omsg_abrazare

8/2/2019 omsg_abrazare

1/43

AbrazareMedieval wrestling in the style of

Fiore dei Liberi

Nicholas Conway andChristopher Penney

December, 2004

Not for Resale


2/43

2004 Ottawa Medieval Sword GuildDo not copy, reproduce or cite without full acknowledgement

www.ottawasword.org


3/43

1

AbrazareNicholas Conway and Christopher Penney

Acknowledgements

This article is a product of the authors themselves, and any criticisms of the document

should be addressed to them alone. Except where noted, the following interpretations arethose of the authors- any similarity to those of other writers, persons or groups is purelycoincidental. Any such occurrence, we feel, only serves to validate our work, and the workof others who share our conclusions. That said, this work could not have been completedwithout the assistance and support of a number of individuals, both within the OttawaMedieval Sword Guild and the greater Western Martial Arts community. We would firstlike to thank the people from the Academy of European Medieval Martial Arts, in particularFree Scholler David Cvet, Free Scholler Brian McIlmoyle and Scholler Frank Williams fortheir communications concerning some of their interpretations of dei Liberis grappling.From OMSG, we would like to thank Scholler Mathieu Ravignat, whose seminar on Fioredei Liberis grappling system in Montreal in June, 2002 formed the outline of severalsections of the present paper, particularly those on footwork ad knowledge requirements.

Peter Kautz of Alliance Martial Arts kindly explained his views on the dowel plays to Mr.Conway, and they are his interpretations that we are using here. We thank Scholler AntonCvet for insights on several aspects of the manuscript. We also thank everyone at OMSG,who have assisted with trying out our ideas, and providing input throughout thedevelopment of our grappling program. Thanks to Mathieu Ravignat and Scholler JohnWoods for reading over the manuscript and providing valuable comments throughout.Unless otherwise stated, all of the images and text from the Pissani-Dossimanuscript werekindly provided by the Knights of the Wild Rose. The text was translated by HermesMichelini, and the images of the plates were cleaned up by Mich Shire.

Disclaimer

This article depicts and describes fighting techniques designed to cause severe pain andinjury. They are presented for educational and entertainment purposes only. We study thismartial system for reasons of cultural heritage and recreation, and are not responsible forthe use and mis-use of the information contained herein. Those wishing to study and trainin this fighting system should do so onlyunder the supervision and instruction of areputable, qualified instructor.

you have been warned!


4/43

2

OMSG 2004Not For Resale

Introduction

Fiore dei Liberi was an Italian weapons master from the second half of the fourteenth

century1

, noted for recording his fairly comprehensive martial system in a manuscriptentitled Flos Duellatorum, or the Flower of Battles. Since beginning to study the art of deiLiberi in the fall of 2001, we have been trying to understand his system of martial arts. Ourfirst reference work was the Academy of European Medieval Martial Arts (AEMMA) The

Art of Longsword Combat, Book 1 (Cvet 2001). We felt this work to be a good startingpoint, but if we were to understand more fully how each component of dei Liberis martialsystem contribute to the whole, we needed to look more closely at each aspect of the art.

The Pissani-Dossimanuscript is generally accepted to be the lighter version ofFlosDuellatorum. The manuscript held by the Getty Library in the United States is larger, withexpanded captions for each plate. Currently, only short portions of the Getty mansucriptare available online, for example at . We, along with manyothers, eagerly anticipate the release of the translation of this manuscript, which will surelymake obsolete many of our inferences and interpretations of the Pissani-Dossimaterial, asdiscussed in the present paper.

In light of the continued absence of the Getty manuscript from the public domain, we arepleased to release to the Western Martial Arts community an interpretation of the grapplingsection of the Pissani-Dossimanuscript. We see this not as the final word on the grapplingof Fiore dei Liberi, but as an addition to the growing body of thought concerning thismaster of later medieval hand-to-hand combat. If this document spurs any debate ordiscussion of dei Liberis work, then we will consider this article to have been a success.

This article is ordered in a manner that introduces the student to the various practical andtheoretical tools required to get started in dei Liberis martial system. Basic theoreticalconcepts as discussed by Fiore dei Liberi are covered first. Next comes an introduction toproper stances and footwork, and finally the guards, orposte, of grappling, and thetechniques that follow, as demonstrated in dei Liberis manuscript. Throughout, we haveprovided exercises to develop habits and skills to compliment the techniques as describedin the manuscript. Together, this article will hopefully provide a good introduction tomedieval grappling for those with little previous experience with medieval martial arts. Formore experienced practitioners of medieval martial arts, we hope that this article will allowothers to take a look at how we in the Ottawa Medieval Sword Guild approach thegrappling of Fiore dei Liberi, which forms the foundation of his comprehensive medieval

fighting system.

1 We do not discuss the biographical details of Fiore dei Liberi in this art icle, but historical information on Master dei Liberi(along with a variety of other medieval and later-period masters) can be found in AEMMAs The Art of Longsword Combat,Book 1 (Cvet 2001).


5/43

3


The Knowledge Requirements for Wrestling

Fiore dei Liberi states that there are seven knowledge requirements for wrestling. If you

read the prologue ofFior di Battaglia you will see that this list is somewhat confusing- it ispossible to count eight requirements depending on how you read it:

Also I say that wrestling requires seven things; which are strength, speed, knowledge, that is,knowledge of binds of advantage, knowing how to fracture, that is how to break arms and legs,knowing binds, that is how to bind arms so that the man has no defense anymore, and can not leavefreely, and knowing how to injure the most dangerous points. Also, knowing how to put someone onthe ground, without danger to himself. Also, knowing how to dislocate arms and legs in differentways. Which things I will write and draw in this book, step by step, as the art requires.(dei Liberi, c.1409, trans. Easton and Litta, 2003)

Looking at the third point (knowledge of binds of advantage, and the fifth point (bindingarms so your opponent cannot attack you), we have chosen to consider these as a singleattribute, and our list of the seven requirements are as follows:

Strength Speed Knowledge of advantageous binds Knowledge of how to dislocate arms and legs in different ways Knowledge of how to injure the vulnerable points Knowledge of how to break arms and legs Knowledge of how to put someone to the ground

To aid in understanding these requirements, dei Liberi also states that all seven

requirements are illustrated in the plays of the Masters.

Strength

Most techniques will be ineffective in a combat situation if they cannot be delivered withstrength. Although it is true that strength alone will not win a fight, a stronger person willusually win when all other attributes between two opponents are equal. Essentially, youropponent or partner will be trying to resist any technique you use. A good, strongtechnique, whether it is a strike, grab or ward will be harder for your opponent to stop.Besides the amount of weight you can lift or push, grip strength is also of vital importance.Your hands are generally the part of you that keeps you connected to your opponent.

Having the strength to maintain your grip is essential.

In addition, strength can refer to endurance. Endurance, simply put, is the ability to exertyourself for a prolonged period of time without tiring. This ability is vital, since even a fewminutes of wrestling can quickly sap your energy. Strength and technique are useless if youquickly tire- you need good cardio-vascular endurance in order to outlast youropponent(s).


6/43

4


Developing strength involves several different aspects. Of course, general strength andendurance conditioning will help you immensely. Training in light armour (such as ahauberk) can give you a good workout without greatly affecting your range of motion.Using the proper amount of resistance when training with a partner is also an importantaspect of strength training (see Speed, below).

Speed

Speed can be seen in more than one way. Physical quickness, the ability to move quickerthan your opponent, is obvious. Mental quickness is also important in any combatsituation. One must mentally be able to quickly understand the constantly changingposition of the fight, and adapt their focus and attention to where it is needed. Once anadvantageous position has been seen, one must have the quickness of reflex andmovement to strike in time.

Exercise: One of the most important ways of developing quickness can be practised while drilling,either on your own or with a partner. When practising a given technique, start slowly, making sure to

maintain proper form and control. As you get more comfortable, try to gradually speed up, makingsure that you continue to use proper technique. When practising two-person drills, you can graduallyincrease the speed and strength that you use as your partner increases their resistance at the samepace. It is very important that you increase the speed slowly, as most people have the tendency toquickly speed up to the point where technique and form deteriorate. What you are trying to develophere are the speed of your hand, hand-eye co-ordination, and your arm and hand strength. Theseattributes are vital, as the action of the hand is the fastest movement you can make, and is generallythe first movement you make in attack or defence. If you train correctly in this manner, you shouldnot be taken off-guard by the increased intensity of free play or sparring (or indeed, a real fight).

