German School

The German school of fencing (Deutsche Fechtschule) is the historical system of combat taught in the Holy Roman
Empire in the Late Medieval, Renaissance and Early Modern periods (14th to 17th centuries), as described in the
Fechtbcher ("fencing books") written at the time. During the period in which it was taught, it was known as the
Kunst des Fechtens, or the "Art of Fencing". It notably comprises the techniques of the two-handed longsword
(Langschwert), but also describes many other types of combat.
Disciplines: Master Johannes Liechtenauer based his system of fencing upon the use of the Longsword. He used
this weapon to exemplify several overarching martial principles that also apply to other disciplines within the
tradition. Ringen (wrestling/grappling) was taught, as well as fighting with the messer, and staff. Also part of the
curriculum were fighting with the dagger Degen (mainly the roundel dagger) and with pole weapons. Two other
disciplines besides Blossfechten involved the sword: fencing with (single-handed) sword and buckler (or a large
shield in the case of judicial combat according to Swabian law), and armoured fighting (Harnischfechten), the latter
reserved for nobility.
SOCIETY OF LIECHTENAUER
The Society of Liechtenauer (Geselschaft Liechtenauers) is a list of eighteen masters found in the introduction to the
CGM 1507, the principle copy of Paulus Kal's fencing manual.[5] Apart from Paulus Kal himself, the members listed
are:
Johannes Liechtenauer
Peter Wildigans von Glatz
Peter von Danzig
Hans Spindler von Znaim
Lamprecht von Prague
Hans Seydenfaden von Erfurt
Andres Lignitzer
Jacob Lignitzer, brother of Andres
Sigmund Schining ein Ringeck
Hartman von Nrnberg
Martin Huntfeltz
Hans Pegnitzer
Philipp Perger
Virgil von Krakw
Dietherich, the dagger-fighter of Braunschweig
Ott Jud, wrestling master to the lords of Austria
Stettner (Paulus Kal's own teacher, described as "master of all pupils")

It is unclear if this was ever a formal organization, or what its nature might have been; however, it is commonly
speculated that the list is a memorial of students and associates of the grand master. Of particular interest is the
international nature of the list, including masters from across central and eastern Europe, which parallels the
statement in the Dbringer Hausbuch that Liechtenauer himself traveled to many lands to learn the art. Several
masters from this list are known to have written martial arts treatises, but about half remain completely unknown.
BASICS
At the basis of the system are five 'master-hews' (Meisterhue) or 'hidden hews' from which many masterful
techniques arise, twelve 'chief pieces' ("hauptstcke") that categorize the main components of the art, and five
words (fnf Wrter) dealing with concepts of timing and leverage.
A characteristic introductory verse of Liechtenauer's, often repeated in later manuscripts, echoes classic 14th
century chivalry, notwithstanding that during most of its lifetime, the German school was very much in bourgeois
hands:

(fol 18r) Jung Ritter lere / got lip haben frawen io ere / So wechst dein ere / Uebe ritterschaft und lere / kunst dy dich zyret
und in krigen sere hofiret
"Young knight, learn to love God and revere women, so that your honour grows. Practice knighthood and learn
the Art that dignifies you, and brings you honour in wars."

At the centre of the art lies emphasis on swiftness, as well as balance and good judgment:
 (fol. 20r) vor noch swach stark Indes / an den selben woertern leit alle kunst / meister lichtnawers / Und sint dy gruntfeste
und der / kern alles fechtens czu fusse ader czu rosse / blos ader in harnuesche
"'Before', 'after', 'weak', 'strong', Indes ('meanwhile'), on these five words hinges the entire art of master
Lichtenauer, and they are the foundation and the core of all combat, on foot or on horseback, unarmoured or
armoured."

The terms 'before' (vor) and 'after' (nach) correspond to offensive and defensive actions. While in the vor, one
dictates his opponent's actions and thus is in control of the engagement, while in the nach, one responds to the
decisions made by his opponent. Under Liechtenauer's system, a combatant must always strive to be in control of
the engagementthat is, in the vor. 'Strong' (stark) and 'weak' (swach) relate to the amount of force that is applied
in a bind of the swords. Here, neither is better than the other, but one needs to counter the opponent's action with a
complementary reaction; strength is countered with weakness, and weakness with strength. Indes means
"meanwhile" or "interim", referring to the time it takes for the opponent to complete an action. At the instant of
contact with the opponent's blade, an experienced fencer uses 'feeling' (fhlen) to immediately sense his opponent's
pressure in order to know whether he should be "weak or "strong" against him. He then either attacks using the
"vor" or remains in the bind until his opponent acts, depending on what he feels is right. When his opponent starts
to act, the fencer acts "indes" (meanwhile) and regains the "vor" before the opponent can finish his action.
