Contents
From
the Editor
Welcome, Good Gentles, to
the AS41 Twelfth Night issue of Punta Dritta. This issue is
somewhat late, having been intended to appear in time for MidWinter last year.
However, with various technical difficulties resolved, I hope to maintain a
more regular schedule from hereon.
In
this chronicle you will find the record of the Prizes since Festival and I
wish to congratulate our newest Free Scholars, Journeymen and Provost. Let me
also offer my congratulations to Guildmasters Caleb Adolphous and Angus
Galbraith upon attaining entry to the Body of Guildmasters.
Also
reported here are the outcomes of a meeting held at Rowany Festival that has
resulted in some changes to the Guild Ordinances.
I ask that you give these your attention.
The
coming year is shaping up as an exciting time for the Guild. There are
already Prizes foreshadowed for Canterbury Faire and the prospect of *three*
Provost Prizes at Rowany Festival., plus a special Prize where Lord
Guildmaster Don Dameon Greybeard will demonstrate his prowess on the tenth
anniversary of his receiving the rank of Ancient Guildmaster.
The
Guild is what we make of it, and I hope you will make the most of it this
year.
Yours
in Service
Provost Owain Cantor ap
Hughe
Provost Secretary
Meeting
of the Royal Guild of Defence
Provost Secretary Owain
Cantor ap Hughe
A
meeting of the Guild was held at Rowany Festival on Friday 14 April 2006.
The meeting considered two matters concerning the Guild Ordinances,
relating to the playing of Prizes and the responsibilities of Guild members.
Playing of Prizes
Ordinances
previously stated
The
sponsor for the candidate shall be responsible for informing the Lord
Guildmaster, and the Provost Secretary of the results of the Prize, and
providing a list of all those who presented as examiners. This notification
must be delivered within 30 days of the Prize being played; otherwise the
Playing of the Prize shall be declared unsuccessful by the Lord Guildmaster.
Provost
Owain put forward the view that this wording was too restrictive, requiring
the Lord Guildmaster to overturn a successful prize in the event of the
sponsor failing to submit a report. The
proper announcement and reporting of a Prize is an important part of ensuring
the integrity of Prizes as a measure of ability, knowledge and skill within
the Guild. It is essential that
the Lord Guildmaster have the power to overrule a Prize result, should there
be a finding that the Prize was not played according to the Ordinances.
However, it would be unfair to a successful candidate to rob them of their
newly earned rank simply on a technicality.
On
discussion, the Ordinance was amended to:
The
sponsor for the candidate shall be responsible for informing the Lord
Guildmaster, and the Provost Secretary of the results of the Prize, and
providing a list of all those who presented as examiners. This notification
must be delivered within 30 days of the Prize being played; otherwise the
Lord Guildmaster shall have the authority to declare the Playing of the Prize
unsuccessful.
In
the context of this discussion, the Lord Guildmaster has reminded all Provosts
and Guildmasters of their responsibility under the Ordinances to consult the
Lord Guildmaster prior to the announcement of a Prize.
Issues have previously arisen where a Prize has had to be modified
because it has not met the requirements of the Guild.
Prior consultation will enable these matters to be dealt with
privately, avoiding inconvenience and embarrassment to the candidate, their
sponsor and the Guild.
Responsibilities of
Guild members
The
Ordinances previously stated:
It
is the responsibility of all members of the Guild to participate in the
playing of one Prize per calendar year, either as candidate or examiner or
sponsor. Members who do not meet this requirement will be asked by the Lord
Guildmaster to show just cause, or to demonstrate other services they have
provided to the Guild in the preceding year. Members who do not meet this
minimum of activity shall have all privileges suspended, until such time the
Lord Guildmaster is satisfied that the member once again fulfils his or her
obligations to the Guild. The Body of Guildmasters reserves unto themselves
the right to administer further sanctions, up to and including demotion in
rank.
The
Lord Guildmaster told the meeting that this Ordinance gave him little leeway
in addressing the question of whether a member should be suspended because
they were not active according to the Ordinances.
The key issue here was the definition of activity in the Guild as
participating in the playing of Prizes.
The
Ordinance is important in encouraging the playing of Prizes; Guild members
should take every opportunity to advance themselves where possible through
playing a Prize, or to encourage the development of other fighters by
sponsoring or examining candidates. However,
service to the Guild is not limited to this activity, with many Guild members
teaching or taking part in other activities not specified by the Ordinances.
Some members may also be unable to take part in Prizes owing to injury
or other commitments, and the Lord Guildmaster would not countenance these
members being penalised.
The
Lord Guildmaster proposed a revision of the Ordinance:
It
is the responsibility of all members of the Guild to participate in the
playing of one Prize per calendar year, either as candidate or examiner or
sponsor. Members who do not meet this requirement may be asked by the
Lord Guildmaster to show just cause, or to demonstrate other services they
have provided to the Guild in the preceding year. Members who do not do so
shall have all privileges suspended, until such time the Lord Guildmaster is
satisfied that the member once again fulfils his or her obligations to the
Guild. The Body of Guildmasters reserves unto itself the right to administer
further sanctions, up to and including demotion in rank, subject to the
final decision of the Lord Guildmaster.
This
allowed the Lord Guildmaster to exercise greater discretion in the application
of suspension, left significant power in the hands of the Body of Guildmasters
to determine sanctions, but provided an additional review in the form of final
approval by the Lord Guildmaster.
The
Lord Guildmaster proposed that the revised wording be open for comment until
the end of Festival. No
objections were reported by the end of Festival and the amended Ordinance was
adopted.
Reports
on Prizes in the Kingdom of Lochac
TO ALL
WHO PROFESS SKILL AT ARMS, BE IT KNOWN THAT
Rowany Festival
On
Friday 14 April, Scholar Cecilia Lyon, sponsored by Guildmaster Don Ibn Jelal,
did play her Free Scholar's Prize in the following weapons, viz Rapier.
The candidate was examined by Free Scholars Mael Muire Ingen Alpen and
Prospero di Luca Greco, and Journeymen Fionghuine MacConnich, William Forester
de Blacwode and Hagen von Duernstein. The
examiners agreed that the candidate had successfully played the Prize and did
elevate her to the rank of Free Scholar.
