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The following questions and answers are designed to give you an overview of classical and historical fencing, specifically as taught by Maestro Ramón Martínez.
1.1 What is classical fencing?
Classical fencing is the final development of European swordsmanship, which came into its full form during the last half of the 19th century. Classical fencing consists of three weapons, namely the foil, the sabre, and the épée, and two primary schools , the Italian and the French. These two schools differ in their mental approach, weapon design, technique and form. Each school has a distinct pedagogy that defines its character.
Training in this art is geared to learning and practicing techniques for personal combat. However, that is only one aspect of what the practice of classical fencing encompasses. It also teaches discipline, self control, physical, mental, and spiritual awareness. Perfect form and perfect execution of technique are of paramount importance, for form was created to ensure the most efficient execution of specific functions, with economy of motion as the ultimate goal. A classical fencer must be, at the minimum, highly academically correct in his style and form. As Louis Rondelle, the great French master of the 19th century, wrote:
A classical fencer is supposed to be one who observes a fine position, whose attacks are fully developed, whose hits are marvelously accurate, his parries firm and his ripostes executed with precision. One must not forget that this regularity is not possible unless the adversary is a party to it. It is a conventional bout, which consists of parries, attacks, and returns, all rhyming together.
Egerton Castle, author of the 1892 Schools and Masters of Fence, a survey of the development of European swordsmanship, expresses it as "...the courteous and academic 'assault' of modern days, where elegance and precision of movements are more highly considered-or ought to be than superiority in the number of hits."
Classical fencing fosters self-reliance, self-confidence, and grace of carriage and movement, as well as courtesy, good manners, and a high level of etiquette. It is also healthy all-around exercise and an excellent constructive release of the stress that is so prevalent in today's society. In short, it trains both the mind and the body, and, when practiced consistently, provides a high degree of fitness and health for both.
The following is the definition of classical fencing, as used by the International Masters at Arms Federation:
The second half of the 19th Century is historically the classical period, in which the art of fencing reached its furthest development, but we may include the whole of the 19th century in this era, as this was the age when fencing was formally codified, systematized, and fully expressed in complete systems and styles. "Classical," in this sense, means "the golden age," the period when the art saw its highest peak. Clear distinctions between the French and Italian schools can be seen in this era, and national "academies" were established. A "super-national" approach established commonality in fencing language, as well as codes and rules for dueling. It is also within the classical period that the great rivalries between both schools were constantly put to the test through professional bouts and, in some cases, duels between masters of each school.
The use of the sword as a sidearm, for personal self-defense, was no longer a concern of fencers during this era. Rather, they focused on training in fencing for its own sake as an art form and personal accomplishment, in addition its use in personal combat. This age is distinguished by the art of the foil, which masters thought to be the fencing "weapon" par excellence. With this refined tool, the most sophisticated and artistic maneuvers are possible. However, the use of the sword as a killing weapon was always borne in mind, and the training was serious in nature.
However, earlier, more combative, techniques did not die out. In the early part of the 19th century, methods such as the use of the unarmed hand, strikes with the pommel, disarms, arm locks, and the like could be found in such works as Rosaroll and Grisetti's treatise of 1803 and Maestro Brea's book of 1805. It is also well known that methods of rapier and dagger, as well as other "historical" weapons, were practiced through the 19th century and into the 20th.
These time periods [i.e. the division of fencing history into "classical," "historical," and "modern" eras] are, of course, somewhat artificial classifications used to facilitate discussion, just as we may speak of vague periods such as "the Middle Ages" and "the Modern Era." Styles and weapons did not, of course, abruptly change from one time period to the next, just as other artifacts of human culture do not suffer sudden transformations. Rather, there was always an overlap of weapons, styles, and techniques within each era. Nonetheless, the different eras of the development of fencing can clearly be distinguished from each other, as each era has its own distinct characteristics. Comprehension of these developments and their ramifications is necessary for the informed study, practice and teaching thereof.
N.B.: "Classical fencing" is a term that was first used and defined within the 19th century. Within the last six years, however, this term has often been erroneously used to refer to anything from 17th century rapier fencing and 18th century smallsword fencing to contemporary modern fencing with dry (non-electric) weapons. The misuse of the term "classical fencing" has led to much confusion and misunderstanding within the international fencing community. We have provided a clear definition, along with the IMAF definition, so that the community at large may have a clear understanding of what classical fencing is.