MASTER-HEWS
Called "five hews" in 3227a, later "hidden hews", and in late manuals "master hews". These likely originated as
secret surprise attacks in Liechtenauer's system, but with the success of Liechtenauer's school, they may have
become common knowledge. All five are attacks from the first phase of the fight (zufechten) and long range,
accompanied by triangular stepping.
Zornhau: 'wrath-hew', a powerful diagonal hewing stroke dealt from the vom Tag guard that ends in the Wechsel
guard on the opposite side.[2] When a Zornhau is used to displace (Versetzen) another oberhau the impact and
binding of the blades will result in the hew ending in a lower hanging at the center of the body. This strike is
normally thrown to the opponent's upper opening.
Krumphau: 'crooked-hew', a vertical hew from above that reaches across the direct line to the opponent, traveling
left from a right position and vice versa. The motion of the blade resembles a windshield wiper. Krumphau is
almost always accompanied with a wide diagonal sideways step. The Krumphau breaks the guard Ochs.
Zwerchhau: or Twerhau 'thwart-hew', a high horizontal hew, with the 'short' (backhand) edge when thrown from
the right side and with the 'long' edge when thrown from the left side. The Zwerchau breaks the guard vom Tag.
Schielhau: 'squinting-hew', a short edge (backand) hew dealt from the vom Tag guard that ends in an upper hanger
on the opposite side and usually targets the head or the right shoulder. [3] It is basically a twist from vom Tag to
opposite side Ochs with one step forward, striking simultaneously downwards with short edge. The Schielhau
breaks the both the Pflug and Langen Ort guards and can be used to counter-hew against a powerful Oberhau.
Scheitelhau: 'part-hew', a vertical descending hew that ends in the guard Alber. This hew is dealt to the opponent's
upper openings, most often to the opponent's head, where the hair parts (hence the name of the hew). Through the
principle of berlauffen, overrunning or overreaching, a Scheitelhau is used to break the guard Alber.[3]
GUARDS
vom Tag: 'from-roof', a basic position with the sword held above either the right shoulder or the head. The blade
can be held vertically or at roughly 45-degrees.
Ochs: 'ox', a position with the sword held to either side of the head, with the point (as a horn) aiming at the
opponent's face.
Pflug: 'plough', a position with the sword held to either side of the body with the pommel near the back hip, with
the point aiming at the opponent's chest or face. Some historical manuals state that when this guard is held on the
right side of the body that the short edge should be facing up and when held on the left side of the body the short
edge should be facing down with the thumb on the flat of the blade.[5]
Alber: 'fool', in the Fool's Guard, the point of the sword is lowered to the ground, appearing to "foolishly" expose
the upper parts of the body and inviting an attack. Although the Fool's Guard exposes the upper openings it does
provide excellent protection to the lower openings. From the Fool's Guard an attack or displacement can be made
with the false edge of the sword or the hilt of the sword can be quickly raised into a hanging parry.
Additional Guards: Liechtenauer is emphatic that the above four guards are sufficient, and all guards taught by
other masters may be derived from them. Later masters introduce richer terminology for variant guards:
Zornhut: 'wrath guard'
 Langort: 'long point', the sword point is extended straight out at the opponent, presenting a barrier of distance to
the opponent while threatening him with the tip.
Wechsel: 'change'
Nebenhut: 'near guard' or 'side guard'
Eisenport: 'iron door', mentioned in 3227a as a non-Liechtenauerian ward, identical to the porta di ferro of the
Italian school
Schlssel: 'key'
Einhorn: 'unicorn', a variant of Ochs
Schrankhut: 'barrier guard'
The following are transitional stances that are not properly called guards.
Hengetort: 'hanging point'
Kron: 'crown', the sword is held with the hilt close to the head, point up. Used at the bind and is usually a prelude
to grappling.
TECHNIQUES
Other terms in Liechtenauers system (most of them referring to positions or actions applicable in mid-combat,
when the blades are in contact) include:
Duplieren: 'doubling', the immediate redoubling of a displaced hew.
Mutieren: 'mutating', change of attack method, changing a displaced hew into a thrust, or a displaced thrust into a
hew.
Versetzen: 'displacement' or 'parrying' (upper/lower, left/right), to parry an attack with ones own weapon.