On
Friday 14 April, Free Scholar Giles Leabrook, sponsored by Guildmaster Don
Henry Fox, did play his Journeyman's Prize in the following weapons, viz
Rapier and Parrying Gauntlet, Rapier and Buckler and Rapier and Baton. The candidate was examined by Journeymen William Forester de
Blacwode, Hagen von Duernstein, Gregory Tortouse de Sloleye, Tostig Atte
Scelta, Fionghuine MacConnich and Emrys Tudor, Provosts Diccon Shorthand and
Caleb Adolphous, and Guildmaster Don ibn Jelal.
The examiners agreed that the candidate had successfully played the
Prize and did elevate him to the rank of Journeyman.
On
Friday 14 April, Scholar Benedict Stonhewer of Askerige, sponsored by
Guildmaster Don ibn Jelal, did play his Journeyman's Prize in the following
weapons, viz Rapier and Dagger, Rapier and Baton and Rapier and Cloak.
The candidate was examined by Journeymen Fionghuine MacConnich, William
Forester de Blacwode, Hagen von Duernstein, Gregory Tortouse de Sloleye,
Tostig Atte Scelta and Emrys Tudor, and Guildmaster Don Henry Fox.
The examiners agreed that the candidate had successfully played the
Prize and did elevate him to the rank of Journeyman.
On
Friday 14 and Saturday 15 April, Free Scholar Prospero di Luca Greco,
sponsored by Provost Dona Sabine d'Ricold da Forli, did play his Journeyman's
Prize in the following weapons, viz Rapier, Rapier and Dagger and Polearm.
The candidate was examined by Journeymen Emrys Tudor, William Forester
de Blacwode, Tostig Atte Scelta, Fionghuine MacConnich, Gregory Tortouse de
Sloleye and Miles de Colwell, Provost Caleb Adolphous, and Guildmasters Don
Henry Fox and Don ibn Jelal. Following discussion, the examiners agreed that the candidate
had successfully played the Prize and did elevate him to the rank of
Journeyman.
On
Sunday 16 April, Free Scholar Donncadh Bailie, sponsored by Provost Dona
Sabine d'Ricold da Forli, and in accordance with the Lord Guildmaster's
decree, did play his Journeyman's Prize in the following weapons, viz Rapier
and Parrying Gauntlet, Rapier and Dagger and Rapier and Buckler.
The candidate was examined by Journeymen William Forester de Blacwode
and Fionghuine MacConnich, Provost Diccon Shorthand, and Guildmasters Don
Henry Fox, Don ibn Jelal and Don Francois Henri Guyon. During his third form,
the candidate suffered a knee injury and was unable to continue.
However, following discussion, the examiners agreed that the candidate
had successfully played the Prize and did elevate him to the rank of
Journeyman.
On
Sunday 16 April, Journeyman Gregory Tortouse de Sloleye, sponsored by
Guildmaster Don Dameon Greybeard, did play his Provost's Prize in the
following weapons, viz Rapier, Rapier and Buckler, Rapier and Cloak, Case of
Rapier and Rapier and Dagger. The
candidate was examined by Provosts Diccon Shorthand and Owain Cantor ap Hughe,
and Guildmasters Don ibn Jelal, Silfren the Singer, Don Henry Fox and Don
Francois Henri Guyon. The
examiners agreed that the candidate had most successfully played the Prize and
did elevate him to the rank of Provost.
North
of the Border Fest III
On
Saturday 12 August, at the North of the Border Fest in River Haven, Provost
Caleb Adolphous, sponsored by Lord Guildmaster Dameon Greybeard, and with the
approval of the Body of Guildmasters, did play his Guildmaster's Prize in the
following forms, viz, case of rapier; rapier and dagger; rapier and parrying
gauntlet; rapier and buckler; rapier and cloak; rapier and baton; and rapier.
The candidate was examined in each form by Guildmasters Silfren the Singer,
Henry Fox, Tariq ibn Jelal and Edmund the Lame. At the conclusion of the
forms, at the request of Their Excellencies the Baron and Baroness of River
Haven, Provost Caleb faced Guildmaster Edmund in a final bout for the life of
a hostage (played most ably by Provost Somerled of Redcliffe). The
Guildmasters concluded that the candidate had most successfully played his
Prize, and did raise Don Caleb Adolphous to the rank, privileges and
responsibilities of Guildmaster in the Royal Guild of Defence in Lochac.
Combined
Guilds Event
On
16 September at the Combined Guilds Event in Politarchopolis, Scholar Adair
McDermid, sponsored by Provost Owain Cantor ap Hughe, did play his Free
Scholar's Prize in single rapier. The candidate was examined by Lord
Guildmaster Don Dameon Greybeard, Guildmaster Don Henry Fox, Guildmaster
Silfren the Singer, Guildmaster Don Francois Henri Guyon and Guildmaster Don
ibn Jelal. The examiners did agree that the candidate had successfully played
the Prize and, in the presence of Her Majesty Queen Asa, did raise him to the
rank of Free Scholar.
November
Crown
On
Sunday 5 November at November Crown in Ynws Fawr, Scholar Cristina Antonia
Cortes, sponsored by Provost Piers of Malmesbury, did play her Free Scholar's
Prize in the following weapons, viz Rapier.
The candidate was examined by Provosts Alessandro von Florenz, Somerled
of Redcliffe, Grogory Tortous de Sloleye and Piers of Malmesbury.
The examiners agreed that the candidate had successfully played the
Prize and did elevate her to the rank of Free Scholar.
Rowany
Yule
On Saturday 2 December at Rowany Yule,
Provost Don Angus Galbraith, sponsored by Ancient Guildmaster Edmund the Lame,
and with the accord of the Body of Guildmasters, did play his Master's Prize
in the following forms: rapier; rapier and dagger; rapier and parrying
gauntlet; rapier and baton; rapier and cloak; case of rapier; and rapier and
buckler. The candidate was examined by Ancient Guildmaster Edmund the Lame,
Ancient Guildmaster Don Dameon Greybeard, Guildmaster Don Henry Fox,
Guildmaster Don ibn Jelal, Guildmaster Silfren the Singer and Guildmaster Don
Caleb Adolphous. Following the playing of the Prize, the examiners did conduct
an oral examination to ascertain the candidate's knowledge of the artes of
defence. Following due consideration, the
examiners did conclude that the candidate had
played his Prize in most exemplary fashion and had demonstrated great depth in
his knowledge of his chosen field. The examiners did agree that the
candidate had most successfully played the Prize and did elevate him to
the rank, privileges and responsibilities of Guildmaster. Guildmaster Don
Angus Galbraith was accorded his Guildmaster's rank in the presence of Their
Majesties Draco and Asa, Crown Princess Gudrun and Their Excellencies the
Baron and Baroness of Rowany, receiving in token the black
sash of his sponsor, Ancient Guildmaster Edmund.