Advantageous Binds

Besides being able to strike or grab quickly and with strength, knowledge of where and

how to grab or hold you opponent is of vital importance. A poorly placed grab can easilybe countered by our opponent, and will likely leave you in a vulnerable position. A well-placed grab should give you good control of your opponents position and movement,while restricting their opportunities to counter your attack.

It is clear from looking at Flos Duellatorum that Fiore dei Liberi had an excellent commandof advantageous grabs and pushes. Carefully applying grabs and holds as they areillustrated in the manuscript will help you learn the proper technique to grab youropponent.

It is illustrative to note that the human body is composed of natural handles. Thesehandles provide the best means of grabbing your opponent. All the grabs in Flos

Duellatorum will use one or more of these handles. With a partner, learn how to use thesehandles, and look for them in the plates (Ravignat 2002).

The handles:The hair The kidneysThe ears The hipsThe nose The bicepsThe forehead ridge The triceps


7/43

5


The chin The elbowsThe sides of the neck The wristsThe shoulders The upper kneeThe pectorals The lower kneeThe latimus The ankles(Ravignat 2002)

Dislocating Arms and Legs

The dislocation of arms and legs progresses naturally from advantageous binds and holds.Dislocations in Flos Duellatorum generally focus on the elbow (from an arm bar) and theshoulder (from a key-lock, explained below). Dislocating a leg joint (particularly the hip)can be extremely difficult, and it is hard to see how any of the grappling plays show amethod for dislocating the leg. Grabbing the leg (see Plate 7) can lead to tearing andstraining ligaments in the groin area, but this would seem to be the most damage to thelegs one can produce from the grappling plays. It is important, however, to note that manyof the techniques for dislocating joints and tearing ligaments can also cause pain without

causing damage. These techniques, to be illustrated later, can be used as paincompliance holds.

Fiore de Liberi makes a similar distinction. He divides holds intoprese di amor(holds oflove), andprese di battaglia (holds of war). Holds of love are those that cause less damage,and can, with care, be used in most training and sparring situations. Holds for war mighttoday be called holds of self-defence. We learn and train these techniques for academicpurposes only.

In general, tyings and holds involve applying force to the joints of the body. Generallyspeaking, there are seven major and ten minor joints.

Major Joints:The vertebrae The hipsThe shoulders The kneesThe elbows The anklesThe wrists

Minor Joints:The ten fingers

These tyings and holds work based on the principle that the body does not toleratecountersense. Joints are designed to bend in a particular way- forcing them to move either

in the opposite direction or beyond the normal range of motion for the joint is unnaturaland painful. Learn the countersense to these joints. In general, to control someone youmust have control of at least two joints, but three is best. Keep in mind that many tyingsand holds can be used to grab your opponent, but not all holds will produce pain on the

joints or ligaments. Also, some joints are very hard to dislocate, such as the vertebrae orthe hip joint. Others, such as the elbow or shoulder, are much easier to damage (Ravignat2002). Always use extreme caution when learning these holds, and develop your sense ofcontrol along with your command of the technique.


8/43

6


The most common tyings used by Fiore dei Liberi are the arm bar and the key lock. An armbar is created whenever a persons elbow joint is hyper extended, and their opponentapplies force to the elbow (counter to the natural range of movement of the joint). A goodexample of an arm bar is seen in Plate 6, which will be explained below. A key lock is ahold where a persons forearm is bent at or around 90 to their upper arm, and iswrenched away from the body, putting a great deal of strain on the shoulder.Depending on how this lock is applied, it is called an Upper Key (Soprano), Middle Key(Mezzana) or Lower Key (Sottani). All three of these variations can be seen in FlosDuellatorum, though only the lower key is mentioned in the grappling.

Injuring the Vulnerable Points

Any strong blow to the body will cause pain, but the most efficient way to cause pain is totarget the bodies vulnerable areas. These are generally soft targets, and can be struck withthe fist, palm, fingers, elbows knees or feet. The general axiom to remember is that thebody is less vulnerable on the outside, and more vulnerable on the inside. For example,

the skin on the inside of the arm or leg is more sensitive, and can be quite painful ifgrabbed. A similar grab to the outside of the arm or leg will be less painful. Many of theinside parts of the body also contain nerve clusters and major blood vessels, such as thegroin, neck, or armpit (Ravignat 2002).

Dei Liberi mentions that the most sensitive points of the body to target are the eyes, thenose, in the temples, under the chin (referring to the throat?), and the hips (groin?)

Other sensitive points of the body are:Below the ear Inside of the armsThe neck The flanks

The solar plexus The kneeThe armpit The inside of the legsThe top of the foot The inside of the knee(Ravignat 2002)

The alert student will notice that Fiore dei Liberi frequently targets these areas in hismanuscript. Knowing the bodies sensitive points will help you recognize this, and will aidin learning the techniques.

Breaking Arms and Legs

Breaking the arms and legs can be difficult. Bone is very hard to break, and it is for this

reason that most attacks target the joints and ligaments. There are no techniques in thegrappling plates that appear to be able to break arms or legs.

One possibility is that breaking does not literally mean breaking the long bones of the armsand legs, but rather the knee or elbow joints. We have already looked at arm bars and howthey can damage the elbow, but we looked at this in terms of a dislocation. Perhaps deiLiberi considered key locks to result in a dislocation of the shoulder, but arm bars wereconsidered to break the elbow. To compliment this, there are plays in the longsword


9/43

7


section of the manuscript that illustrate a kick to your opponents knee. Perhaps this wouldbe considered breaking a leg.

Putting Someone to the Ground

Many of the holds in Flos Duellatorum result in a takedown to the ground as their logicalconclusion.

Being able to ground your opponent will put you at a definite advantage- provided you areable to maintain an advantageous position over your opponent (literally!) By throwingsomeone to the ground without control you expose yourself to the chance that you will bedragged to the ground along with your opponent. The best way to take your opponent tothe ground is to use focused pressure to break their centre of balance (using yourknowledge of the bodys natural countersense) and guide them to the ground with control,finishing in a proper balanced position (usually a position known as iron gate, orporta diferro, which we will cover shortly). Taking someone to the ground with control has thedouble advantage of often being gentle on your partner as well as being good martial

technique.

Breaking your opponents centre of balance will be much easier if you use correct foot andleg placement, using the leverage you gain to take them to the ground. Carefulexamination of the plates will illustrate where the Masters place their feet in relation totheir opponents.

Note: There are several takedowns that cause your opponent to hit the ground quite heavily, andshould never be attempted, even with floor mats. In other cases, you should always perform thesetakedowns over padded floor mats or outdoors on grass. The ideal situation is to perform thesetakedowns only under the supervision of a trained martial artist, with knowledge of how to safely falland roll out of these manoeuvres.

Other Requirements

In addition to these requirements, dei Liberi states that we must also observe our opponentand judge several factors:

His Strength

This refers to his physical strength, as discussed above, but it can also include his strengthof will, and endurance (physical and mental). Clearly it is advantageous to fight someonewho is not a strong as you.

His Size

Size is somewhat related to strength, though not everyone who is large is necessarilystrong. The size of your opponent in relation to you will influence the techniques youshould use. It will be difficult for a tall person to grab the leg of a shorter person. Likewise,a thin person will find it difficult to throw a large person without a lot of strategicallyplaced leverage. Such a person would be well advised not to try to stand in close and try torely on his strength.


10/43

8


His Age

The age of your opponent can give good clues as to how they will fight. Youngeradversaries will tend to be in better shape, and will have greater endurance than an older

person. Younger people will also tend to be reckless and more aggressive. Olderopponents may not be in as good shape, but they tend to be crafty and inventive, based ontheir greater experience. They may also tend not to be so hot-blooded, but more patient,conserving their energy until they spot an opportunity. Whereas younger people tend torely on their strength and vigour, older people tend to rely on their technique.