Nachreisen: 'after-traveling', the act of attacking an opponent after he has pulled back to attack, or an attack after
the opponent has missed, or an attack following the opponent's action. [1]
berlaufen: 'over-running' or 'overrunning', the act of countering a hew or thrust made to below with an attack to
above.
Absetzen: 'off-setting', deflecting a thrust or hew at the same time as stabbing.
Durchwechseln: 'changing-through', name for various techniques for escaping a bind by sliding the sword's point
out from underneath the blade and then stabbing to another opening.
Zucken: 'tugging' a technique used in a strong bind between blades in which a combatant goes weak in the bind
so as to disengage his blade from the bind and stabs or hews to the other side of the other combatant's blade. This
technique is based upon the concept of using weakness against strength.
Durchlauffen: 'running-through', a technique by which one combatant "runs through" his opponent's attack to
initiate grappling with him.
Hndedrcken: 'pressing of hands', the execution of an Unterschnitt followed by an Oberschnitt such that the wrists
of the opponent are sliced all the way around.
Hngen: 'hanging' (upper/lower, left/right)
Winden: 'Winding' The combatant moves the strong of his blade to the weak of the opponent's blade to gain
leverage while keeping his point online with the opponent's opening. There are 8 variations.
Armored Combat: Combat in full plate armour made use of the same weapons as Blossfechten, the longsword and
dagger (possibly in special make optimized for piercing the openings in armour), but the techniques were entirely
different. Attacking an opponent in plate armour offers two basic possibilities: percussive force, or penetration at
joints or unprotected areas. Penetration was extremely unlikely even with thrusting attacks. Percussion was
realized with the Mordstreich, attacks with the hilt holding the sword at the blade, and penetration into openings of
the armour with the Halbschwert, which allowed stabbing attacks with increased precision. From the evidence of
the Fechtbcher, most armored fights were concluded by wrestling moves, with one combatant falling to the
ground. Lying on the ground, he could then be easily killed with a stab into his visor or another opening of the
armor.
Kampfringen: "Combat grappling" was the term used for unarmed combat systems originating in the Holy
Roman Empire during the Middle Ages and Renaissance. It employed all ranges of fighting, from striking to
ground-fighting, and included joint-locks, leverage throws, pain compliance grips, and various striking techniques.
By modern definitions, it would be considered a hybrid martial art. It is closely related to historical dagger-fighting
systems and some dagger-fighting might be considered to be a branch of kampfringen.

Italian School
The term Italian school of swordsmanship is used to describe the Italian style of fencing and edged-weapon
combat from the time of the first extant Italian swordsmanship treatise (1409) to the days of Classical Fencing (up
to 1900). Although the weapons and the reason for their use changed dramatically throughout these five centuries,
a few fundamental traits have remained constant in the Italian school. Some of these are the preference for certain
guards, the preoccupation with time (or "tempo") in fencing as well as many of the defensive actions.
The earliest known Italian treatise on swordsmanship and other martial arts is the Flos Duellatorum (Fior Di
Battaglia/The Flower of Battle) written by Fiore dei Liberi around 1409. Fiore's treatise describes an advanced
martial arts system of grappling, dagger, short sword, longsword, pollaxe, and spear. Another important treatise,
De Arte Gladiatoria Dimicandi, was written by Filippo Vadi sometime between 1482 and 1487. Although different,
Vadi's work appears to be based upon Fiore's earlier work.
RENAISSANCE/BAROQUE/PRE-CLASSICAL
The 16th century saw the publication of various works generally focused on the so-called cut & thrust sword,
although these works often contained significant instruction on other weapons. A general survey of the 16th
century Italian manuals shows instruction for the following weapon or weapon combinations in at least one
published manual:
Sword alone
Sword and Dagger
Sword and Small Buckler
Sword and Broad Buckler
Sword and Targa
Sword and Rotella
Sword and Cape
Sword and Gauntlet
Two Swords
Sword for Two Hands (also referred to as the Spadone by some masters)
Dagger
Dagger and Cape
Halberd
Spetum
Ronca (weapon)
Partisan (weapon)
Partisan and Shield
Lance
Pike
Unarmed against Dagger
The most significant group of authors from this time were those from the Bolognese school and it included such
masters as Achille Marozzo, Antonio Manciolino, Angelo Viggiani and Giovanni dall'Agocchie. However, there
were other Italian authors not directly associated with the Bolognese school including Camillo Agrippa (who has
the distinction of codifying the four guardsprima, seconda, terza and quartathat survive to this day), Giacomo
di Grassi who wrote a manual in 1570 which was translated into English in the 1590s.