On Sunday 3 December at Rowany Yule, Scholar
Aegidius De Hammo, sponsored by Guildmaster Don Angus Galbraith, did play his
Free Scholar's Prize in the following weapon, viz Rapier. The candidate was
examined by Free Scholar Elizabeth, Ancient Guildmaster Edmund the Lame,
Guildmaster Don Henry Fox, Guildmaster Don ibn Jelal and Guildmaster Silfren
the Singer. The
examiners agreed that the candidate had successfully played the Prize and did
elevate him to the rank of Free Scholar.
LONG LIVE THE CROWN OF LOCHAC!
Movement
Isn't Everything
Ideas for Fencers with
Mobility Issues
At
the Guild Prizes at Rowany Festival, spectators would have seen Guildmaster
Don Henry Fox examine candidates on the field while seated in a chair.
Those candidates can attest to the challenge posed by fighting a seated
opponent, and fighting from a chair is a beneficial option for a fencer with
mobility problems. In this
article, Don Henry discusses issues and tips for rapier
practitioners with injuries or mobility problems.
One
of the most trying things for a fencer is becoming less mobile than before.
This can occur due to a range of factors; injury, sickness and operations
being the most common reasons. The most important thing is that this is not
the end. In a lot of cases it is possible to get back to where you were. This
article is designed to give people in this position some ideas about how to
get back fencing, especially after injury, illness or an operation.
The
first questions that will be asked by the reader is: from what sort of
authority is the author speaking; and how would they know what is going on in
this situation? I have a medical condition called Fibromyalgia (FM), which is
closely related to both arthritis and Chronic Fatigue Syndrome (CFS). I suffer
from joint pain and immobility as part of my condition and I would be lying if
I said that this does not affect my fencing. If anybody has seen me at
Festival the effects of my particular condition are pretty obvious by about
Sunday afternoon or Monday morning. From this point of view it is of interest
to me to give people some ideas about how I deal with a lack of mobility.
What
is also important is that I am not a qualified Occupational Therapist or other
heath care professional, though some of the ideas that I will present do come
from people with such qualifications. Hopefully
this article may give you some ideas about how you can get back to fencing.
Getting
Back to Fencing
The
first part of the process of getting back to fencing is deciding to do it in
the first place. This needs to be a firm decision on the part of the person as
it will require effort on their part, in much the same way as the first, and
following lessons, took effort.
What
you must understand is that it is not necessary to have a sword in your hand;
there are much more gentle ways to start. One of the easiest ways is to watch
others fence and see what you can see. This establishes the mind-game of
fencing in its initial phase. See what comes back to you as you are watching.
You may be surprised what you can see and actually remember. This is
especially the case for those who have not fenced in a while.
The
next part of the process is to actually think about fencing. From the movement
of the sword to the movement of the feet, the actual thought processes are
just as important as doing the actions. Find a notebook and write your
thoughts down. Think of ways to practice and improve without requiring actual
practice. That is the next part of the process, which takes the real effort.
Increasing
Your Capacity to Fence
The
first part of the physical element of fencing and returning to it is to
understand your own limits. It is important that you are able to start within
these limits, but also to stay active within your own capacity. You must
increase this capacity steadily but slowly. Rushing the process will only hurt
more and achieve less.
In
the beginning it is best to rest frequently and to stop before you are too
tired and or sore. It sounds like a bit of a cop-out but this is not the case.
If you keep going until you are unable to move you will have a harder time
getting back into it later.
With
regard to work and rest, both are important. Work increases your capacity, but
rest is essential to give your body time to recover, in order to be able to do
more. This is especially the case during the times of activity. You must rest
before becoming exhausted; short breaks are important during activity. These
breaks will actually enable you to do more than attempting to push through.
It
is important to be able to both test your limits and also increase them, but
not at the expense of doing damage to yourself. Pain is the world's best
indicator in letting you know when to stop. Ignoring this cue will lead to
your detriment, but a fear of pain will also limit you. You need to strike a
balance in your regard for pain. Somewhere between fear and disregard, there
is respect and this is where the balance is found. If you become afraid of
pain you will stagnate and will not improve, but also if you disregard pain
you will cause yourself damage.
Fear → Respect ←
Disregard
It
is important that you exercise to the point of fatigue but before pain occurs. This is how the occupational
therapists say it. You must consider the overall effect of what you are doing.
Only by attempting more is it possible to increase your fitness, but this must
be done through exercise and not pain. In my case, I would say that you should
be aiming to increase your capacity by a factor of about 5 per cent and no
more. Once the 5 per cent has been achieved ~ stop. You should only push
yourself to this point and not further. This way you will increase your
ability bit by bit. without the threat of doing damage to yourself.
Stress
is important. It is necessary to stress the joint a little but not too much.
Do those things that exercise but do not stress your joints. If something
becomes too stressful ~ stop; know your own limits. Relaxation is also an
important part of the process. This is vital for removing stress. What is also
important is that you take as much time as you need to. There is no need to
rush, it is better that you proceed slowly and steadily.
The
Chair
One
of the first places a fencer can start after a mobility problem is by fighting
from a chair. This takes the stress off the legs. A fencer in such a situation
should examine this option and see what they can/cannot do while seated in a
chair. You may be surprised what you can do from a seated position.
Most
of the handwork in fencing can be used/practiced while seated. This is because
it does not rely upon the movement of the feet. Parries can be practiced along
with most of the other blade usage. Obviously, lunges are not possible and
neither are movements that require use of the feet or legs.
It
is important that you use a chair or stool. Do not sit on the floor/ground.
This will place too much stress on the legs, especially in the process of
getting down and getting up. A
chair is the best for back support, but a stool can be utilised. Use a chair
where you can touch the ground comfortably and one without arms, as they will
get in the way.
It
is important to take pressure off the legs and feet by properly positioning
your body on the chair. For the best practice, especially for later on, the
position of your feet should be similar to your standing position. This will
also orientate your body properly for fighting so that you will not have to
learn a new position. You should think about the advantages and
disadvantages of being seated. For the more advanced combatant, you should
also consider the best combination of weapons.
What
is really great is that from this position you can fight full speed, but this
is only advised once you are comfortable with fighting from a chair. I have
actually done this a couple of times and it really does improve your hand
work. Your distance and timing are also improved due to the reliance on a
single distance that is available at maximum range. However, I strongly advise
you to do some sparring bouts before going into any tournaments.