1.2 What is historical fencing?
The following is the definition of historical fencing, as used by the International Master's at Arms Federation:
Historical Fencing: Early Period (14th and 15th centuries)
Though we may trace the art of defense back to the 14th century, it is difficult to talk about fencing before that time since there is simply no surviving documentation, save for anecdotal evidence. The fechtbuch known as I-33, penned circa 1300, is the first known treatise on Western swordsmanship. However, specifics on styles, techniques, or methods that predate this are, due to the lack of documentation, open to speculation. Most importantly, there was no clear distinction between civilian and military use of the sword. The early treatises do, however, contain clear descriptions of timing, distance, binding, engagements, parries, feints, voiding actions, and footwork. The basics of the styles within the "middle historical" period can be traced to this time period.
The I-33 fechtbuch is also the earliest known documented evidence of the use of the sword for personal self-defense or for monomachia (that is, dueling), though the distinction between civilian swordsmanship and military swordsmanship was just beginning to be recognized in this period. These two aims-self-defense and dueling-have guided the development of the art of fence through the centuries. The attitude and techniques that are necessary to these ends differ in many ways from those of military swordsmanship, thus this distinction is of no small importance.
Historical Fencing: Middle Period (16th century)
The 16th century may, in fact, be considered to be a long transitional period. It is to this period that the basics of the "late historical" period can be traced, as well as the final developments of the styles and schools of the "early historical" period. It is within this period that the use of the sword as a civilian side arm became common practice, first appearing in fifteenth-century Spain. However, although we have texts on swordsmanship from the fifteenth century, it is not until the sixteenth century that we find numerous surviving treatises clearly documenting civilian systems of swordsmanship. In this period we find both the explication and definition of a system that already existed in the 15th century in the work of Achille Marozzo, and, seventeen years later, the explication of a new approach and system in the writings of Camillo Aggrippa. The sixteenth century also saw the birth of an entirely new civilian school in Spain with the writings of Don Jeronimo de Carranza.
Historical Fencing: Late Period (17th and 18th centuries)
The Late Historical period may be distinguished from the early and middle periods by the fact that we may directly trace the origins of the traditional schools, styles, and techniques of the classical era to this time period. This development can be attributed to several factors: the growing influence of the printing press, the beginnings of a modern mentality that included national consciousness and a "scientific" mindset, the rise of the middle class, and the wearing of the sword as an everyday article of dress. These social changes had their affect on fencing, as they did on other areas of human endeavor. Specifically, the printing press and the greater ease of long-distance travel helped the transmission of both first-person and vicarious knowledge, while the growth of the urban leisure class gave the fencing master a steady stream of willing patrons.
The late historical period is the era in which fencing evolved into distinct schools specifically intended for civilian use. This development resulted in schools and styles that remained intact for long periods of time, and a direct line that may be drawn from the classical techniques to the systems already in use in this era. In short, this is the era in which a differentiation between military and civilian styles were clearly established, and national styles, such as the Spanish, Italian, and French schools, became clearly defined. Finally, the schools of thought regarding the subject, which may be documented through the printed materials left to us, can be discerned, and the origin of traditions that have come down to this very day may be positively identified.
We know, for example, that rapier technique had its birth in the late 16th century, while the 17th century was the golden age of this weapon. The 17th century also saw the development of the smallsword, but it wasn't until the 18th century that we see the full development of l'escrime français, in which, primarily under the leadership of French masters, the smallsword developed into its own distinctive system. The Italian school also developed greatly during the 18th century, but continued to adhere to the method of the striccia, or thrusting rapier, as the basis of its system.
1.3 What is theatrical fencing?
Theatrical fencing should not be confused with historical fencing, classical fencing, or modern competitive sport fencing. Theatrical fencing has also evolved from historical roots. However, although some of the techniques and methods have some historical basis, it was never intended to be taught as actual combat technique. It is an entirely different discipline. Its sole purpose is to create the illusion of swordplay in the mind of the audience.
1.4 What is modern competitive sport fencing?
The history of fencing as a modern sport is approximately only 90 years old. With the establishment of fencing as a modern sport, classical fencing was displaced. Since the foundation of the Fédération Internationale d'Escrime in 1913, fencing has been constantly modified and reformed. Since the introduction of the electrical scoring apparatus, fencing has undergone even more drastic changes. Today, modern competive sport fencing is dominated by dynamic and explosive actions executed with athletic power and speed.