Whether He Uses the Guards (his technique)

This may seem quite simple at first glance- it is better to fight someone who does not havegood technique than someone with training. There are other considerations, however, thatone should always keep in mind. Firstly, just because a person does not have arecognizable technique does not mean that they are not an experienced fighter. Speed,

strength, a cool head and determination can go a long way, even against a trained martialartist. In addition, new and inexperienced combatants can and will act in totallyunexpected ways, and do unorthodox things that can take even an experienced fighter off-guard. Although someone with a similar training to your own will know what you mightlikely do, you also know what he might do, which can tend to balance things out.


11/43

9


Footwork

Footwork is the foundation of the entire art. Without proper footwork movement is

restricted, and balance is compromised. Although dei Liberi does not write at any lengthabout footwork in Flos Duellatorum, proper foot placement are definitely a major part ofhis grappling technique, and is a necessary component of any complete training program.We are including the following basic information, which has been inferred from themanuscript as a whole. This should serve as a basis for further study of dei Liberis martialsystem.

Stance

The stance is the initial position of the feet, where every step or technique should beginand end. There are two stances, though they are simply the opposite of one another. Theseare called the forward and reverse stances. For the forward stance the right foot ispositioned ahead of the other, and the toe points a little to the left of the opponent. The lefttrailing leg is not positioned directly behind the right, but just to the left. The rule of thumbis that if a straight line was drawn on the ground towards the opponent your feet would beon either side of the line (see figure below). For a reverse stance, the left foot leads with theright foot trailing. The knees should be slightly bent at all times.

Forward Stance (right) and Reverse Stance (left)

Steps

There are two basic steps- the passing step and the gathered step. In a passing step yourfeet will pass each other, so that your stance will change. For example, from a forwardstance, step forward with your trailing left foot so that you are in a reverse stance. Youcould also step back with your right foot, finishing again in a reverse stance. Be sure tocorrect your stationary foot with a small pivot so that your feet are positioned as they


12/43

10


should be. This is essentially a normal walking step that you take, remembering tomaintain the width of your stance, so that your feet are not directly in line.

Passing Step, from reverse to a forward stance

Exercise: Practise passing steps, backwards and forwards. Remember that the length of your strideshould not be significantly different than your regular walking stride. Stop and look at your stanceevery few steps- make sure that your feet stay a little further apart than when you normally step, sothat your stance is not too narrow.

In a gathered step you finish in the same stance that you begin. To do this, move one foot

in the direction you want to travel, but only to a maximum of about a foot-length, thenmove your other foot by the same amount, in order to maintain a correct stance.

There are two kinds of gathered steps. In the first case, step forward with your leading foot(i.e. the front foot if you are moving forwards, the rear foot if youre moving backwards)followed with the trailing foot. This is known as a committed gathered step. This isbecause at the midpoint of this step your feet are wider than a normal stance, and youhave to shift your weight in the direction of travel, which makes it relatively difficult toreturn to your starting point. The other step is the non-committed gathered step. This iswhere the trailing foot is moved towards the leading foot, before the leading foot is moved.In a non-committed gathered step, the feet are close together at mid-step, with the weightcentered. From this position, is it just as easy to return to the original position as it is to

complete the step.


13/43

11


Gathered steps forward: Committed (left) and Non-committed (right)

There are advantages and disadvantages to each step. The advantage of the non-committedgathered step is obvious: it allows you to return easily to your original position if you wishto do so. It is, however, slower than a committed gathered step. As your body shifts towhere you want to move to with the first step, it is easier to make a sideways movement toavoid an incoming attack with a committed gathered step.

Exercise: Practise stepping with committed and non-committed gathered steps, forwards andbackwards. Remember not to step so far that you have difficulty shifting your weight in a controlledmanner, or move your feet too close together that your balance is compromised. This is most likely tooccur as you start to step faster. At the end of every step your stance should be identical to yourstarting position. As you get comfortable taking gathered steps increase your speed, but do not go sofast that you cannot maintain good form and foot distance.


14/43

12


Direction

From a starting stance, the direction of movement can be divided into eight directions,corresponding to the four cardinal and four ordinal directions of the compass (Ravignat2001).

The 8 basic directions of movement

Forwards and backwards steps have been discussed already. The other directions employ a

traverse, or side step. This is a step where you move in any direction other than straightforwards or backwards. These may be forwards or backwards on an angle, or straight to theside. To take these steps, you use either a passing or gathered step in the desired directionof movement. Whether you use a passing or gathered step, however, will largely dependon the situation, and the stance you are in. As a general rule, however, the first foot youmove should be the one on the side you are moving to (i.e. move your left foot first if youare moving to the left, and your right foot first if you are moving to the right). The followingdiagrams illustrate traverse steps to either side, executed from a forward stance.


15/43

13


Traverse step to the right, using a committed gathered step forward and to the right

Stepping off-line to the left, using a passing step

Exercise: From a starting stance, step to all eight directions that you can move to. For passing steps,see how many you can do while keeping your forward foot stationary, and see how many you can do

while keeping your rear foot stationary. From each stance, some steps will be better if done with apassing step- others will require a gathered step. Figure out which steps feel best in different situations(dont forget committed and non-committed gathered steps!) Make sure you practice this drill fromboth a forward and reverse stance (Ravignat 2002).


16/43

14


Stepping Off-line

Stepping forwards and backwards are used primarily for changing or correcting distance.When attacking or defending, it is more advantageous to step to either side. This is knownas stepping off-line. Stepping off-line uses a traverse step to change ones orientation to an

opponent.

Stepping off-line in relation to an opponent, stepping forward and to the right

In a starting position when two people begin an engagement, they are typically facing oneanother- from whatever stance you are in, your opponent will be directly in front of you.All attacks in this case come directly from the front. This is the expected attack if bothopponents are trained only to step forwards and backwards. Stepping off-line candrastically change the character of the fight. It should be noted that in grappling one tendsto step in towards their opponent, and not off-line as often as when using weapons. Wefeel that stepping off-line is a foundational skill, however, and it is important to train it as abasic component of footwork. Stepping straight into your opponent should be theexception, and not the rule, and saved mostly for when using grappling techniques.

Stepping off-line as a defender is designed to move you out of the line of attack. If you canmove out of the way of the attack you can devote little to no energy or attention toparrying the attack, allowing you to counter attack without worrying about your opponentsactions. As an attacker, stepping off-line will change the direction from which your attackcomes. The defender is then obligated to deal with this change in direction. A skilledopponent would then attempt to step off-line from your attack, leading to a fight that takesplace in a circular motion, rather than one where combatants move backwards andforwards as they defend and attack.


17/43

15


Execise: Practice stepping off-line in relation to either a real or imagined training partner. As a solodrill, assume a forward or reverse stance in front of an object to simulate an opponent standing infront of you. Take a traverse step forwards, either to the left or right, adjusting your stance so that youcontinually face directly towards your opponent. As a two-person drill, one partner can steptowards the other with a forward passing step, allowing the other to step off-line. As you getcomfortable moving to either side from both a forward and reverse stance, the attacking partner canbegin stepping towards the defending partner in an off-line manner. Help each other learn whichsteps seem to work best in different situations, which steps are quicker to take, and which steps placeyou in the most advantageous position (i.e. as far around to the side of your partner as possible.)

Note: Although stepping off-line can occur backwards or straight to the side, concentrate on steppingforward. Stepping forward allows a defender to maintain close enough distance to attack theiropponent- stepping away is too defensive. Also, stepping backward is the most common instinctivestep that an inexperienced fighter would take- try to break the habit!


18/43

16


The Four Masters of dei Liberis Martial System

Flos Duellatorum explains the techniques and counter-techniques of Fiore dei Liberis

martial system by employing a series of Masters and Schollers (1409, trans Easton and Litta,2003). These Masters work sequentially, each opposing the technique of the previousMaster. After the First Master demonstrates the guards, orposte, the Remedy Masterdemonstrates a defensive technique. His Schollers demonstrate one or more applications,which continue from the initial Masters technique. These Schollers illustrate a series oftechniques until they are defeated by the Contrary Master, or Third Master, who may ormay not be followed by Schollers demonstrating his applications. There is also a FourthMaster, known as the Contra-contrary Master. Dei Liberi states that few plays reach thisstage (dei Liberi, 1409, trans Easton and Litta, 2003). There are no techniques of the FourthMaster in grappling. When looking through the manuscript, do not think of these fourMasters as figures or individual illustrations, but rather as layers to the fight, eachrepresenting a technique to counter the one that preceded it.