Next,
Standing
The
next part of the process is to stand up. This does not imply that you should
be doing any sort of movement straight off. To begin with, practice what you
can while in stance but without moving the feet or legs. You should remember
that you should be in proper stance, as this may take some of the pressure off
the knees.
Of
course you should not try to adopt a low position, as this will stress the
legs far too much. The hand movements that you were doing while seated can be
repeated and practiced, along with those you couldn't due to the seated
position. Once you are comfortable with standing and doing hand movements it
is time to move on to moving the feet.
Start
by practicing footwork slowly. At this point in time your focus is on
technique more than speed, much as it would have been in your first lessons.
Start with single steps and movements to start with and make sure that you can
do them one at a time.
Repeat
single steps until you are comfortable and can do them more quickly. Then move
on to more complex movements. Any movement that causes you pain should be
stopped immediately. This is one you will have to come back to later, or, if
necessary abandon completely. Speed should only be a concern much later on, it
is more important that you can do them. Remember ~ increasing the capacity to
move is a slow process.
Once
you are comfortable with simple movements in your footwork, it is time to
integrate hand movements and slowly increase capacity on this level. Practice
simple movements of the hand and foot; only once you are comfortable should
you move on to more complex ones, or increase your speed.
Conclusion
The
focus of this particular article has been increasing movement for those
fencers with mobility issues. What is most important for all fencers is that
the same ideas and same process apply for those with other joint issues.
Remember to start slowly and work on increasing your capacity; do not try to
rush in and do too much at once.
This
whole process also applies to those who have been away from fencing for a long
period. Ease yourself back into the motions of fencing. It is better that you
take time, than rush the process and do yourself an injury. No one can be
expected to be back at their full form at their first practice back after
months of 'down-time'.
If
you are having issues with joint pain or other forms of immobility, I advise
you to speak to a health care professional before it gets any worse. They can
help devise a program that will improve your quality of life and also, in the
long run, improve your fencing at a base level. Take their advice to heart. If
you have a specific condition, especially with your joints, it is more than
likely that some fencer has had similar issues. Share your concerns and ideas
about dealing with the issues.
It
is my hope that this article will help some, give some ideas to others, and
increase everybody's awareness of the importance of their joints. If you are
having some sort of issue with your body, there is sure to be a trainer or
another fencer who will be able to help you around it. Do not be afraid to ask
for help. Remember, you only have one set of joints ~ look after them.
Rapier
Training Guide ~ Part I
By Provost Piers of
Malmesbury
Requirements for
authorisation in single rapier, per Lochac rules 5.2.6
1)
Safe weapon usage
2)
Basic advances, retreats, stance changes and lunges
3)
Basic defence ~ parries by rapier and by offhand, proper use of
distance and voids
4)
Basic offence ~ ability to attack using thrust and cuts
5)
Proper calibration of thrust and cuts, right and left handed.
6)
Verbally demonstrate an understanding of the rules and conventions of
Rapier combat in Lochac
7)
Must fight from the ground, and fight someone who is grounded
8)
Demonstrate knowledge of armour and weapon requirements
9)
Able to respond properly to a hold
10)
Demonstrate knowledge of the difference between offhand parries with
and without a parrying gauntlet.
Introduction
The purpose of this outline
is to provide the basic information needed to authorise in rapier in Lochac.
It does not follow any particular school of thought. It does aim to provide a
basis of information which will allow an easy transition to period styles,
rather than having to learn a whole new way of doing things which is more
likely to be the case if following more modern practice.
It was a benchmark several
years ago that a person had four one-hour lessons as a minimum prior to
authorising in single rapier. This proved to be achievable if a solid
structure was imposed and the student learned quickly enough. There is no
expectation or requirement for a trainee to complete this outline within four
lessons. It is arranged such for the convenience of the trainer. Feel free to
break it down further if required.
Many of the explanations
and demonstrations will result in exaggerated motions. This is all right for
training and even authorisation, as later refinement may be conducted while
coaching (especially for any of the offhand authorisations).
Lesson 1:
Terminology of the
weapon;
Pommel,
the bit at the end of the grip that balances the blade.
Grip, the bit you
hang on to.
Quillons, the bits
that poke out the sides, may be straight or curved. Used to form an angle
where an opposing blade may be safely held away from you.
Guard, the bit that
protects your hand.
Ricasso, the first
section of blade forward of the quillons where there is no edge. Safe for
fingers.
Forte, the first
half of the blade forward of the ricasso. The strongest, most rigid part of a
blade.
Foible, the last
half of the blade until just behind the tip. The weakest part of the blade,
but the most flexible.
Tip, the pointy bit
on the end.
True edge, the edge
on the bottom, a 'forehand slice'.
False edge, the edge
on top of the blade, a 'backhander'.
Purposes of Training;
SCA:
To be safe
DiGrassi: Judgement and
Force; what do I do, when do I do it, how close do I need to be for it to
work, how much effort does it require? (Be safe)
Modern Fencing: acquire the
ability to observe, and from informed observation, deduce and apply.
Safety;
At all times during
training and on the field, activity must halt immediately a 'hold' call is
made. The expected response is to take the weapon in your left hand by the
ricasso, point behind (as if sheathed in the left hand). When the problem has
been resolved, only the marshal in charge may give warning to the participants
to be ready, at which point weapons may be returned to the position held
before the hold was called. At the marshal's call of 'fence', 'allez' or 'lay
on', the bout may resume.
Holding the weapon;
The basic grip for rapier
is to hold the weapon firmly with thumb and forefinger, and firmly but gently
with the remaining fingers. The 'V' between thumb and forefinger is where one
quillon sits, with the forefinger looped forward of the other quillon and
resting against the ricasso of the blade. The hand is oriented so the thumb is
uppermost. This will present the weapon with quillons pointing up and down.
The true edge is now facing down, the false edge is uppermost. This equates to
the period Italian guard of Terza (third).
Stance;
Stand with feet apart, a
distance equal to a normal pace. Point the right foot (if right handed) at the
opponent. The left foot should be angled between 45 and 90 degrees to the
left. Weight should be evenly distributed between the feet, back straight. A
slight lean forward placing head over the right knee is permissible (although
DiGrassi says to lean backwards if at all. I think this creates poor balance
making an attack slower). Slightly flex the knees to avoid locking them and
preventing rapid movement. Right shoulder should be pointed toward opponent,
chest facing approximately 45 to 60 degrees to the left. Left hand should be
brought up as a ward, arm extended so that elbow is well clear of the body,
and you have sufficient time to deflect an attack. Hand may be before the
face, slightly wide of the chest, or around waist height (elbow high,
deflecting with back of hand). This is referred to as the offensive stance.