1.5 What is a martial art?
A martial art is a systematized form of personal combat for the purpose of self defense, physical fitness, mental clarity, and spiritual awareness.
It must be clearly understood that the practice of martial arts is not limited to the various styles and systems of Asian origin. Different forms of martial practices were engaged in by other countries and cultures.
There is a vast difference between the practice of a sport and a practice of a martial art. In the practice of martial arts the training is primarily geared to self-preservation in an actual combative situation. Pedagogy has been formulated to ensure that the most effective, logical, and economic techniques are taught and learned. The secondary aspects of this type of practice, the physical, mental, and spiritual areas, are different levels that arise from the training. These are then interconnected with the practice, aiding and complimenting the development of a complete martial artist to a higher level of mastery in whatever style or system.
When a martial art is turned into a sport it loses its very essence. In a sport the goal is to win at a game. The techniques that are taught and learned are geared to win the game using prescribed rules and regulations, which are subjective. The participants in the sport develop a style which is totally artificial, taking risks and attempting techniques that would not be used in a serious combative situation.
2.1 Is classical or historical fencing choreographed?
No. It is actual fencing. It is not staged in any form or fashion.
2.2 How is classical fencing different from modern fencing?
Classical fencing is a martial art and is taught with constant reference to the realities of an encounter with sharp blades. Because the techniques of classical fencing evolved from the traditions of the dueling ground, the focus of the training is to enable the fencer to survive in an actual combative situation on the terrain. These techniques were and have been utilized in armed encounters of this type well into the 20th century.
Modern fencing, on the other hand, is a sport and is taught as such. Modern fencing is not a martial art. Rather, the techniques of modern fencing have evolved solely to enable the fencer to win at a game and sport that has completely divorced itself from the harsh reality of an encounter with sharps. The focus of the training is, rather, to enable an athlete to win at a game.
The complexity of the rules of modern fencing have rendered it a game, where to be successful in competition, one must adapt and play to the rules and the officials in charge, as well as to one's opponent. Since modern fencing is no longer taught in a martial context, modern fencers today attempt varied techniques that would be nearly impossible with actual weapons, or suicidal in an actual duel. This along with the electrical scoring apparatus, makes the conditions in which fencing is conducted in the modern competitive arena entirely artificial.
2.3 How is historical fencing different from classical fencing?
During the era of classical fencing, swords were no longer a common article of upper-class dress. Rather, these weapons were used solely within the context of the duel. Historical fencing encompasses all the weapons and styles that precede the 19th century, when the weapons were worn as sidearms for civilian defense and personal combat.
2.4 Do classical or historical fencers compete?
At this time, the classical and historical fencing communities do, from time to time, hold tournaments in various weapons. This fencing is demanding and quite serious in nature, and provides fencers with an excellent opportunity to test themselves and their progress. Furthermore, fencers in classical fencing tournaments are held to the highest standards of etiquette and form. We hope that classical and historical fencing will have a complete renaissance, and that tournaments of this type will become widespread. To this end, the Association for Historical Fencing, an organization created to promote classical and historical fencing, organizes seminars, tournaments, and related events of this type.
Although modern sport fencing uses the same three weapons, the rules of modern competitive fencing are incompatible with the techniques of classical fencing. The frame of reference from which a classical fencer trains, practices, and fences is conservative. A classical fencer will not use techniques that involve a high degree of risk (except for foil, in which fencers attempt not only to defeat each other but also to outwit and outclass each other); no techniques are ever attempted that would not be done in an encounter in earnest. This is especially evident in épée, where a difference of a fraction of a second in time would not prevent a double wound in an actual duel. Another example would be in sabre; to attack using multiple feints with a bent arm would be disastrous in an actual encounter with dueling sabres.
2.5 Do you fight real duels?
Yes. We fight serious and deadly duels. The challenge can come at any time from these our mortal enemies: Ego! Falsehood! Prejudice! Compromise! Vanity! Cowardice! and Ignorance!
Our weapons of defence against these are: Self-control! Truthfulness! Understanding! Firmness! Humility! Bravery! and Knowledge!
