segno, all the poste, and a hand full of plays.

For so cheap a price, this book really is a must-own for any Western Martial Artist.

Book Review: The Complete Renaissance Swordsman

The Complete Renaissance Swordsman
A Guide to the Use of All Manner of Weapons
Antonio Manciolino's Opera Nova (1531)

Translated by Tom Leoni

Available from Freelance Academy Press

This book was purchased, much like Tom's translation of Giganti's rapier, as part of the "What If" section of my WMA library. As in, "what if I someday decided to teach / study, or have students who are interested in..." As most of you are aware, the Bolognese school is not in my normal area of interest (Although Manciolino does have a pretty cool section on polearms).

As with the Giganti book, the biggest value to the beginning student is in Leoni's clear introduction to the Bolognese school - stances, guards, attacks, footwork, etc. The actual translation is just as clear and easy to read as readers have come to expect from Tom Leoni.

No matter which aspect of HEMA you study, you would be smart to pick up this book.

Apologies

I have been horrible about updating this blog.

My bad.

Part of it is feeling that there is nothing I can really write that will contribute to the community at the present. However, stay tuned I as I will be receiving a couple books that I plan on reviewing here.

Brief Thought

It just struck me that polearms occupy both ends of the training spectrum.

More people focus on the sword, but traditionally the spear was the more common weapon throughout the Middle Ages. It can then be claimed that the spear is one of (if not the) simplest weapon to learn.

On the other end we have the pollaxe, which is viewed by myself and many others as being the "acme" weapon - the tip of the pyramid of weapons training. This is because the poleaxe combines so many aspects of the other weapons - the spear, the sword and the dagger.

Discuss.

Random thoughts & Musings

Anyone ever noticed how the blows of the sword described and shown in the various Fiore manuscripts are also the same motions used when parrying? When you make the parry of the 1st Master of Gioco Largo, you make a fendente. I think most of the people who study Fiore agree on that. When you make a deflection from Dente di Cinghiaro, you make a sottano. Again, agreement. What I realized was that when you execute a scambiar della punta (especially from Tutta Porta di Ferro) you're doing a mezzano. And when you cover against a fendente with Frontale, you're doing a sottano (or a mezzano). Seriously...think about it ;-)

INTERLUDE - Footwork Article

Sorry it's been awhile since I've posted but moving will kinda do that to ya.

So, here is a re-post from Jason Smith and Le Maitres d'Armes on footwork.

Forum Suckage

Just a quick note to say that I am extremely frustrated by the various HEMA forums right now.

They suck.

Badly.

I am so damned tired of watching people bicker, people inflating the status of other people (including the author's of the manuscripts themselves), and people just being asses.

That's all for now.

Fiore vs. Liechtenauer

There have been a couple of recent (relatively) threads on Schola Forum that deal with the differences between Fiore and Liechtenauer. A lot of the discussion has seemed to focus on specific techniques used between the two - for instance, Fiore has the rompere de punta, scambiar de punta, and the colpo di villiano. The problem is that to me the answer isn't about specific techniques, but should be about tactics because tactics determine techniques.

Here's the kicker though - there really isn't much (if any) difference in the tactics used by Fiore and Liechtenauer.

The difference is in the footwork - specifically the first step in response to an attack. While there are no absolutes (especially not in the martial arts), in general we can say that:

• Fiore prefers to step into the blow (in the direction of the blow) with the forward foot. This means that you are intercepting the attack before it develops it's full power.
• Liechtenauer prefers to step away from the attack by passing diagonally forward with the rear foot. This means that you are intercepting the attack after it has reached it's maximum extension.

Lets look at one example - the defense against a right fendente/Oberhau. Both authors defend my cutting your own fendente/Oberhau into your opponent's attack. The difference is in the footwork. Oh, look! I made some pretty pictures!

Both figures are left-foot forward. The attacker will be throwing a right fendente/Oberhau with a pass forward of the rear foot.