This is the only opening stance suggested by DiGrassi.
"And
the body likewise ought with all diligence to be kept firm and stable, turned
towards the enemy, rather with the right shoulder, than with the breast. And
that because a man ought to make himself as small a mark to the enemy as
possible. And if he be occasioned to bend his body any way, he must bend it
rather backwards than forwards, to the end that it be far off from danger,
considering the body can never greatly move itself any other way more than
that and that same way the head may not move being a member of so great
importance ... And because I cannot lay down a certain measure of motion,
considering the difference between man and man, some being of great and some
of little stature: for to some it is commodious to make his pace the length of
an arm, and to other some half the length or more. Therefore I advertise every
man in all his wards to frame a reasonable pace, in such sort that if he would
step forward to strike, he lengthen or increase one foot, and if he would
defend himself, he withdraw as much, without peril of falling."
The reverse of this, the defensive
stance, places the parrying hand forward, left shoulder and left leg
leading, sword held back in low ward (due to the extended range, there is
little advantage and great disadvantage in using the broad or high ward in
this stance). This stance is used by DiGrassi in the middle of an attack, not
as an opening position. It is achieved in the same way, however, by a straight
pace forward from the trailing foot.
G.
Hale also recommends the same stance as DiGrassi, and admonishes to maintain a
steady posture and not 'dazel' your opponent (move around, feint, wave the
sword about) as you may open your defence doing this and invite attack.
"A
good Guard. Is hee that lyeth with the right side as thinne as he can,
towards his enemie, and the point no higher then the shoulder, trusting to
your Rapier or Swords defence; for thereby your enemie hath lettle roome to
hit, and you the lesse to defend. And also a good guard discourageth the
enemie to offend, and is ready alwayes to defend. He that dazels much never
defends well: for if you offend when hee dazels, he can neyther certainly
defend himselfe, nor offend you."
Swetnam recommended placing
the feet with the offhand foot (left, usually) behind with the toes pointing
away (60 to 90 degrees away from your line of attack), with the other foot
placed about a foot length away, with the heel of the foot pointed at the big
toe of the trailing foot. This is almost a ballet stance, with the trailing
foot largely behind the line of the leading foot, and quite close together. In
practice, an arc of 45 to 90 degrees between the feet, with the leading foot
pointing slightly to the right of the line of attack is still functional. It
is also quite stable, with practice. A matter of personal preference.
"Keepe
thy rapier hand so low as the pocket of thy hose at the armes end, without
bowing the elbow joint, and keepe the hilt of thy dagger right with thy left
cheeke, and the point something stooping towards the right shoulder, and beare
him out stiff at the armes end, without bowing thine elbow joint likewise, and
the point of thy Rapier two inches within the point of thy dagger, neither
higher, not lower; but if the point of thy rapier be two or three inches short
of touching thy dagger, it is not matter, but if they join it is good;
likewise, keepe both your points so high as you may see your enemie clearly
with both your eyes, betwixt your rapier and dagger, and bowing your head
something toward the right shoulder, and your body bowing forwards, and both
thy shoulders, the one so near thine enemie as the other, and the thombe of
thy rapier hand, not upon thy rapier, according unto the usual fashion of the
vulgar sort, but upon the naile of thy fore-finger, which will locke thine
hand the stronger about the handle of thy rapier, and the heele of thy right
foote should ioyne close to the middle ioynt of the great toe of thy left
foote, according to this Picture, yet regard chiefly the words rather than the
Picture.
Carrie
the edge of thy rapier upward, and downward, for then thou shalt defend a
blow upon the edge of thy rapier, by bearing thy rapier after the rule of
the Backe-sword, for this is the strongest and surest carriage of him.
The
best way to bring thy feete to a sure standing, both for defence and offence,
is when thou dost practice with thy friend or companion; at first get thy
backe to the wall, and let him that playeth with thee stand about twelve foote
distance, and set thy left heele close to the wall, and thy right foote heele
to the great ioynt of the left foote great toe, and when thou intendest to
offend thy enemy, either with blow or thrust, then steppe forth with thy right
foote, and hand together, but keepe thy left foote fast moored like an anchor,
to plucke home thy body and thy right foote into his place and distance againe;
use this fashion but three of foure times, and it will bring thee to a true
standing with thy foote, and it will be as easie to thee as any other way;
whereas if thou practice in a large roome without any stoppe to set thy foot
against, then will thy foote be alwaies creeping away, so that although thou
wouldest refraine the setting abroad of thy feet, yet thou canst not,
especially if thou hast bee used to set them abroad heretofore."
(It takes him a while
to say just about anything)
Distance
There are four distances in
fencing. The first is when you are out of range, or at such a distance that
your opponent needs to make an extended motion or series of steps to reach
you. This is also known as Fuori Misura or
'out of measure'. The second is
'wide' also known as Misura Larga. This
is when you can reach the opponent with a step thrust or lunge. The third is
'narrow' or Misura Stretta and is
the distance at which you may thrust at your opponent without moving your
feet. The fourth is when you are too close to bring the tip into play. It
doesn't appear to have a period Italian term as at this distance they would
most likely begin wrestling. For our purposes, this distance will only allow
draw cuts. Trainers should encourage trainees to only use this distance in
'passes', rather than as a preferred fighting distance. The most dangerous
periods in a fight are when you are transitioning from one distance to
another.
At what distance should you
begin the bout? The basic guard should be taken at a distance where you are
confident that your opponent cannot reach you by simply stabbing forward. By
being slightly out of the range of a direct thrust, when the enemy sword
begins its motion you may assess the likely line of attack and void
accordingly; there is no need to rush until their foot begins to move. It is
this judgement of time (to complete a motion) and space (distances and
relative positions) that allows the fighter to survive. By this, they gain the
'place' of their opponent, allowing them to safely counter attack. The fencer
must be aware of distance, and not let their opponent get close enough to
strike from guard (i.e., without moving their feet), for if they do so, the
opponent will have gained their 'place' and be hard to defend against.
Wards or guards;
"Wards
in weapons are such sites, positions or placings which withstand the enemy's
blows, and are as a shield or safeguard against them."