To understand how this system of Masters works, imagine two combatants. The player A,who makes the first attack towards the other, would use one of the techniques of the FirstMaster. If player B cannot mount a suitable defense, player A would win the engagement.To remedy the attack of player A, player B him would himself take action to block theattack, and counter-attack in turn. This block and counter attack would be the technique ofthe Second Master, known as the Remedy Master. If player A was quick enough, he couldmodify his action from his initial attack (which has been blocked by player B) and try to getaround the counter attack of player B. This counter-to-the-counter is the play of the ThirdMaster, or Contrary Master. It is even possible for player B to counter this attack- this finalplay would be known as the Contra-Contrary Master, or the Fourth Master.

Each of the Four Masters can be distinguished from the others as follows: The First Master wears a crown. He stands by himself and demonstrates the starting

guards. The Remedy Master (Second Master) also wears a crown, but he is shown applying

a defensive technique to a player who does not wear any distinguishing marks. TheSchollers of this Master wear a leg band.

The Contrary Master (Third Master) wears a leg band and a crown. The player whoopposes him does not wear any distinguishing marks, but will be using a techniquethat was previously demonstrated by the Remedy Master or one of his Schollers.Like those of the Remedy Master, the Schollers of the Contrary Master also wear aleg band.

The Contra-contrary Master (Fourth Master) also wears a crown and leg band. Theplayer who opposes him does not wear any distinguishing marks, but will be usinga technique that was previously demonstrated by the Contrary Master or one of hisSchollers.

It should be noted that the Schollers of the different Masters cannot be distinguished fromone another by their markings. The Contrary Master and the Contra-contrary Master alsowear the same markings. However, if you study the plates sequentially, you will note how


19/43

17


the Masters are named based on the techniques they use, and the techniques of the playerswho oppose them. For every plate, we have indicated which Master technique is shown.The opposing player will always be using a technique of the previous Master (i.e. if a plateis titled as the technique of the Contrary Master or Third Master, the player opposing himwill be using the technique of the Second Master, or Remedy Master).

The Guards of the First Master of Grappling

The First Master of Grappling can be identified by the crown without a leg band. Theplates of the First Master demonstrate the guards, orposte, from which all attacks anddefences are made. There are fourposte in grappling- two matched opposing pairs. Theyare not named in the Pissani-Dossiversion, but the Getty Manuscript lists the four asfollows:

Posta Longa (Long Guard)...Dente di Zenchiar(Boars Tooth)

Porta di Ferro (Iron Gate).Posta Frontale (Front Guard)(dei Liberi, 1409, trans Easton and Litta, 2003)

The relation of theposte to each other is illustrated in how one is used to counter the holdsof the other in the plays of the manuscript. It is important to note that the next Master (theSecond, or Remedy Master) counters the attacks based on theseposte, but he also usesthese same fourposte. Before this, it is important to learn them individually, and learn howto move between them using proper footwork and technique.

Plate 1The First Guard of the First Master

Im ready to gain my holds,If I dont trick you, youll have a deal

Posta Longa (Long Guard)

From the forward stance, the right arm is extended, palm facing inward with the thumbpointing up. The elbow must NOT be locked, and the arm must be in line with the leadingleg and the elbow above the knee. The trailing left hand should be positioned to the side ofthe body, in line with the groin but positioned far enough to the side that a straightdownward motion of the arm will clear the trailing leg.


20/43

18


Posta longa has the longest reach of all the guards. Reach can be extended by turning thehips, so that the hips and torso face to the side. The will lengthen the distance the leadinghand can reach, though it will also decrease the ability of the trailing hand to assist, thefurther the hips are turned. Another way to extend your reach is to shift your weightforward onto your leading foot (though you should never lean forward with your body,where you can easily be pulled off balance). Posta longa is the guard from which the firstseries of attacks (see plates 5-7) are based. In an alternate translation of the verse, the firstline reads: I make an opening for me to earn a hold (dei Liberi, 1410, trans. Cvet, 2001).This suggests that the holds are achieved by usingposta longa, but the holds themselvesare expressions of anotherposta. Posta longa can also be used as a strike, either with theheel of the hand, or with a closed fist, though this is not explicitly demonstrated in theplates. It is also used as a takedown manoeuvre (see Plates 7 and 8)

Exercise: Practiseposta longa from both a forward and reverse stance, using passing and gatheredsteps. To transfer your stance through a passing step, it is imperative to use a smooth arm motion incombination with the step. As you step forward from a forward stance, pull your right hand down andtowards you as you extend your left hand. This hand should move in a slight upwards motion, and

should be quick and powerful, as if you were striking something with your open palm. Concentrateon moving as smoothly and fluidly as possible, maintaining proper form while remaining relaxed.

Plate 2The Second Guard of the First Master

I try to change my fight,And with this one I'll throw you to the ground.

Dente di Zenchiar(Boars Tooth)

As the verse implies, this is a dynamicposta whose movement is reminiscent of theupward stabbing action of a boars tusks. Although it is also a strong position in which tohold an opponent via a neck and hip grab (see Plate 8), its primary purpose is its powerfulupward action, whether it is used to ward an attack, knock an opponent off balance, or tothrow an uppercut punch (sometimes all three at once!) The first play of the SecondMaster of grappling (Plate 5) demonstrates how dente di zenchiarcan be used to attack theelbow of the extended arm of an attacker usingposta longa.


21/43

19


To form dente di zenchiarthe leading arm is bent at around a 90 angle, and the upperarm is held horizontal, roughly parallel to the ground. The upper arm should point towardsthe opponent, and the hand and forearm should point upwards. The trailing hand staysdown to protect the groin, but is positioned far enough to the side that a straight downwardmotion of the arm will clear the trailing leg.

Exercise: Begin with dente di zenichar, transferring between the forward and reverse stance.Remember that your leading hand should pull down when you step, as your trailing hand strikesupward. Your arm movements should not be too tense, but it should be swift and deliberate. Whenyou are comfortable with this, addposta longa. Work between the twoposte, moving backwards andforwards.

Plate 3The Third Guard of the First Master

If you won't beat me with your cunning, I believeThat with my strength I'll hurt you, and worse.

Porta di Ferro (Iron Gate)

Based on the name of theposta, and the accompanying verse, this is a strong position tohold. Indeed, many of the holds used by the attacking players in the grappling plates arebased onporta di ferro.

Inporta di ferro both hands are placed palm facing down at approximately waist height.The right hand is in front of the groin and in line with the knee. The trailing left handshould be positioned to the side of the body, in line with the groin but positioned farenough to the side that a straight downward motion of the arm will clear the trailing leg.Perhaps more so than other poste, the Master appears to have his knees bent and hisweight sunk down. Where dente di zenchiaris a guard of movement,porta di ferro is aguard of stability and inertia. Thats not to say that this guard cannot be used in varioustransitional techniques, but it is commonly found as the finalposta in a technique whenyou have taken an opponent to the ground. More immediately, it is theposta on which thelow holds, either grabbing the belt, or holding your opponent around the lower back, arebased (see Plates 9, 16 and 17).


22/43

20


Exercise: Incorporateporta di ferro into yourposta drills, moving through all three. As you getcomfortable with the movements, begin to use off-line steps. Instead of moving straight back andforth, you should be able to move in any direction, while at the same time moving fromposta toposta.

Plate 4

The Fourth Guard of the First Master

I come forth with my arms well forwardTo gain my holds in any way I can.

Posta Frontale (Frontal Guard)

Inposta frontale both hands are raised to head height, palms facing slightly forward withthumbs up and are around 6 to 12 inches apart. The arms are roughly in line with the legs.The right elbow is above the right knee and the left hand is off to the side but still in linewith the right knee.

Posta frontale is a guard that emphasizes distance. Whereporta di ferro is low,postafrontale is high. In a close grappling situation, posta frontale can be used to push an

opponent up and away, upsetting their hold and their balance. Examples of this can beseen in the Remedy plays of the Second Master against holds based on porta di ferro (seePlates 9 and 17 below).