Fiore - as Defender cuts into Attacker's blade, they step diagonally forward with the left foot.

Liechtenauer - as Defender cuts into Attacker's blade, they pass diagonally forward with the right foot.

Okay, so they step differently. So what? Well, the difference in that step leads to different measures - which is what leads to the different techniques we see. Both authors agree that if you win the bind, you thrust them in the face, so no discussion there. But in a neutral bind Fiore grabs the opponent's weak with his left hand while striking him in the face. Liechtenauer instead winds, displacing the opponent's sword and placing his own point at the same time.

This idea that Fiore steps into the attack and Liechtenauer away from it is repeated throughout each author's corpus of work.

BTW, Greg Mele and Christian Tobler taught a class on this at Chivalric Weekend 2010. I don't remember how I got the PDF of their class-notes, but I'm sure they are out there. Their class says pretty much the same thing I just did so my thanks to both of them :-)

Grand Unified Theory of Poleaxe Combat

This is an idea that has been percolating for sometime within the cavernous recesses of my mind. Oh, by the way, the title to this post is sarcastic – what this post is about is my process for finding common ground between the three poleaxe manuscripts I study. To put it simply, can I make the plays and tactics of the Anonimo Bolognese and Le Jeu de la Hache jive with the principles laid out in Armizare, which form the basis of how I approach martial endeavors? Yes I can.

But first some background information. The poleaxe (or pollaxe) developed from the large battle-axes of the Early and High Middle Ages into the form we see in many of the manuscripts around 1400. The weapon became a favorite weapon of the knightly class for foot combat, both for war and for tournaments. There are two principle forms of poleaxe; one with a straight, or crescent-shaped, axe head opposite a hammer face; the second with a hammer face opposite a curved, or straight, fluke. Both types were surmounted with a spear-like spike and were mounted on wood hafts, most often between 4.5' – 6', fitted with steel langets reinforcing the upper part of the haft. The bottom of the haft could be fitted with a spike, a steel cap, or simply left bare. While both types feature prominently in contemporary artwork and in surviving examples, it the hammer & fluke variant that is most common in the fighting manuscripts.

Arms & Armor Dane Axe

Arms & Armor Italian Pole-hammer

Arms & Armor Burgundian Axe

   Fiore dei Liberi wrote his manuscript(s) sometime around 1409 (according to the PD, which is the only one of the four to contain a date). Fiore's system of combat, hereafter referred to as Armizare, is a comprehensive martial art covering empty-hands techniques, dagger, sword, spear, poleaxe, and mounted combat. The principle weapon of Armizare is the longsword. There are currently four known manuscripts attributed to Fiore, another by a later student of his art (Vadi), with two other manuscripts known of but missing, and two other manuscripts that feature artwork and techniques from Fiore, but may not be directly a part of the lineage.

   Le Jeu de la Hache, “the Play of the Axe”, is an anonymous Burgundian manuscript that is the only known manuscript whose sole weapon is the poleaxe. Written around 1450, Le Jeu's techniques are presented in paragraph form (73 to be precise) sans illustrations. Included in those seventy-three paragraphs are advice for preparing yourself for combat, combat between right-handers and combat between a right-hander and a left-hander.

   The Anonimo Bolognese, technically the Ravenna Manuscript, is an anonymous mid-16^th century manuscript that covers the single-handed sword, alone and accompanied by numerous other implements, the large two-handed sword, and is one of the last manuscripts to devote space to poleaxe combat in full armour.

Got that? Okay, now that we're all caught up, let's get to the meat and potatoes of this business.