With the 17th century came the popularity of the rapier and a new century of masters, including Salvator Fabris,
Ridolfo Capoferro, and Francesco Antonio Marcelli. Unlike the manuals of the previous century, those written for
in the 17th century were generally restricted to covering only the rapier being used alone or with a companion arm
(such as the dagger, cloak or rotella). By the end of the 17th century, the manuals begin to take on a more classical
character in both the terminology and the presentation of the techniques.
Spanish School
La Verdadera Destreza is a Spanish system of fencing. The word "destreza" literally means "skill." However, the
full name is perhaps best translated as "the true art."
While Destreza is primarily a system of swordsmanship, it is intended to be a universal method of fighting
applicable to all weapons. This includes sword and dagger; sword and cloak; sword and buckler; sword and round
shield; the two-handed sword; the flail; and polearms such as the pike and halberd.
Its precepts are based on reason, geometry, and incorporate various other aspects of a well-rounded Renaissance
humanist education, with a special focus on the writings of classical authors such as Aristotle, Euclid, and Plato.
Authors on Destreza also paid great attention to what modern martial artists would call biomechanics.
The tradition is documented in scores of fencing manuals, but centers on the works of two primary authors, don
Jernimo Snchez de Carranza and his follower, don Luis Pacheco de Narvez. The system of combat is tied to an
intellectual, philosophical, and moral ideal.
The origins of this system of swordsmanship dates as far back as 1569, when Jernimo Carranza began reducing
it to writing. There is some evidence indicating that the sixteenth-century fencing theorist Camillo Agrippa's work
was the inspiration for the Carranza's work. Pacheco makes the claim that Carranza based his text on the work of
Camillo Agrippa in a letter to the Duke of Cea in Madrid on May 4, 1618. This claim is reinforced by a common use
of geometry and circular movement in both systems.
Whatever its inspiration, Carranza's work represents a break from the older tradition of Spanish fencing, the so-
called esgrima vulgar or esgrima comn (vulgar or common fencing). That older tradition, with roots in medieval
times, was represented by the works of authors such as Jaume Pons (1474), Pedro de la Torre (1474) and Francisco
Romn (1532). Writers on Destreza took great care to distinguish their "true art" from the "vulgar" or "common"
fencing. The older school continued to exist alongside la verdadera destreza, but was increasingly influenced by its
forms and concepts.
After Carranza laid the groundwork for the school with his seminal work (published 1582), Pacheco de Narvez
continued with a series of other books which expanded upon Carranza's concepts. While Pacheco originally clung
closely to Carranza's precepts, he gradually diverged from them in significant respects. This divergence eventually
caused a split between followers of Carranza ("Carrancistas") and those of Pacheco ("Pachequistas"), essentially
resulting in the existence of three different schools of fence in Iberia.
Spanish fencing methods quickly spread to Spain's colonial empire in the New World. Originally, this was the
esgrima comn, but eventually included destreza as well. Carranza himself was governor of Honduras for a time.
Destreza authors and masters can be documented in Mexico, Peru, Ecuador, and the Philippines. Some degree of
influence on the Philippine martial arts is highly likely, although this is an area that requires further research.
Over time, Spanish fencing came to be increasingly influenced by Italian and French fencing methods. Pressure
became particularly intense in the 18th century, and destreza began a decline in popularity in favour of the
dominant French school. This resulted in technical changes which become increasingly apparent by the beginning
of the 18th century. By the 19th century, fencing texts in Spain begin to mix destreza concepts with ideas and
technique drawn from French and Italian methodology.
While destreza underwent a kind of revival in the late 19th century, it appears to have largely disappeared by the
beginning of the 20th century.
Technical hallmarks of the system are the following:
Visualization of an imaginary circle between the opponents to conceptualize distance and movement
Use of off-line footwork to obtain a favorable angle of attack
Avoidance of movement directly toward the opponent
Extension of the sword arm in a straight line from the shoulder to obtain maximum reach
Profiling of the body to increase reach and reduce target area
Use of an initial distance that is as close as possible, while remaining out of reach (Medio de Proporcion)
A conservative approach, using the Atajo (bind) to control the opposing weapon
Preference for downwards motion (Movimiento Natural) in all fencing actions
Use of both cut (Tajo, Reves) and thrust (Estocada)
Use of a particular type of closing movement (Movimiento de Conclusion) to disarm the opponent