Exercise: You now know the four Master Guards of grappling. Be sure to practice all combinationswhile using all eight directions of movement. You actions must be deliberate, but smooth and relaxed.You will notice that certain combinations ofposte work better than others. Whileposta longa anddente di zenchiarcan work as jabs from a gathered step, they both get their power from a strongmovement via a passing step. Porta di ferro and posta frontale work well in combination as asweeping and blocking motion, starting inporta di ferro as you take a passing step forward, bringingyour hands up intoposta frontale and back down intoporta di ferro on the other side.

Strikes and Blocks in Grappling

Looking at the techniques described by Fiore dei Liberi, one will notice that there are nosystem of open-handed strikes (i.e. punches) and blocks described in Flos Duellatorum.Although throwing and blocking punches or other strikes with the hands or elbows arenecessary components of any system of hand-to-hand combat, dei LiberisAbrazare is justthat- a series of wrestling or grappling techniques. Some practitioners may choose to addstrikes and blocks to make a more complete system. This section on strikes and blocks


23/43

21


outlines some of our ideas of using theposte in this manner, but it should be recognizedthat this is not taken from the grappling section of the manuscript.

Several of the following drills are adapted from techniques described in the Daga, ordagger section ofFlos Duellatorum. We are including several of these here for the sake ofconvenience. The best method of developing a program of unarmed fighting is to study thedagger plates, and adapt them yourself, once you have a good knowledge of how thesetechniques work in their original form. This, we believe, is how the manuscript should beused.

Posta vs Posta

As discussed in the previous section, the fourposte can be viewed as two matched pairs-posta longa / dente di zenchiarand porta di ferro / posta frontale.

Posta Longa vs Dente di Zenchiar

Posta longa, with its superior reach, is an ideal strikingposta. Either as a palm strike or apunch, one can either jab with the leading arm, or step through to strike with power. Thispunch can be blocked, however, using dente di zenchiar.

Exercise: Both combatants stand facing each other. The Attacker, who is going to remain motionless,adoptsposta longa in a forward (right foot leading) stance, with his hand aimed at the defenders faceas if he were striking or grabbing the Defender. The Defender assumes a reverse stance, starting inporta di ferro, but positions himself so that the Attackers hand is around one inch from his face. Fromthis position the Defender deploys dente di zenchiaras a cover or block, shooting his left handupwards in a crescent shape, moving from the inside (his right) to the outside (his left). Because the

attacking hand is so close to his face, he must use a true time 2 defense (move his hand first). To assistthe ward, the Defender may pivot on his front foot, taking a small traverse step to the right with hisrear foot, so that he moves out of the direct line of the attack. If he uses a false time defense and

merely moves by taking a step forward he will run into the hand, or if he steps back he will be in sucha position that he cannot apply a counter or play. Both situations are considered failures of technique.For a correct true time defense, his hands must first come up to clear the attackers hands, and in doingso neutralize his attack. He can then step and employ a counter-technique, such as a palm strike oruppercut to the Attackers face, using dente di zenchiar.

Posta Frontale vs Porta di Ferro

We are going to look at how to useporta di ferro to defend against an attacker usingpostafrontale, in a different manner than demonstrated in the grappling plates. Posta frontale, asthe description implies, is a goodposta for grabbing or trying to hold your opponent. Inresponse,porta di ferro becomes the beginning and end of a sweeping manoeuvre which

can clear an opponents attempt to grab, and counter with a hold of your own. In theexercise following, an attempted grab will be blocked usingporta di ferro and will finish in2True and False time refers to the works of George Silver, a swordsman of the late Sixteenth century. Hedivided timing into two categories, True and False times. In this context, True Time involves moving the handsto ward an attack before stepping in, as the hands move more quickly than the body. A False Time defencewould involve using your feet or body before using your hands, such as by ducking or stepping back from anattack. These are named True and False Times because True Time is considered a superior method ofdefending yourself. For more information on True and False times see Paradoxes of Defence, by George Silver(1599), which can be found on the AEMMA website at .


24/43

22


an arm bar. Please note that we are suggesting that this defence can be used against anattack fromposta frontale, but it can also be used against an attack based on posta longa.This technique as described forms the foundation of a dagger defence, as the plate belowillustrates. This technique is also demonstrated when using a sword in one hand, andelsewhere in the manuscript. This technique, first shown in the dagger section, andrepeated throughout Flos Duellatorum, can be demonstrated using the guards of grappling.

The Fifteenth Play of the Second Master of dagger

Exercise: Both partners stand facing each other, as in the above exercise. The Attacker, againremaining motionless in a forward stance, assumesposta frontale. The Defender also stands in aforward stance, near enough to the Attacker that his outstretched hands are about one inch fromgrabbing his neck or shoulders. The Defender assumesporta di ferro. The Defender clears the arms ofthe Attacker by sweeping his arms upwards in a clockwise motion. The first contact should be theDefenders right forearm against the Attackers right wrist (use the outside edge or back of your wrist tostrike). The Defender continues his sweeping motion down and to the right, but as soon as he strikesthe Attackers arm, he grabs the wrist with his right hand, and strikes the Attackers right elbow with hisleft hand. The Defender then takes a passing step forward so that his left leg is in between theAttackers legs, and his left hip pushes against the Attacker. Pulling the Attacker off-balance by thewrist, the Defender can then put light pressure on the Attackers elbow. This technique should finish

looking similar to the above illustration.

This exercise and the previous one are shown as static drills, in that the attacking partner does notmove. Once you are able to perform these drills smoothly, the Attacker can begin a step back fromthe Defender, and slowly step forward to attack. You can gradually increase the speed and theAttackers resistance as both partners become more comfortable with the manoeuvre. Dont forget todrill these from both sides (i.e. starting in both a forward and reverse stance). In addition, you canexperiment with usingposte in different combinations, for example, usingposta longa as a strike fromdistance to defend against a person trying to punch using dente di zenchiar.


25/43

23


The Plays of the Remedy and Contrary Masters of Grappling

So far, we have looked at basic techniques (strikes and blocks) that derive from the four

Guard Masters. We will now look at the applications in Fiore dei Liberis martial system.As stated above, the attacks initiated towards the Masters and their Schollers are based ontheposte, whose remedy and contrary plays are likewise based on theposte. As statedabove, the four Master Poste form two matched pairs. These pairs oppose each other, andform the basis for most of the plays.

Posta Longa vs Dente di Zenchiar

Plate 5The First Play of the Second Master (Remedy)

With this hold I'll throw you to the ground,Or else I'll dislocate your left arm.

The Attacker

The attacks used against the Second Master (Remedy) or his Schollers are not explained bydei Liberi in the manuscript, but are implied by the First Masters (i.e. the poste). The firstattack used here is a neck and elbow grab, based onposta longa. Starting from a forwardstance, the Attacker takes a passing step forward, placing his left leg between the Mastersfeet. He reaches out with his left hand to grab the Master by the neck, while at the sametime grabbing for the Masters left hip, using his belt (or left elbow) with his lower righthand.

Although it is true that the Remedy performed by the Master and his Schollers invariablydefeats this attack, it should not be thought of as a straw man (i.e. a hold that is destinedto fail.) Once the Attacker has grabbed the Master, he would likely try to pull him towardshimself, moving into dente di zenchiar. Using his hand on the Masters elbow or hip topull the Master off-balance, the Attacker would then take him down, using his right handto help pull the Master down and to his right.


26/43

24


The Master

In response to the action of the Attacker, the Master checks the Attackers right hand withhis left by pushing it away at the elbow. The Master then strikes the Attackers left elbowwith his right hand (dente di zenchiar). This strike should hit the elbow directly in-line withthe point of the elbow and the natural plane of movement of the elbow joint. While it iseasier to get power by striking with dente di zenchiarfrom a passing step, the Master inthis case can shift his weight forward and turn his hips to add power to the strike.

The concept to be learned here is to attack the elbow of an extended arm (posta longa)when one is presented to you. If the Attackers arm is straight when it receives this strike, itcould dislocate the elbow. If not, a good, strong strike should still cause a considerableamount of pain, and momentarily stop the Attacker from continuing his action. This loss ofmomentum on the part of the Attacker is what the Master will use to take him to theground. It is from this point that the next three plays (Plates 6-8) continue.

