Marco Docciolini's Treatise on the Subject of Fencing

A collaborative project by Signore Nicolo Santorio and Lord Ishmael Steadfast Reed

Florentine fencing master Marco Docciolini published his treatise in 1601, and this text was translated into English in 2017 by Steven Reich and Piermarco Terminiello. Landing in a transitional period between the "sidesword" manuals of the mid 16th century, and the "rapier" manuals of the early 17th century, the work not only is a key point in the evolution of swordplay, but contains several novel insights not found in many other treatises. For modern historical fencers, the text may be intimidating due to it's lack of plates, and so Ishmael Steadfast Reed and I set out to bring the work alive through photography and video. We read through the text, experimented with the guards and techniques described, and then filmed them both from the side and above using an improvised camera jib.

Basics of the System

"Dirritura"

"Traversi"

The Circular Figure

The only image in the treatise is a circular figure. The text describes its dimensions in detail using measurements of the time period, but I will here provide a modern description. Take the fencer's height and divide it by 3. This distance becomes the basis for the rest of the figure. From the center point (A) to the edge of the inner circle (B) is one segment, and from the center (A) to the outer circle (C) is two segments. From C on the outer edge to the points G or E is also one segment.

The center line going top to bottom is called the "dirittura," representing the straight line of attack. The angled lines to the left and right are the "traversi," representing the pathways for offline stepping, as shown in the animation. This offline movement is given great importance in the text during many of the described actions, where it's often referred to as "throwing yourself on the left/right traverso."

The basic stepping pattern is shown in the animation, with a natural stride forward onto "A," a strike, then retreat to the left or right along the traverso. Note that unlike in the animation, one should not step directly on the A, but rather just to the left or right of it, then pivot on the ball of the foot during the retreat.

Il Punto: The primary target

The term "punto" in this particular work refers to the point of your opponent's shoulder on the side they are holding their sword. Docciolini advocates aiming the point of your sword at this target whenever possible. The reason is because this part of the opponent's body forms the physical foundation of their attacks, and because it's the closest part of their body during such actions. If your point is directed here, the opponent cannot approach or hit you without sticking themselves on your point, unless they first do something to remove your sword from that line. This is a recurring motif throughout the work.

One minor variation is if you are facing a taller opponent who is trying to throw a cut. In that cause, Docciolini advises aiming your point at their temple, since they will have to lean forward to strike, bringing their face into range.

Docciolini specifically advises against attacking the arm or sword-hand, stating is too mobile and by attacking it, you end up bringing your sword "out of presence" (that is, no longer in a position threatening their body). It has also been hypothesized by myself and others that wounding the hand or arm is less likely to produce an immediately disabling injury with sharp weapons.

Sfalsata: disengaging by another name

The term "sfalsata" refers to moving the point of your sword from one spot to another. It's largely the same concept as "cavazione" used in later works. Docciolini advises to only do so when forced to, and not to do it frivolously or with the intention of unsettling the opponent, as this is unlikely to work on an experienced fencer.

The word "sfalsata" in modern Italian means "staggered" or "offset." It is used by other, earlier authors such as Manciolino, Marozzo, Dall’Aggochie, and the Anonymous Bolognese. It's also used once by Fabris a few years later, in the text of plate 93, but he otherwise uses "cavazione."

The Guards

The Low Guard

Feet about one third your height apart
Lead foot pointed at your opponent
Rear foot turned about 90 degrees so the feet form a "T"
Weight kept mostly on the back foot so the front foot remains unburdened and mobile.
Sword in line with lead foot
Blade held true edge down/false edge up
Historical note: This is very similar to “terza” from later rapier manuals.

The High Guard

Feet slightly closer together
Sword held out straight at shoulder-height
Weight mostly on the back foot.
Historical note: This is somewhat similar to one of Salvator Fabris's guards, found in Plate 10, but with less leaning.

The Imbroccata

Feet closer together
Sword held true edge up
Sword-hand slight higher than head
Sword-arm almost touching the ear
Weight mostly on the back foot.
Off-hand held open, a foot from the chest and centered, to deflect incoming thrusts.
This is used predominately as an attack posture
Historical note: This is very similar to “prima” from later rapier manuals. It is also a rare example of bare-handed parrying being mentioned explicitly.

Selected Plays for the Single Sword

The following is a small selection of plays described in the text for actions involving the single sword. The first two are taken from the position of left and right "counterguards," which are done in response to an opponent's offensive action. The third is regarding how to launch an attack, using the imbroccata as a starting guard. Each set of actions progresses in a "decision tree," starting with a basic action that goes unopposed, and then going through solutions to different responses the opponent may use.