DiGrassi
A guard or ward is where
the sword is positioned such that it may offer defence from attack while still
be in a position to attack should the situation allow. There are two groups of
guards/wards listed here. The first are the three wards described by DiGrassi,
and these are defined by the position of the sword relative to the body. The
second group of wards/guards are generic period Italian terms originated by
Agrippa in 1553, which are defined by the position of the hand.
Low
Ward: Similar to modern 'tierce', or
the 'third position'. Weapon is held low and close to the body, hand just
above the hip and far enough forward to allow a lateral parry without the
pommel interfering with the body. Blade is angled forward and up so that point
is on opponent's centreline and aimed at their face. This both threatens and
presents the smallest visual cue to the opponent.
This ward is the strongest
defensive ward, but allows only the thrust as its quickest attack.
Broad
Ward; from the same position, extend
the arm out to the side to chest level, angling the blade in further toward
the face. The hand should be palm down. From this ward, the blade cannot meet
the centreline, and leaves your centreline open to attack.
This ward is weaker
defensively than the low ward, but as it tends to invite a thrust, the weapon
is ideally positioned for a strong lateral parry or beat. It is an aggressive
ward, as it allows for a direct thrust at the face of your opponent, or slice
or tip cut attacks to arms, legs or body.
High
Ward; as for the broad ward, only
with hand raised to head height or further, and with elbow more bent. The hand
is in a 'thumb down' position. Blade may be able to engage centreline of your
opponent and point at their face. It has the same weaknesses and advantages as
the broad ward.
The four 'Italian' guards
of Agrippa are:
Prima,
which is any guard where the hand is in the 'thumb down' position. This is
the natural position of the hand immediately after it has drawn the sword. It
tends to produce a ward that results in the blade pointing down at the ground
with the true edge uppermost. It is a strong offensive guard but considered
weak defensively.
Seconda
is reached by rotating the hand
through 900 so that the hand is now in a 'palm down' position. This
also tends to produce high guard positions, but not so high as prima.
It is a good guard for protecting your sword side against cuts and offers many
opportunities for attack as it allows several changes of angle during a
motion.
Terza
is reached by another 900
rotation to a 'knuckles down' or thumbs up position. The true edge is now
facing down. This is a very strong position with good balance between offence
and defence. It still is the basis of almost all opening guards in fencing.
Quarta
is any guard with the hand in a palm up position, after another 900
rotation from terza. This guard allows you to comfortably place your
sword on the centreline between yourself and your opponent, allowing you to
ward both sides equally well. It was also considered the ideal position from
which to lunge.
(The lunge action may begin
in terza but the hand is rotated into quarta during the attack
as it will almost always gain the 'inside line' while also effectively
deflecting away your opponent's sword.)
Counterguards
A counterguard is a minor
adjustment of position made in response to the ward or guard adopted by your
opponent. It basically involves moving your sword within the general position
of the ward you have chosen so that the forte of your sword interrupts the
'line' of your opponent's sword, essentially increasing the protective merits
of the ward you have selected while maintaining the offensive capacity it
offers.
Thrust
The thrust is any action
that involves landing the point of your sword on your opponent, including the
lunge. It is the principal mode of attack in rapier. A thrust may be executed
from any of DiGrassi's wards, or indeed from any of the Italian wards. It may
be targeted at any exposed part of your opponent, including sword hand,
leading foot or inside elbow as well as the more usual face or body. The ideal
distance is such that at the completion of the motion the tip of your sword
makes firm contact with the target, but has barely flexed the blade.
Practicing the thrust and lunge to achieve accurate placement (tip control)
and maintaining balance throughout the motion will lead to an increase in
reach. This increase will impact on your 'distances' as discussed above. As we
only fence to the touch and prohibit excess force (sufficient pressure to be
felt by the recipient), any closer is a waste of range.
Voids
Voids are simply moving the
body out of the line of your opponent's attack. They are the principal
defensive action in period Italian swordplay. Some claim they are the primary
defensive action for all rapier combat, but this is not born out by the
manuals. Swetnam for one advocates parrying and fighting from position and
only begins to explain voids as his third option. Saviolo doesn't really talk
of voids so much as counter-attacks, and this is something which needs to be
kept in mind; an effective void should not only move you out of the line of
your enemy's attack, but also help you 'gain the place' of them. Saviolo's
'counter attacks' are voids married to aggressive counter actions.
DiGrassi's voids are
probably the easiest and are quite effective. There are two basic actions,
determined by which side your opponent is thrusting toward. If they are
thrusting at your left side (on the inside line), and you are standing in the
normal stance with right leg leading, by bringing your left foot up directly
behind the right (left foot toes behind right heel) you should move your body
slightly to the right and turn it further away from the line of attack and
bring your sword up such that it is interposed between the line of attack and
yourself (preventing your opponent from changing to a draw cut). While a
'slope pace' behind would accomplish the same, by drawing up the foot you gain
some distance (measure) that allows you to step forward from the back (left)
foot and step thrust at your enemy. The void motion not only takes you out of
the line, but gains you ground.
If the enemy thrusts at
your right (outside line) side, 'slope pace' the left foot forward to the left
in a half pace such that your body is rotated toward the right and moves the
enemy line toward the right, also allowing your sword to be interposed between
yourself and the line of attack. From here you may thrust forward, adding
range and impetus by making a short pace forward with the right foot.
"Therefore,
when this thrust is given within, it must be beaten inwards with the edge of
the Rapier, requiring the turn of the hand also inwards, and the compass of
the hindfoot, so far towards the right side, as the hand goes towards the
right side. And the enemy shall no sooner have delivered the thrust, and he
found the sword, but he ought to turn his hand, and with a reverse to cut the
enemy's face, carrying always his forefoot on that side where his hand goes.
If the enemy's thrust come outwards, then it is necessary, that with the turn
of his hand he beat it outwards with the edge of his sword increasing in the
same instant one slope pace, by means whereof he delivers his body from hurt.
And therewithall (increasing another straight pace, and delivering his thrust
already prepared) he does most safely hurt the enemy."
Di
Grassi
(Although voids may not be
or need not be the main defensive action taken, I've come to the conclusion
that teaching parries first only encourages people to fight from a static
position. Teaching voids first will help develop an ability to remain mobile
and to avoid having their swords 'bound' by the enemy.)