2.6 Are classical and historical fencing dangerous?
Classical and historical fencing are practiced safely. Protective equipment is used, such as masks, jackets, gloves, and whatever other equipment is deemed necessary. The weapons have no sharp edges or points. In addition, the safety is further enhanced by the high level of supervision, control, and manner in which fencing is conducted. To learn to fence in the classical and historical manner requires the same amount of training and practice as any other martial art. The techniques must be learned, perfected, and mastered. This is a time-consuming process, as the fencer must achieve a high degree of self control and command of the weapon before he is permitted to engage in the assault.
2.7 Who else does classical or historical fencing?
Authentic classical and historical fencing are extremely rare and hard to find. My master, the late Frederick Rohdes taught classical fencing in the dueling tradition. He also taught historical fencing to interested students. During my 28 years of experience, it has only been in recent years that I have come across any fencing masters who teach authentic classical fencing and historical fencing in the dueling tradition. Please see the IMAF website for a list of qualified instructors worldwide. The Martinez Academy of Arms extends its hand in friendship and congeniality to anyone who wishes to learn or has a common interest. Our goal is to inform and educate, in order to foster the development, interest, growth, spread, and practice of classical fencing and historical fencing. We strive for the renaissance of the art of true swordsmanship, La Verdadera Destreza.
3.1 What are the weapons used in classical fencing?
The weapons used in classical fencing are foil, épée (dueling sword), and dueling sabre. No orthopedic (pistol) grips, electrical weapons, or scoring equipment are permitted. Only French- or Italian-style hilts are allowed.
3.2 What are the foil, épée, and sabre?
 Various French foils used for fencing. |
 Italian foil. |
Foil: The foil was originally the practice weapon for the smallsword (in French, a court or town sword: épée de cour or épée de ville). Used only for thrusting, it is the weapon with which the basics of fencing are first learned, as well as more sophisticated theory and technique. This theory and related techniques can then be transferred to other weapons.
The two types of foil are the French and the Italian. The French foil consists of a thin blade with a quadrangular cross section, which terminates at the point with a flattened nail head. The hilt of the weapon is constructed with a light guard which can be of a figure-eight, round, rectangular, or oval shape, and a slender, slightly curved or straight grip. It is assembled with a pommel at the end to regulate its balance. The Italian foil has a similar type of blade; however, in the manner of its direct ancestor, the rapier, it includes a ricasso that extends through the guard. The ricasso is the flattened portion of the blade that assists in the manipulation of the weapon. The hilt of the Italian weapon is also different from the French. It is constructed with a round guard, crossbar, arches, a cushion (for the fingers placed behind the guard) and a short straight grip assembled with a pommel.
Upon the nail head of the blade, a button is fixed which gives the foil its original name-"fleuret" in French and "fioretto" in Italian. It was thus named because the button on the point was imagined to resemble a flower bud.
As fencing developed through the Classical period, the practice of the foil elevated fencing into a more refined art. It made the art of fencing more perfect and some of the most intricate, profound concepts and theory emerged from its practice. At the same time, fencing became a more artificial science, losing some of the more practical combative aspects. This led to the development of the training and practice of the épée (dueling sword).
 French épée (left) and Italian épée (right) |
Épée: The épée is the dueling sword that was used in actual personal encounters up to relatively recent times. It is a thrusting weapon designed and used for the exclusive purpose of dueling. The hilt of this weapon can be of the French or Italian type, the main difference being that the larger round, cup-shaped guard of the épée is deeper and wider than that of the foil. The blade is triangular in cross section and tapers towards the point, which, on an épée used for fencing, ends in a nail head. (An épée used for the duel is, needless to say, quite sharp.) Upon this nail head is fixed a "pointe d'arret" which is a three-pointed metal cap, fastened to the nail head with waxed thread in such a manner as to leave the points minutely exposed. This, together with the stiffness of the blade, gives the feel of the fencing épée an acute realism.
The purpose of épée fencing is to simulate an actual duel as closely as possible. The fencing is very conservative and uses only techniques that are realistic and practical in a duel. Although it is based on foil technique, épée training encompasses differences that have led to the development of specific techniques and reactions that are particular to this weapon.