Guards

Fiore describes four guards for the axe – well, six in the Getty, but four in the PD, Florius and in Vadi so majority rules eh? The guards are:

• Posta Breve la Serpentina – Guard of the Short Serpent – Low guard with the head of the axe forward.
• Posta di Vera Croce – Guard of the True Cross / Strong Cross – Low guard with the tail of the axe forward.
• Posta di Donna – Guard of the Woman – High guard with the axe over the shoulder.
• Posta Dente di Cinghiaro – The Boar's Tooth – Low guard with the head of the axe low & off-line.
• *Posta di Coda Longa – (Getty only) Guard of the Long Tail – Low guard with the head of the axe back along the line of the rear leg.
• *Posta di Finestra – (Getty only; similar position is called Posta Sagitaria by Vadi) Guard of the Window / Archer -  High guard with the head of the axe forward, parallel (or greater) to the ground.

Pissani-Dossi. Clockwise from Top Left: Breve la Serpentina, Vera Croce, Dente di Cinghiaro, & Posta di Donna.

   The author of Le Jeu doesn't actually describe the guard positions; he merely mentions that “when you are on guard with the queue (tail) of the axe forward...” or  “when you are on guard with the dague/croix (head) of the axe forward...” This tends to leave quite a bit of wiggle room for practitioners to decide what the guard positions really are. My interpretation (and, I believe the common consensus) are that the guards are very similar to the two Bolognese pole-arms guards; Guardia Alta & Porta di Ferro Stretta (see below).

   The Anonimo Bolognese follows the Bolognese tradition closely in giving only two guards for pole-arms:

• Guardia Alta – High Guard – guard with right arm bent so that the axe head is held over the right shoulder & haft diagonally crossing the body, left arm held straight.
• Porta di Ferro Stretta – Narrow Iron Gate – Low guard with the axe head forward, right arm straight.

These two guards, each held on either side of the body, give a functional total of four guards.

Marozzo. From left to right: Porta di Ferro Stretta (right leg forward), Guardia Alta, Porta di Ferro Stretta (left leg forward).

   But here's the kicker with the axe – whenever you adopt a guard with the axe you are simultaneously in two guards, one for the head & one for the tail. Thus, from Guardia Alta you are both in a high guard & a low guard at the same time. From Porta di Ferro Stretta, you are in a point forward and point back position. Each one of Fiore's four (not including Finestra or Coda Longa) are in Guardia Alta and Porta di Ferro Stretta

• Guardia Alta = Posta di Donna and Dente di Cinghiaro
• Porta di Ferro Stretta = Breve la Serpentina and Vera Croce

Guardia Alta - showing simultaneous Armizare guards.

Porta di Ferro Stretta - showing simultaneous Armizare guards.

While this might seems like I'm stretching to some of you, let's look at the common defenses from Fiore's four guards:

• Breve la Serpentina – used to beat opponent's point to inside, or disengages underneath to beat to outside.
• Vera Croce – rising diagonal parry.
• Posta di Donna – defends with a fendente, either to a middle bind (Breve la Serpentina) or binding to the ground (Dente di Cinghiaro).
• Dente di Cinghiaro – rising diagonal parry.

From Guardia Alta I can: a) strike a fendente, b) make a rising diagonal parry with the tail. From Porta di Ferro Stretta I can: a) beat opponent's weapon to inside or outside, b) make a rising diagonal parry. So why does Fiore seperate each of these guards out? Because Fiore bases all of the weapons combat he teaches on the longsword. This is why the sword in armour, spear and poleaxe sections are smaller than the unarmoured longsword teachings; Fiore only needs to point out techniques that are unique to that weapon – all the principles of Armizare you learned with the longsword still apply. Go read this for a refresher on my views on that, it's okay I'll wait.

Back? Good. According to the principles of Armizare (as I understand them) you have three options when your opponent attacks. You can: Cross, Deflect or Break. I know, I know – in my previous post I had a fourth, Exchange, but an exchange is just a special crossing. So is Breaking, but that drastically changes the line so I make it it's own. Back on topic – Cross. Deflect, or Break the attack.

Let's look at a basic attack – a descending blow from the left with the head of the axe (a mandritto fendente) and see how each of the three manuscripts defend against it from the various guards using each of the three methods of defense.

Fiore:

Cross – from Posta di Donna throw your own fendente, with or without a pass. If you control the line line, thrust them in the face. If you lose the line, bring your tail up sharply underneath their axe, stabbing them in the abdomen or hip.