Exercise: With a partner, slowly practice these techniques. While one person plays the part of the

attacking player, the other practices the Master technique. The Attacker should move slowly at firstand offer no resistance, but allow their training partner to learn the techniques. Run through thetechnique five times and then switch roles. As you get better and smoother you can slowly increasethe speed, but be careful not to increase resistance to the point that control is lost and the risk ofinjury is increased. It is always preferable to learn and train these techniques under the supervision ofan experienced martial artist. Once you get comfortable with each technique, you can reverse stancesand practice them from the other side.

As you learn more techniques you can practice them together (i.e. practice how the first technique ofthe Second master can be continued with the techniques of the second, third and fourth plays of theSecond Master).

Plate 6The Second Play of the Second Master (Remedy)

With your mouth I'll make you kiss the ground,Or I'll make you enter in the key below.

This is a continuation of the First Play of the Second Master (Plate 5). The verse implies thatthe Scholler has a choice of two different techniques to apply, either taking the Attackerdown face first, or applying a lower key-lock. Our interpretation is that the arm-bartakedown is the primary technique that the Scholler would attempt, and that the key-lockis the secondary technique to be used if required.


27/43

25


Having struck but not broken the Attackers left elbow using dente di zenchiar, the Masterthen applies an arm bar, using his right shoulder to hold the Attackers left arm. To do this,he uses the heel of his right hand to turn the Attackers left elbow around in a counter-clockwise motion, so that it is pointing straight upwards. The Scholler then slides his rightarm over the Attackers left, applying an arm bar, with the arm supported on the Schollersright shoulder. The Scholler can hold the Attackers wrist in place with his left hand ifnecessary.

If properly applied, the Scholler lets go of the Attackers wrist, and grabs his own right wrist.Pivoting on his left foot, the Scholler can turn and step back with his right foot, so that he isnow facing away from his starting position. With little difficulty he can then take theAttacker face first to the ground alongside his right foot.

Variation For Love: This arm bar can be applied in situations of free play with much less risk of injuryto the attacking player if the person performing the Master technique does not turn and step asdescribed above. He can instead hold the Attacker in the arm bar, perhaps by grabbing the Attackersleft wrist with his own left hand, and holding the Attacker in a pain compliance hold.

There are several reasons why this technique might not be successful. The Attackers armmight slip off the Schollers right shoulder, or the Attacker might be able to bend his elbowas the Scholler is turning his arm over. It is in this case that the Scholler would apply thelower key lock.

As soon as the Scholler realizes that the arm bar takedown will not be successful he grabsthe Attackers upper arm above the elbow with his right hand, while simultaneouslypushing the Attackers left wrist down and to the left, applying a lower key lock. Ifsuccessfully applied, the Scholler should be holding the Attacker in a key lock using hisright hand alone. This hold is repeated in the dagger section of the manuscript, and isillustrated using the Scholler's left hand to apply the key lock.

Applying a lower key lock

To maintain and strengthen the key lock the Scholler keeps the Attackers wrist close to hisstomach or chest, while pushing the elbow away from him. Strongly applied, this holdcould dislocate the Attackers shoulder, cause him to lose his footing and fall face first tothe ground, or both.


28/43

26


Plate 7The Third Play of the Second Master (Remedy)

I'll make you fall to the ground on your backAnd I won't let you get up without pain.

This is a continuation of the First Play of the Second Master (Plate 5). As the Scholler strikesthe Attackers elbow, the Attacker tries to withdraw his left arm from this strike, avoiding

the arm bar. As the Attacker tries to pull away, the Scholler moves forward, deployingposta longa as he strikes the Attacker in the chin, jaw or neck. Sinking his weight, he grabsthe Attackers leading (left) leg. Although it is possible to use the lifted leg to throw theAttacker into his back, this may not be the most effective technique, and it does not appearto be what is depicted in the plates. A better technique would be for the Scholler to leanback onto his left leg, pulling the Attackers leg and body forward. This will pull theAttacker badly off balance, possibly straining his groin or damaging his knee (Charron2002). The Scholler can then complete the manoeuvre by throwing the Attacker to theground in front of him, finishing inporta di ferro. To inflict maximum damage, the Schollerwill continue to hold the Attackers leg, ensuring that he falls to the ground head first. Avariation For Love would be to throw the Attacker to the ground without the groin stretch

and by letting go of the leg as soon as the Attacker is off-balance.


29/43

27


Dente di Zenchiar vs Posta Longa

Plate 8The Fourth Play of the Second Master (Remedy)

Even if you were a master of wrestling,I would throw you to the ground with this hold.

This is a continuation of the first play of the Second Master (Plate 5). As indicated in theverse, the Attacker has been successful in applying the hold of the First Master (i.e. theholds implied from theposte, in this caseposta longa) on the Scholler. It is our belief thatholding an opponent with a straight arm is not particularly good martial technique. We feelthat the Attacker would likely try to pull the Scholler in closer to him with dente dizenchiarin preparation for an attempted throw. All is not lost, however, and the Schollercan still remedy the technique of the First Master. He will use posta longa to hold theattacker away from him, and take him to the ground.

The Attacker takes a passing step and applies a neck and hip hold. Even if the Attacker isbraced against the elbow strike, the Scholler can continue by deployingposta longa,

striking the Attacker in the chin or jaw. At the same time he checks the Attackers righthand with his left, and pins it to the Attackers side, either by pressing the whole arm in orgrabbing the elbow. The Scholler meanwhile continues to push the Attacker away fromhim using the chin, grabbing it with his right hand, so that his thumb is underneath. Hepushes the chin back and around to the right, in a circular motion.

The object is to throw the Attacker to the right side of the Scholler. The simplest way forthe Attacker to try and prevent this is to step back with his right leg in order to stabilizehimself. If his arm is properly pinned, however, the Scholler should have enough leverageto prevent him from stepping away and throw him to the ground. As the Attackers left handmay still be on the Schollers right shoulder, it is particularly important to throw theAttacker in a controlled manner, finishing inporta di ferro. If the Scholler tries to throw the

Attacker while remaining in a standing position, the Attacker may be able to grab theScholler, and pull him to the ground as well.


30/43

28


Porta di Ferro vs Posta Frontale

Plate 9The Fifth Play of the Second Master (Remedy)

With the hold I have above and belowI'll break your head on the ground.

This is a play of the Second Master, but it is a remedy to a different hold on the part of theattacking player.

The Attacker

The Attacker is applying a low hold around the back, based onporta di ferro. This hold,like the neck and hip hold, is intended as a takedown to the right over the Attackersleading leg. If correctly applied, the Attackers head should be tucked in to the right, againstthe Schollers neck, so that it is protected from the reach of the Scholler (see Plate 16). Asthe Attacker is holding his opponent lower than his previous hold, it is a more jarring

takedown, and his opponent will be less likely to be able to safely roll out of it.

The Master technique, demonstrated by his Scholler

In response to a different attack from his opponent, the Scholler of the second Master usesa different response, based on a differentposta. As the Attacker enters, the Scholler strikeshis face with his right hand. He continues by pushing it away, countering the downwardforce ofporta di ferro (the Attackers lower back hold) with the upward motion ofpostafrontale. He places his left hand on the small of the attackers back, grabbing his belt ifpossible. By holding the Attackers body in tight to him while he pushes his head away, theAttacker will soon lose balance, and fall backwards. As he begins to fall, the Scholler puts

the Attacker to the ground, taking a passing step forward (porta di ferro). If the Attacker istenaciously holding on to the Scholler, the Scholler will fall on top of the Attacker, butshould be able to maintain the advantage, as he should fall on top of the Attacker.


31/43

29


Plate 10First Play of the Third Master (Contrary)

With my hands well put on your face,I will show you other holds.

This plate is difficult to interpret, as the text seems contrary to the plate. The text says

With my hands well put on your face, but it is not the Scholler with the leg band that hashis hands on the Attackers face, but the other way around. Adding to the confusion is thefact that the Scholler is the player on the left hand side for the first time. Based on theillustration and not the text, this would appear to be the Contrary technique to the FifthPlay of the Second Master (Plate 9). In this case, the Attacker, employing the face pushwith his right hand, is in a reverse stance. It is our interpretation that the action of theAttacker is the technique of the Second Master from the previous plate, pushing with hisleft hand instead of his right for purposes of clarity.