 Sabre with customized grip. |
Sabre: The sabre is a weapon that is used for both cutting and thrusting. The blade is wider at the end near the guard and gradually tapers toward the point. Along the sides of the blade are fullers (grooves), which extend from the heel of the blade to approximately the last third, where it becomes flat, forming two edges and ending in a blunted point. The hilt consists of a guard that completely covers and protects the hand from both cuts and thrusts. It has a slender grip that is attached to the guard as well as to the blade with a light pommel.
Sabre fencing as taught at the Martinez Academy is based on the Italian dueling sabre of the late 19th century which, it is important to note, is different from the military weapon. This weapon's theory and technique was developed in Italy by great masters such as Radaelli and his pupil Barbasetti.
3.3 What weapons are used in historical fencing?
The weapons primarily used in historical fencing are the single-handed sword, longsword, sidesword, rapier, and smallsword. The weapons that we use are modern reproductions of their historical counterparts. Auxiliary weapons such as the dagger, buckler, shield, and cloak are also used.
3.4 What are single-handed sword, longsword, sidesword, rapier, and smallsword?
Single-handed sword: A weapon with a simple cross hilt, consisting of a cross-guard, grip, and large pommel, with a straight double-edged blade. Its blade has many forms, but is generally wide, tapering to a sharp point. It is a cut-and-thrust weapon.
Longsword: Also know as a hand-and-a-half sword or bastard sword. From The Complete Encyclopedia Of Arms & Weapons edited by Leonid Tarassuk and Claude Blair. "Bastard sword: A term used in the 15th and 16th centuries for a large sword with a broad double-edged blade and a long grip, which, when necessary, could accommodate both hands to wield it."
Sidesword (Italian; spada da lato) This is a civilian cut-and-thrust sword, primarily used in the 16th century. It is derived form the earlier medieval weapon, and is the precursor of the rapier. The sidesword is depicted in the works of Achille Marozzo, Camillo Aggrippa and Angelo Viggiani.
 Cuphilt rapier and shell guard dagger used for fencing. |
 Foil used for French smallsword fencing (left) and replica of mid-Eighteenth Century smallsword. |
Smallsword: From Egerton Castle's Schools and Masters of Fence: "The last form of the rapier. It usually has a triangular blade which can only be used for thrusting, and the advantage of which consists of its lightness. The hilt is simple, the guard consisting of an elliptical plate, or two shells, and a light finger guard." The smallsword was developed in 17th-century France at the time when a distinct French school of fence was also coming into being.
3.5 What are dagger, buckler, shield and cloak?
Dagger: A dagger is a type of knife (not to be confused with the hunting or any other kind of utilitarian knife) that was specifically designed for martial purposes. It has a straight, pointed, double-edged blade. During the 16th and the 17th centuries it was usually employed in conjunction with the rapier. There are two types of fencing daggers. The first is a simple cross-hilted design, usually with slightly drooping or forked quillons (which were used to catch and trap the opposing blade by a simple twist of the wrist) and an additional side ring called an anneau (sometimes mistakenly called a "thumb ring"), whose purpose was to protect the knuckles. The second form of fencing dagger is the Spanish style dagger, called a shell-guard dagger (main gauche, literally "left hand" in French), with a long double-edged blade. This weapon had a hilt which consisted of long straight quillons and a shell protecting the entire hand. It was often made en suite in the same style of the rapier it accompanied.
The daggers that we use for fencing are of the shell type, with a long, flexible blade designed specifically for fencing. This type of dagger offers the most protection for the hand.
Buckler: A small round or rectangular shaped shield held in the fist, and used in combination with the sword or rapier. Used defensively to deflect attacks, it can also be used offensively to strike the adversary.
Shield: A defensive device made of various types of material (such as wood, wicker, leather, or metal or combinations thereof) found in a variety of shapes and sizes. The most common type is carried on the left arm attached by a strap on the forearm near the elbow and held in the first by a handle.
Cloak: Also known as a cape, this is a sleeveless garment (either long or short) worn over the shoulders. A common article of dress in early modern times, it was also used as an auxiliary weapon by partly wrapping the garment over the left arm and using it defensively as a shield to deflect the attacking blade, or used offensively by throwing it over the adversary's blade to momentarily immobilize the sword, throwing it over the adversary's head to block his vision, whipping it at the adversary's face to create a distraction with the stinging impact, or beating away the adversary's sword with a whipping action.
3.6 Where can I learn more about these weapons?
See the Reference Section.
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