Each action is shown from two perspectives: an overhead view and a side view. In some cases we made slight deviations from the original text to present actions that would be legal in SCA rapier combat. Our swords are also longer than common ones from the era, leading to some actions occurring at closer measure than was probably intended.

The Right Counterguard: When your opponent approaches with their point toward your right side (i.e. the outside)

Step 1: As they approach, glide along the outside of their sword, strike the punto, step onto the left traverso. Maintain good opposition with your sword, using your true edge and forte.

Step 2: If they disengage and parry/beat to their inside line. You should pass forwards, stepping your left foot to the outside of their right foot, put your left hand on their guard; thrust or cut in close.

NOTE: The text originally instructs to grab the opponent’s sword-arm and forcefully shove it against their torso, and even explains how to turn this into a wrestling throw. We demonstrate a more legal version by placing a hand on the guard.

Step 3: If they parry to their outside line. You should perform a sfalsata and thrust at the face or chest while moving into the traverso.

The original text doesn’t specify if they mean the left or right traverso, but there are merits to each one:

- On left traverso, you can maintain blade contact and coverage of the enemy’s sword on the retreat, however, it leaves the body more open to afterblow or wild attacks.
- On right traverso, your vita (kill zones) travels away from the opponent’s sword, but you rely on tempo and relative distance rather than firm blade coverage to retreat safely.

Step 4: If they frantically parry back to their inside, drop your attack under the arm as you step onto the left traverso with your left foot.

- A great example of Docciolini’s ability to specify stepping onto a traverso with only one foot, essentially creating what Fabris and Capoferro would go on to describe as more specific techniques like the scanso della vita, scanso del pie dritto, and inquartata. Docciolini describes a specific inquartata analogue in his text as well, in response to an opponent’s sfalsata in a deeper play description.

The Left Counterguard: When your opponent approaches with their point toward your left side (i.e. the inside)

Step 1: As they approach, glide along the inside of their sword, strike the punto, step on the right traverso.

Step 2: If they parry your sword towards your right side: drop the tip and thrust under the arm, step onto the left traverso with the back foot, arm well extended, true edge turned to your opponent’s sword.

Step 3: If they parry your sword upwards: rotate your sword so your true edge faces upwards, continue thrusting at the face or chest. You should cross-step, use your off-hand to reach up and place on their guard from the bottom.

On Attacking: Offending the opponent with the Imbrocatta Guard

Step 1 - Approach and thrust over their sword, using your offhand to displace their point.

This is the basic structure of the imbroccata, approaching with resolution and attacking over your opponent’s weapon. This is an unusual angle of attack, one they may not be prepared to react to. However, this first action is intended really as a basis for this type of attack, as it assumes your opponent does nothing to protect themselves.

Step 2 - If they thrust under your sword instead of parrying, turn your true edge downward, keeping your point on the punto, and catching their sword on your guard.

Step 3 - If they try to parry left or right, disengage under and strike the punto.

Disengaging from the imbroccata is surprisingly fast because the blades are nearly parallel in space, requiring very little movement. You also remain covered even when your blade is in motion.

The Guards with Offhand Weapons

Sword and Dagger: Low Guard

Sword and Dagger: High Guard (Left Foot Forward)

Sword and Dagger: Imbroccata Guard

Sword and Buckler

Sword and Targa

Sword and Rotella

Sword and Cloak

Two Swords

Quotations of Interest

from the Reich/Terminiello translation

ON TEMPO:

“It should be understood that when we say tempo, we do not mean the space of time between the beginning and the end of the attack, because…this should be as short as possible. By tempo, we mean the opportunity which presents itself, or which we earn, to move our weapon securely to attack our opponent.” (Chapter 11)

ON FEINTING:

“...We will briefly touch upon feints, which likewise many persist in using. These feints are employed in the following manner, by hinting to attack in one place only to deliver it knavishly elsewhere, being a mark of someone without experience in this practice of arms.

I am of the opinion that such feints should not be used. Instead, I want you to push your point so far forward that it reaches its target whenever your enemy does not oppose it." (Chapter 10)

ON THE REFUSED SWORD:

“...As some do, holding their arm behind their thigh, which they call guico stretto or narrow play. This opinion is founded on saying ‘my sword will not be found’, without realizing that the sword must travel much further than if it were held in front of them.

Nor does extending the sword make it easier to be found…On the contrary when your right side is light and unburdened your sword cannot be found since your arm is free to move as required." (Chapter 6)

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