Exercises and Drills,
lesson 1;
1)
Practice stance (include distance, i.e.; range of attack)
2)
Practice the step thrust and lunge from offensive high, low and broad
wards, and from defensive low ward. Demonstrates range of weapon. Discuss and
demonstrate 'calibration' or acceptable force.
3)
Practice voids against single thrusts.
4)
Explain and test the reaction to a 'hold' call.
This should fill an
hour without problems! This will cover all simple wards and guards,
counterguards, thrust attacks and basic voids. Lesson 2 will cover passes,
parries recovery and cuts. Lesson 2 should also include a revision of lesson
1. Run them through it very quickly to make sure they have the idea and then
spend 15 minutes doing it all left handed. They MUST be proficient
left-handed.
Lesson
2:
Revise briefly what was
covered in lesson 1. Repeat exercises using left hand only.
Parries.
A parry is a motion by the
blade or off hand to engage your opponent's blade and deflect it off line so
that it cannot contact you. There are four variants on the parry, hard and
soft, lateral and circular. These are all modern terms, and in fact are a
fairly modern concept, although the actions are present in period manuals. Any
blocking or deflecting action undertaken which leaves you in a position from
which you cannot make an offensive action is faulty.
A hard parry may also be
called a 'beat' or 'detached parry'. A sharp motion to smack aside the
attacking blade, and then recover your line to allow an attack of your own.
This does not seem to be a popular action in period manuals, especially as it
tends to 'stop' rather than deflect the other blade. An exception is a
suggestion by DiGrassi and Swetnam that from the high ward you may beat down
on your opponent's thrust and then cut with the false edge (chop down across
your body, which implies a voiding step, then backhand your opponent over
their sword, or step forward again with the left foot, roll the hand and slice
with the true edge as you 'press' you opponent's blade aside).
If you wish to 'walk
through' this to explain it to the trainee, it is laid out as follows:
The trainee is in broad
ward or high ward. Their opponent thrusts slowly at their chest. The trainee
brings the sword down or across to chop down on the attacking blade, at the
same time bringing the left foot up behind their right foot. At the end of
this move, they should be standing with their opponent to their right, their
sword directly in front holding down their opponent's blade. From here they
strike with the edge using a backhand or forehand motion, whichever is more
comfortable.
A soft parry is an engaging
parry where you bring your blade into gentle contact with the opponent's blade
and push it aside or deflect it. In modern fencing it may be referred to as a
'parry by opposition'. It is the intent of this parry to maintain contact with
the enemy's blade. This allows you to know where the blade is and so prevent
it from cutting you. These parries require a much more precise knowledge of
your sword than hard parries. The Italians referred to it as the 'advantage'
of the sword. Basically it means having the greater leverage by the crossing
point of the swords being closer to your grip than your opponent's (more
'forte'). A soft parry, combined with footwork, can offer many offensive
options while maintaining knowledge of the position of your opponent's sword.
A lateral parry is a parry
that moves in a straight line. The parry indicated above would be a lateral
parry as well as a hard parry or 'beat'.
A circular parry is one
where your blade moves in an arc to carry away the other blade. Period manuals
usually refer to circular parries in reference to offhand daggers rather than
rapiers, but it at least demonstrates that they were familiar with the term.
How to Parry;
The parry is intended to
deflect an attack, and while this may be safely done with the blade alone,
there is advantage and opportunity to be gained in this motion to add safety
and gain position (place). It is important that this be done in correct
sequence to ensure maximum benefit.
In all motions, move the
blade first, and in the shortest possible motion. Don't pull the hand back
before striking, simply move it positively to where you want it to go.
When the blade has begun
its travel, bring your left foot up behind the right a half pace. This may be
a straight step (directly behind the right foot) or a slope pace (moving the
left foot through an arc whereby it stays the same distance from the right
foot, but moves through a distance of 90 degrees, thus turning the body)
depending on whether you are parrying to the inside line or the outside line.
The 'inside' line is when your opponent's sword is to the left of your sword,
from your point of view. It is possible (in fact common) for both fencers to
be facing inside. The outside line is the opposite, or to the right, assuming
a right handed fencer.
As indicated in lesson 1,
it has been proposed that voiding is the principal method of spoiling an
enemy's attack in preference to parries. Also mentioned before is that this is
not borne out by the period manuals. It is important to explain, however, that
the actions are not mutually exclusive, nor even always separable when
examining period methods. DiGrassi states that there are three manners by
which you may deflect or spoil an attack. The first is by opposition with an
object, interposing something between weapon and target (parry). The second
manner is by 'stop hit' where you attack into the enemy's preparation, killing
them before they may complete their move (or at least threatening to, and so
forcing them to stop their attack or risk hurt). His final option was voiding.
In his explanation of all three there is clearly a combination of actions that
essentially states that none of these is effective alone. He declares a parry
to be the most common and expeditious action, but says that most people step
back from the attack, so while they may have saved themselves from hurt that
time, they are now out of place and time, and so have lost the initiative. He
advises that a parry should incorporate a forward motion (essentially a
voiding pace) with the parrying motion and to parry in such a way as to allow
for offensive action once the enemy's line is 'broken'.
DiGrassi's second defensive
option, the stop hit, must be incorporated with a voiding step of some kind or
you end up with a double kill, and his void is described as;
"The
third manner of defense is, when the body voids out of the straight line
towards this or that side, but this is seldom used alone and by itself, but
rather accompanied with the opposing of the weapon, or with the second manner
of defense aforesaid. If it be used alone, the manner is to slip the blow, and
to strike the enemy in the same time that he is over reached in his
blow."
DiGrassi
In
other words, voids are best used as part of a parry or stop hit. The
importance of this is to ensure the trainee understands that a parry is more
effective if they move their feet!
Hand Parries
"I
advise all to learn to break thrusts with the gloved left hand. But even
without a glove, it is better to hazard a little hurt of the hand, and master
the enemy's sword, than to give the enemy the advantage by parrying with your
sword."
Saviolo
The position of the off
hand should be such that it will cover the area from left knee to above your
head on the left side. It may also deflect an attack upwards. Attacks directed
below the left knee should be voided or parried with the blade. NEVER reach
for a blade below knee level as this requires leaning forward and opens you up
to a cut to the head or back. Blades may be grasped, however any motion of the
blade will cut the hand and render it useless. A blade may not be 'trapped'
nor can you grasp or grapple with the opponent, but by closing your fingers
around the blade (forming a circle with thumb and index finger) you can
control a blade without trapping it. You can still be cut, of course.