Deflect – from Dente di Cinghiaro or Vera Croce. From either Guard, snap your rising diagonal parry up (with whichever footwork is appropriate) and either thrust them in the face, hit them with a fendente, or throw them.

Break – from Posta di Donna (or Coda Longa) cover with a fendente and a strong pass, bearing both axes to the ground. From here either snap your point back into their face, forcibly remove their visor then thrust them in the face, or stomp on their axe then thrust them in the face.

Le Jeu:

Cross – from the high guard, strike your blow into theirs without passing, then drive your pedale up, driving their axe aside & down, the stab them in the face. Alternately, step into their blow, taking it on the haft between your hands, and while driving your axe to your right, step behind them and execute a collar throw.

Deflect – from either guard, do your rising diagonal parry with the pedale such that you drive their axe wide. Then hit them in the head.

Break – Here is where my theory runs into issues admittedly. The author of Le Jeu is adamant that you should never allow the head of your axe to stray beyond the outline of your opponent. This reason Fiore is okay with this is two-fold, in my opinion. First is that in the rompere dei punta, you have control of his weapon, lessening the risk. The other reason has to do with the fact that as poleaxes developed they got longer, and Fiore was at what we can consider the forefront of poleaxe usage, therefore it is reasonable to assume his axe is shorter, meaning it is easier to recover.

Anonimo:

Cross – The Anonimo only has two options from the crossing; either thrust your pedale underneath his haft, to the abdomen or hip, or control his axe and enter for a collar throw.

Deflect – The Anonimo features a deflection that is the same as Le Jeu's.

Break -  Again similar to Le Jeu, there are no breaks in the Anonimo.
 

Couple of videos to watch

First up is this video by a University of Oregon Journalism student about Maestro Sean Hayes and the Northwest Fencing Academy. She titled it "Maestro of Armizare" and Sean is very quick to point out (not in the video but in general) that he is a Maestro in Classical Italian fencing, not Armizare.

Second, here are six videos from the guys at Hammaborg on harness fighting from the Gladitoria manuscripts. Great techniques (some of which I am totally going to steal and try to use) and beautiful armour. In fact, I am now extremely jealous of Dierk's armour.

Speaking of armour, I've been debating recently about what type of harness I should try to compile. Basically I have worked it out to three options:

• a Coat of Plates / Brigandine over a hauberk, with some simple arms, knee cops with either quilted or brigandine cuisses. Helm will (hopefully) just be a Windrose Fiore helm with the pierced steel visor.
• a Corrazzina or Churburg type breastplate, over mail. Very 14th C transitional armour setup. Steel arms, steel legs, same helm as above.
• Early Gothic type armour: breast & back plate, full arms, full legs, sallet with bevor.

The reason I like the first two options is that they are (relatively) light, I can put a brig or corrazzina on by myself, and they are easily "modified" - I can play light, medium, and heavy armour, can play with sword, spear and axe at all levels. The only real reason the third option is there is because it looks so freaking cool! I currently own a decent Coat of Plates (which needs a little TLC - like new straps. Oh and a new base garment so the damn thing actually fits) so I guess the real question becomes Brigandine or Corrazzina?

Chivalric Fighting Arts Association

This was announced last night (at least when I saw it). Personally, I am very happy to see this organization come into existence as a solidifying of fraternal bonds that already existed between like-minded schools / instructors. This is the text from the announcement on Sword Forum:

Let it Be Known to all Who Profess the Art of Arms that we send Greetings and a Declaration of Fraternity:

Wherefore, the Art of Defence has also been known as the Knightly Art, and its study has instilled the virtues of Prowess, Courage, Justice, Loyalty, Courtesy, Humility, Largesse, Franchise, and Faith in its adherents;

Wherefore we share a dedication to not only the revival of the fighting arts of the past, but to insuring their transmission to the future;

And wherefore we also hold a deep and sincere belief that the study and practice of these arts is a tool for building character and personal discipline;

We have therefore come together to form the Chivalric Fighting Arts Association (CFAA); an international organization of schools and clubs devoted to the study of historical European martial arts, particularly those practiced in a chivalric context, used in war, the tournament, and the duel.