To avoid the face push the Scholler strikes the Attackers left elbow with his right hand(dente di zenchiar), dislodging the Attackers hand. The second line of the verse, I willshow you other holds, suggests that another play continues where this one leaves off.

Plate 11Second Play of the Third Master (Contrary)

Because of my head which I have put under your arm,With little effort I will throw you to the ground.

This plate is difficult to interpret and place in context of the other plates, as it is not clearwhat technique the Attacker had attempted. Having studied this and the previous plate, wethink that this is a continuation of the technique of the First Play of the Third Master(Contrary), or Plate 10. This seems to be indicated by the second line of the verse of Plate


32/43

30


10 (see above). In this case, the previous plate was illustrated demonstrating the techniquefrom the opposite side in order to make things easier to see.

The Scholler, having pushed the Attackers right hand from his chin, grabs the arm by thewrist. Pulling it up sharply and to the left, he pulls the attacker off guard. Taking a stepforward, the Scholler strikes the Attackers armpit with his right shoulder and lowers himselfto grab the Attackers right leg.

Once he has grabbed the Attackers leg, the Scholler shifts his weight back to his left,pulling the Attacker off the ground, or at least off-balance, to the left in a similar fashion tothe technique employed by the Third Play of the Second Master (Plate 7). Once theAttacker is unbalanced, the Scholler slips him over his head and pulls him to the floor withhis left hand, maintaining the grip on the Attackers leg so that he falls on the back of hishead and neck.

Note: This is a very dangerous manoeuvre. Do not ever attempt to take someone to the ground in thismanner. Even if you let go of your partners leg as he falls it is very likely that you will hurt him.

Plate 12The Sixth Play of the Second Master (Remedy)

Because of the finger I keep under your left ear,I see that the hold you had on me is failing.

This is not so much as a complete technique as a good method for breaking a strong holdthat an Attacker may apply. Here the Attacker has again successfully applied a neck grab,this time holding the Scholler's left elbow. Scholler presses his thumb straight into thespace below the Attackers ear, directly behind the angle of the jaw. There is a nerve pointthere, and the Attacker can be turned to the side, and will lose much of his strength. TheScholler is then free to use other techniques as opportunity allows, perhaps the Second

Play of the Second Master (Plate 6).


33/43

31


Plate 13The Seventh Play of the Second Master (Remedy)

With great cunning you grabbed me from behind,And this hold will for sure throw you to the ground.

This technique seems out of place, in a way, as it seems to counter an attempted full-nelson hold, asapplied in the Ninth Play of the Second Master (see Plate 15). The case could be argued that this playis in fact the Third Master (Contrary) to Plate 15, but we will consider it a play by the Scholler of theSecond Master here.

This a technique used when the Attacker is moving to grab the Scholler from behind, suchas to apply a full nelson. In order to take the Attacker to the ground, the Scholler tries tostep behind him with his right leg. Bending with the knees to lower the centre of gravitywill help pull the Attacker slightly off balance.

The Scholler then steps back and to the side, putting his right leg behind the Attacker. Hethen takes the Attacker to the ground by deploying long guard with his right arm, possiblystriking the Attacker with his right elbow, and pushing his head backwards.

This manoeuvre works best if it is done before the attacker has a firm and locked on holdapplied. If the attacker has applied a firm hold the Scholler can weaken or break that holdwith an elbow strike, head butt, stomp to the Attackers foot or ankle or by striking at thegroin. Struggling to escape from a full nelson is a potentially dangerous manoeuvre andshould never be attempted in free play.

Posta Frontale vs Porta di Ferro

Several of the next few techniques (Plates 14, 19 and 20) demonstrate situations whereboth the Attacker and Scholler are using the same guard-posta frontale. It illustrates thevalue of other skills and attributes, such as strength, speed, and the value of initiative, andthe ability to seize an opening before your opponent does. Posta frontale is not thepostathat defeats the Attacker, however. The object of each of these plays (as well as manyothers) is to put the Attacker to the ground, and for that the Scholler usesporta di ferro.


34/43

32


Plate 14The Eighth Play of the Second Master (Remedy)

This wrestling is to trip you up,Of the five, not one is successful.

The Attacker

This is another remedy technique against a new hold based on the First Master, in this casea diagonal back hold based onposta frontale. The Attacker takes a passing step andreaches around the Scholler, with his right arm above the Schollers left shoulder, and hisleft arm under the Schollers right. To complete the diagonal hold the Attacker grabs hisright wrist with his left hand and puts his right foot behind the Schollers, in an attempt tothrow him down and to the left, over his leading left leg.

The Master technique, demonstrated by his Scholler

The Scholler, seeing the attack coming, steps forward to intercept and move against theincoming force of the Attacker. As the two move to grab each other, the Scholler maintains

his balance, and applies the same hold to the Attacker. The Scholler uses his initiative toground the Attacker to the left, ending inporta di ferro. This play is perhaps the bestexample of the importance ofporta di ferro as the guard to use when taking someone tothe ground. Whileposta frontale is theposta to meet the Attacker,porta di ferro is the onewith which to defeat him.

In this plate both the Attacker and Scholler are in identical positions. The person who hasthe advantage in this situation is the one who acts first, and can successfully assert theirstrength and leverage. If you examine the plate, the Attackers weight is back, towards hisrear foot, while the weight of the Scholler is forward, pushing the Attacker back. Tosuccessfully execute the diagonal hold, one must strike their opponent with their shoulderand upper body as they grab them. Doing so will give the Attacker the momentum and

force to unbalance his opponent, allowing him to take his opponent to the ground. Thisillustrates the importance of strength, momentum, balance and timing. Another subtleadvantage the Scholler holds is that his right arm is over the point of the Attackers leftshoulder, rather than against the Attackers neck. This restricts the Attackers motion withhis left arm, and weakens his ability to execute the takedown.


35/43

33


Plate 15The Ninth Play of the Second Master (Remedy)

This is for sure a hold for practice,For I can block you without hurt.

The Attacker is positioned with his back to the Scholler. Although there is no indication

from the verse, the Scholler presumably has already countered a hold attempted by theAttacker, such as the neck and hip grab.

The Scholler wraps both his arms under the Attackers armpits and clasps his own handstogether behind the Attackers neck. The Scholer can then hold the Attacker at bay.Alternatively, he can then step backwards, twisting his torso and throwing the Attacker tothe ground, finishing inporta di ferro.

Plate 16The Tenth Play of the Second Master (Remedy)

I'll hit your groins so hard,That you'll lose all your strength.

The Attacker successfully deploys any of the holds of the First Master. The lower back hold(see Plate 9) is illustrated here.

Grabbing the Attacker to hold him in place and slow his momentum, the Schollerimmediately and forcefully raises his leading knee upwards, striking the attackers groin orlower abdomen, causing the Attacker to weaken or release his hold. This technique can berepeated as desired.


36/43

34


Plate 17The Eleventh Play of the Second Master (Remedy)

I'll give your nose so much pain and sufferingThat you'll want to leave right away.

The Attacker successfully deploys a back or diagonal hold (an upper back hold isillustrated in the plate).

The Scholler places one or both of his hands on the Attackers face, with thumbs under thenose, and sharply deploysposta frontale, pushing up and back thus breaking the hold. Thistechnique is in part a pain-compliance hold, as the underside of the nose is extremelysensitive, and most Attackers in this situation would withdraw. The nose is also one of thehandles that can be used as a leverage point to move the head. If the Attacker does notimmediately step away, the Scholler can pull the Attackers head to the left, taking him tothe ground over his leading leg.

Plate 18

The Third Play of the Third Master (Contrary)

It's true that I left you from this grabAnd with this counter grab I'll floor you.