Attacks to the left side
should be warded by a 'circular' parry with the hand. Attacks to the right
side may be parried with a lateral hand parry pushing the blade further to the
right (including a slope pace forward with the left foot and rotation of the
body clockwise, will also void the line and leave your weapon clear), but the
same may be achieved (and more safely) by parrying with the blade and passing
off by continuing a soft parry with the hand and disengaging your blade to
recover the attack, either over or under your left arm.
Examples:
A thrust at your face may
be parried in a circular motion by the off hand, leaving you free to reply
from low ward with a thrust to the belly, or you may parry with the blade,
half straight pace and void, take the attacking blade with an open palm in
your off hand to recover your blade, then slightly stepping in with your right
foot (avoid body contact, but this interferes with their offhand) and draw cut
their neck or arm (unless they run backwards very fast, in which place you may
get to use the point).
A thrust at your right
(leading) shoulder may be hand parried (lateral motion) allowing a low line
thrust in reply from low ward at the belly or;
Parry with the blade, make
a circular pass behind with the left foot, pass off to the off hand to regain
your blade, push their blade down and away to clear a line to attack over
their arm with point or edge at their chest, neck or face.
Passes
So
far all footwork has been with a single pace, with either the left foot or
right foot left in position. Passes are motions that involve both feet. They
should be performed 'resolutely' any time you are altering your 'measure'.
A simple pass is to have
the trainee come on guard 'out of measure', in other words, unable to reach
you. Have them take one full pace forward (with the left leg if they are right
handed), then bring their right foot forward as a part of a lunge. The first
pace brings them into the 'large measure' allowing a thrust if the right foot
is extended. The 'line' may be altered by compassing the left foot out wide
(so they step forward at about 450) then lunging from the new
position. (Note that this will put the student in a 'defensive stance' when
they enter the range Misura Larga.)
A slightly more complex
pass is to continue the action above. After the lunge continue the forward
motion with a straight pace or slope (compassing) pace with the left foot.
This may bring them closer or take them back out of range. The two combatants
will have rotated through almost 1800.
Practice these passes
employing different guards, parries, hand parries, voids and stop hits.
Cuts
Cuts
may be performed with four parts of the blade, divided into tip and blade,
false edge and true edge. Given the restriction on 'percussion' hits in SCA
rapier it is easy to think that a cut (or 'draw cut') is simply when a thrust
has missed its target and then been drawn back across a convenient part of
your opponent (as bad as it sounds, don't knock it ~ it works!). In period,
cuts were delivered by quite separate motions of the arm compared to thrusts,
and these differences are certainly worth exploring.
Cuts were performed from
all directions, and with both sides of the blade. The Italian term for a
forehand cut is a mandritti although
it can also mean an 'onside' cut, or any cut which proceeds from right to left
(assuming a right handed fencer). Cuts with the false edge, or any backhand
cut, or any cut proceeding from left to right, may be called riversi.
Cuts were also classified
according to delivery method. DiGrassi devotes a considerable space in his
work to an explanation of the circular motions of the arm joints.
Understanding the strengths and weaknesses of these motions is the key to
successful cutting attacks.
The first is the 'gross
motion' cut where all three joints, wrist, elbow and shoulder, power the chop.
Similar to what heavy fighters do. This is a slow motion and brings the sword
out of position, thus leaving you open for counter attack. Not to be done 'in
measure', it can still be useful in the 'wrestling' measure as long as you
have control of your opponent's weapon.
The ideal method for
powering cuts from the shoulder is to lock the wrist and elbow in position.
This keeps the sword 'on line' but still allows cutting motions (usually
downwards or upwards). It is a bit linear, but is quite strong in defence.
The second cutting motion
is where the shoulder is locked, and cuts are delivered using elbow and wrist.
This was considered a risky motion, as it still allows the sword to move off
line (so is defensively weak) and lacks the power of the shoulder cut. It is
probably of more benefit to SCA fencers as we do not need (in fact, don't
want) more power in our cuts, and it is faster than the shoulder strikes.
The third cut is where the
shoulder and elbow are locked and the motion is derived entirely from the
wrist. This was considered the ideal method as it keeps the sword in position
to defend while allowing very fast cuts to be made. A favourite version was
the stramazzoni , which is a wrist
cut in a circular motion.
This demonstrates another
difficulty when interpreting period texts against modern fencing. The circular
parry was not regarded as such (that is, a separate action) in period, but
rather was integrated into a motion. While a slip pace and stramazzoni
do not suggest a parrying motion, there is no reason a parrying motion cannot
be accomplished in the same motion. It may be that with the introduction of
the foil as a very light training weapon, and a formalised, almost
ritualistic, methodology applied, the art was broken down to its most basic
concepts; defend first, then attack. This separation of action, especially
reinforced by foil's demand to establish 'right of way' before you may counter
attack, has left a legacy where certain motions such as parries are seen in
isolation, not as an element of another act which achieves all aims (attack
and defence) in a single motion.
It is important to convey
that force restrictions also apply to cuts (sufficient to be felt is enough)
and excessive force is not allowed. Whipping motions, sabre cuts and the like
are forbidden. They do not constitute 'placing' a blade prior to cutting.
Placement of the blade may be as quick as may be managed without transmission
of any percussive force.
Recovery
is just about regaining your ward position safely after an unsuccessful
attack. NEVER lose their blade while you are in range, or you'll be at risk.
As they will likely have gained the inside line in parrying you, you will need
to recover some control of your weapon if you are to safely recover. Not a
specific topic, more a concept to be considered.
Exercises
and Drills; Lesson 2
1)
Practice draw cut and tip cut attacks from the different wards in both
offensive and defensive stances, being mindful of calibration and control.
2)
Practice hand parries and passing off from all stances. Remember footwork.
3)
Practice passes, 'exploring measure'
4)
Practice parries, incorporating voiding motions.
In the next issue of Punta
Dritta, Lesson 3 will cover alternate grips, offline attacks, disengages,
trades and parry-riposte motions. Lesson 4 will cover judgement and tempo,
fighting from the ground and a grounded opponent, and parrying gauntlets.
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Punta
Dritta is the newsletter of the Royal Guild of Defence of Lochac. It is
published every six months, to coincide with the 12th Night and Midwinter
Coronation events. The contents remain the property of the respective authors.
Please contact the editor if you wish to reproduce anything found in the
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Punta
Dritta may be downloaded for free from www.sca.org.au/rapier/PD_index.htm.
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Created: 11 January 2007
Last Modified: 11 January 2007 |
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