Just as there are many different approaches to the study of Asia martial arts, over the last decade this has become true within the Western martial arts community as well. Just as classical Jujutsu, Judo and BJJ may have common roots, techniques, and even uniforms, but possess very different emphasis and training goals, so too are there now WMA scholars whose principal interest is national pride and cultural preservation, others focused on the development of a modern combat sport, and others who focus on those elements that have pragmatic application in the modern world.

As the CFAA’s name suggests, our members’ interest is in these Arts as traditional martial arts. We define “traditional” as a focus on:

• Fidelity to the historic treaties;
• Study of our Arts within their cultural context;
• Study of and respect for the ethical milieus in which the Arts were born;
• Emphasis on honorable behavior amongst and between students and teacher alike;
• A belief that, while, competition is a worthy tool that serves to refine our understanding of the Arts, the Arts are not a tool to foster modern competitions.

We see ourselves as caretakers of an ancient heritage, and therefore the texts are the single most relevant and authoritative word on the arts we strive to reconstruct. Therefore, member schools are encouraged to apply themselves to these books with a high level of philological passion--a passion that has, in the space of a few short decades, brought to light so much reliable information about how our ancestors fought.

Equally as important is the respect for the spirit of chivalry and honorable behavior that were part of the ethical milieu in which our arts blossomed. All ethical systems, from Stoicism to Daoism, Zen to Chivalry always exist in idealized forms, but we believe that the importance lies is in the striving for these ideals. This includes favoring the scientific process of scholarship over the stubbornness of ego, healthy emulation to petty rivalry, acknowledgment of your instructor over teaching his labor as your own, and frankness and openness over squabbling and needless politicking.

We respect all other serious approaches to the study of historical martial arts, but it is our belief that this emphasis on tradition, culture and ethics is what separates a martial art from simply being a combat sport or self-defense. Those disciplines are worthy in their own right, and find a place amongst us, but the common philosophy of our member schools centers on fidelity to the arts as they were originally wielded and recorded, the spirit of chivalry in which those treatises were conceived, and the keeping these ideals alive in the study of our arts - qualities that we believe can be of benefit to the modern world as much as they were for the ancient one.

Therefore, in service to the Art of Arms and in respect to our Forbearers, we are –

Christian Henry Tobler, Selohaar Fechtschule
Devon Boorman, Academie Duello
Stefan Dieke, Alte Kampfkunst
Gregory Mele, Chicago Swordplay Guild
Terry Brown, The Company of Maisters
Mark Lancaster, The Exiles
Bob Charrette, Forteza Historical Swordwork Guild
Dierk Hagedorn & Roland Warzecha, Hammaborg
Bob Brooks, Hotspur School of Defence
Claus Sørensen, Laurentiusgildet
Jason Smith, Les Maître D'armes
Sean Hayes, Northwest Fencing Academy
Tom Leoni, Order of the Seven Hearts
Puck Curtis, Mary Dill Curtis, Kevin Murakoshi & Eric Myers, Sacramento Sword School
Guy Windsor, School of European Swordsmanship
Scott Wilson, Southern Academy of Swordsmanship
Bill Grandy, Virginia Academy of Fencing (Historical Swordsmanship Division)

---

Christian Henry Tobler

New Addition

I've decided that I'm going to broaden my studies to include (drum roll please) .........

The Montante.

I'm going to use this translation of Diogo Gomes de Figueyrdo by Eric Myers and Steve Hick. I'm still trying to figure out a trainer (gotta be thrifty at the moment) but it should be fun. I decided to run with this because of all the solo exercises and how it will teach and impact my body mechanics. Oh, and it's a big f*&k-off sword. So there's that.