This is the Contrary to the Eleventh Play of the Second Master (Plate 17). The Attacker putshis hands on the Masters face to break the back hold and put him to the ground. TheMaster, starting in a forward stance, strikes upward with his right hand. He grabs theAttackers hand and pushes upward to raise the Attackers hands. He then sinks down as heshifts his weight forward, grabbing the Attackers leading leg behind the knee with his lefthand. In doing this, he does not lean forward, but bends his knee to lower himself. Once


37/43

35


he has the leg he shifts his weight backward, pulling the Attacker forward and down to theright side of the Master. Besides taking the Attacker to the ground, this manoeuvre couldalso strain or injure his groin or legs, in a similar fashion to the Third Play of the SecondMaster (Plate 7).

Plate 19The Twelfth Play of the Second Master (Remedy)

Under the chin I give you pain and suffering,And quickly on your back you'll hit the ground.

This plate is virtually identical to Plate 17, except that here the Attacker is employing adiagonal back hold, and the Scholler places his thumbs into the soft area under theAttackers chin to achieve a similar result. Like the nose, the soft area under the chin is asensitive point, and also a good handle with which to direct the movement of the Attackershead. Please note that by pressing your thumb under the chin and toward the back of yourpartners neck you can press the windpipe. This is obviously very dangerous, and shouldnever be done. A variation For Love would be to press in immediately behind the chin,and press straight up. This should give you a good handle to push your partner away

without causing excessive damage to his throat. Please note that you can still damage yourpartners neck by pushing too vigorously in this manner- this variation is no substitute forcareful and controlled training.


38/43

36


Plate 20The Fourth Play of the Third Master (Contrary)

With your hands on my face you bother me,As a counter move I bother your eye even more.

This is the Contrary technique to the Twelfth Play of the Second Master (Plate 19), or toany face-push type of attack. This is substantiated by the verse, which describes this

technique as a counter to the previous play, as well as the plate, which clearly shows theAttacker using the Remedy technique as described in Plate 19. The Attacker, in response toa diagonal back hold, uses this technique, pushing the Schollar away by pressing histhumbs into the soft area under the chin. In response to this, the Scholler of the ThirdMaster reaches for the Attackers face and presses his thumb into the Attackers eye or eyesocket. This should cause enough pain and discomfort that the Attacker releases his hold.

This technique is interesting for a couple of reasons. First, the accompanying verseillustrates dei Liberis requirement that a good wrestler know how to injure the vulnerablepoints of his opponent. We see that when someone tries to target a vulnerable spot (underthe chin), the best response is to attack an even more vulnerable spot (the eyes). Althoughthe concept of gouging someones eye seems a little extreme to many people today, it

serves as an example of how the victor in any real-life engagement will often be the personwho is willing to do whatever it takes to win.

In addition, it should be noted that this response is somewhat dictated by the original holdused by the Scholler. In Plate 18, the Third Master (Contrary) reached down to grab the legin response to a face push. In the case of this play, the Scholler performing the ThirdMasters technique began using a diagonal hold, where one of his arms is over that of hisopponent. It would likely be slower and less efficient for him to try the leg-grab techniquefrom this position.

This is obviously very dangerous to the person receiving a thumb press, and should never

be attempted except in cases of self-defence. A variation For Love would be to grab thehead of the Attacker and use leverage rather than pain to move his head and therefore hisbody, perhaps pressing behind the ears as in the Sixth Technique of the Second Master(Plate 12).


39/43

37


Dowel Applications

In the following two plates, the Scholler uses an improvised weapon, such as a stick,dowel or sheathed dagger. Note that an unsheathed dagger would be similarly effective,and these techniques might have been placed in the dagger section of the manuscript, but

dei Liberi uses a dowel to indicate that a dagger is not needed- any long object can beused as an aid to the technique. Despite the fact that they seem to be supplementary playsto the grappling section they are listed as plays of the Second Master, performing theRemedy to an initial attack.

Plate 21The Thirteenth Play of the Second Master (Remedy)

With a stick I've tied your neck,If I don't floor you, you'll have a bargain.

As the Attacker advances, the Scholler holds a dowel in a reverse or ice pick grip in hisright hand. In response to the Attackers aggression, the Scholler stops him by striking himin the stomach, chest or face with the short end of the dowel. As the Attacker momentarily

pauses, the Scholler hooks the long end of the dowel around the neck of the Attacker fromthe Schollers left to his right. He then reaches his left hand under his right arm to grasp theother end of the dowel to the right of the Attackers neck, so that both of his hands grip thedowel, palms down. Pulling down and to the right, the Scholler can take the Attacker tothe ground, finishing inporta di ferro. The Scholler should finish in a reverse stance, takinga passing step backward if he began the technique in a forward stance. By uncrossing hisarms as he brings the Attacker to the ground, the Scholler can twist the neck of theAttacker, which could cause considerable damage if performed explosively (Peter Kautz,pers. comm.).


40/43

38


Plate 22The Fourteenth Play of the Second Master (Remedy)

If you don't go to the ground with this stickI'll never believe this to be a true art.

As the Attacker advances the Scholler holds a dowel in a forward or hammer grip in his

right hand. In response to the Attackers aggression the Scholler stops him by striking him inthe stomach, chest or face with the dowel. As the Attacker momentarily pauses, theScholler grabs the Attacker by the throat with his left hand, while ramming the dowelbetween his legs. The Scholler could strike the Attacker in the groin with his right wrist, oreven stab him if he is using a dagger for this manoeuvre. From here, the Scholler shouldhave little difficulty taking the Attacker down in front of the Scholler and a little to his left,finishing inporta di ferro (Peter Kautz, pers. comm.).


41/43

39


Conclusion

These are all of the grappling plates in Flos Duellatorum. They do not constitute a complete

open-handed fighting system, but rather a basic set of close-fighting techniques. Along withthe rest of the manuscript, these should form the groundwork of an all-around multi-weapon fighting system. They do not, for example, illustrate how to punch, or to block apunch.

This first section really does include only a series of very close-range techniques. Moreemphasis on arm locks and ties are discussed in the second section of the manuscript.Although the dagger is the focus of this next section, the techniques shown will carry overto the grappling (and indeed, to the rest of the system). As one studies more of Master deiLiberis fighting system, patterns of techniques and movements repeating from weapon toweapon will become clear to the perceptive student. The grappling is the foundation fromwhich the rest of the system develops. It is important to study the grappling for this reason.Only by gaining a good understanding of this material can one truly begin to understandthe rest.

In this regard, we encourage people to take a critical look at the work we have done, andto make their own examination of dei Liberis manuscript. The task of understanding acomplete martial system from words and drawings is a daunting task at best, and it is onlythrough a great deal of time and effort on the part of the western martial arts communitythat this task will ever approach an accurate and comprehensive interpretation.


42/43

40


References

Academy of European Medieval Martial Arts (2004) Fiore dei Liberi "Flos Duellatorum"

[online]. < http://www.aemma.org/onlineResources/library_15c.htm> [Copyright Academyof European Medieval Martial Arts, 2001, last modified July 9, 2004]

Charron, R. (2002) Wrestling and Dagger workshop from Fiore dei Liberi's Fior di Battaglia.Workshop given at the Academy of European Medieval Martial Arts, Toronto, November23-24, 2002.

Cvet, D. (2001) The Art of Longsword Combat, Book 1. Toronto: Academy of EuropeanMedieval Martial Arts.

Dei Liberi, F. (1409) Fior di Battaglia. [online] trans. Easton, M. and Litta, E., 2003.< www.fioredeiliberi.org/gallery/album32> [Accessed October, 2004]

Dei Liberi, F. (1409-1410) Flos Duellatorum [online]. trans. Cvet, D. 2001.< www.aemma.org/onlineResources/liberi/abrazare_1_1.htm> [Copyright Academy ofEuropean Medieval Martial Arts, 2001]

Dei Liberi, F. (1409-1410) Flos Duellatorum [online]. trans. Michelini, H., 2002.< www.varmouries.com/wildrose/fiore/fiore.html> [Copyright Mich Shire and HermesMichelini 2002]

Kautz, P. (2003) Personal Communication.

Ravignat, M. (2002) Ideas on the Abrazare System of Fiore dei Liberi. Workshop given tothe Compagnie Medivale, Montreal, June, 2002.

Silver, G. (1599) Paradoxes of Defence. London: Edward Blount.


43/43

omsg_abrazare

Documents