The Segno

Geometry Rules Fencing

The segno (pronounced: seɲɲo or sé·gno) is one of the key hallmarks of the northern Italian fencing tradition. At one time this device was used to teach dynamic footwork, measure, distance, and tempo. Like all good techniques for teaching swordsmanship, fencing masters kept this as a closely guarded secret, at least until 1536. In that year Achille Marozzo let the cat out of the bag when he published a picture of the segno in his magnus opus, Opera Nova: Arte dell'Armi di Achille Marozzo Bolognese.

Marozzo’s art is a rational system governed by the variables that determine the outcome of a fight, factors such as measure, angle, distance and tempo. The segno is a masterpiece of teaching that allows you to visually understand the interplay of these variables.

The objective of this piece is to use the segno, as it is described by various authors to paint a dynamic picture of how they viewed this symbol as a pedagogical tool for the instruction of fencing. Then, I will illustrate how I use the segno to teach measure, the tempos of attack, and footwork. After this I will plug a few plays from the corpus into the segno to see what we can extract, and conclude with a discussion about the tactical approach of the different Bolognese authors, and relate their lessons to the rules we derived from the segno.

Achille Marozzo:

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…which you will be able to see plainly by reading this, section by section, with a diagram on footwork, and labels that indicate everything.

—Achille Marozzo {Swanger, pg. 73}

Always teach your students how to walk from guard to guard—forward, backward, and sideways, obliquely and in any other possible manner. Do this especially with sharp weapons—that is, with targa, rotella, large buckler, single sword, and cape, sword and dagger, and two swords. Teach them to let their hand be in agreement with their feet and vice-versa, or else your instruction will be defective. If you think you may forget footwork patterns, I will include a drawing that will show it to you with clarity. Remember to teach footwork over the segno where there are not any people you don't want there, especially students from other schools, to prevent your fundamentals and your teaching from being plagiarized.

—Achille Marozzo, Capitolo 5 {Leoni, pg. 10-11}

In this small passage Marozzo gives us a great bit of information on how to use the segno. Marozzo says to use the segno especially with sharp weapons (targa, rotella, large buckler, single sword, and cape, sword and dagger, and two swords.) Here is an important clue, because Marozzo tells us what material to plug into the segno {ie. Book 2 of Marozzo’s Opera Nova.} Marozzo also explains the why of his segno when he instructs us to keep our sword hand in agreement with our steps and vice-versa. Finally, we return to the beginning of his statement, which highlights the footwork patterns, how to walk from guard to guard—forward, backward, and sideways, obliquely and in any other possible manner; this is how we are to use it.

This is the diagram upon which you will have your students walk, step by step, both forward and backward, with weapons in hand around and around, placing their feet on those lines that connect the circular markings.

—Achille Marozzo, Capitolo 144 {Swanger, pg. 191}

Marozzo gives us more data points to add to our previous list of what, why and how, by adding around and around, demonstrating the circular nature of the system, and placing their feet on those lines that connect the circular markings, which gives us a perception of the limits and rules that govern fencing.

Summary of Marozzo

• What: The segno should especially be used with sharp weapons; targa, rotella, large buckler, single sword, and cape, sword and dagger, and two swords.

• Why: To ensure that the sword hand is in agreement with the body; Teach them to let their hand be in agreement with their feet and vice-versa, or else your instruction will be defective.

• How: By having them place their feet on the lines between the circular markings, stepping forward and backward, sideways, and obliquely—around and around—with weapons in hand.

Camillo Palladini:

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Now we’ll venture forward in time to the Bolognese-born Camillo Palladini. Who says:

Knowing that you cannot attack your enemy with technique and advantage without knowledge of measure, I undertake to explain what I understand of it, insofar as I am able.

The reader should therefore be aware that I want you, having drawn your sword from it’s scabbard at some distance from your enemy, to move to meet him gallantly and with heart, as such endeavors demand. Having advanced to within two or three steps of him, remaining sufficiently covered against any attack he might attempt, you can then exercise your judgement to determine the spot where you may attack. You should approach until you see that by extending your arm and stepping with your right foot you may wound him, either with the point or the cut, depending on the opportunity or situation.

This is termed the misura di ferire, and you must practice this measure many times in order to seize it when needed, since you cannot use a compass against your enemies in disputes. Neither do any deride this method, since it is the means of attacking securely, which you will see through practice. If however you do not observe this method, you risk a response from your enemy’s sword.

—Camillo Palladini (Terminiello, pg. 69)

Here we get our first introduction to the use of the segno or as he describes it, the compass (compasso.)¹ He advises that we “advance to within two or three steps of him, remaining sufficiently covered against any attack he might attempt.” This our indication of how Palladini wishes us to use it. He then adds “you can then exercise your judgement to determine the spot where you may attack.” This is why Palladini wishes us to use it.

Without jumping too far ahead, take a moment to consider that when you are two or three steps away from the opponent, it will mean that the opposing fencer has their lead foot on the outside circle of the segno, that you either have your lead foot on the outside of the circle as well (three to four steps) or you have your lead foot on the periphery of the inside circle (two to three steps). This could also mean your opponent has their lead foot on the inside circle while you have your lead foot on the outside circle. This is the approach of measure, and will be our guide for how to use the segno as an expression of measure.

He continues by instructing that you should, “approach until you see that by extending your arm and stepping with your right foot you may wound him, either with the point or the cut, depending on the opportunity or situation.” Palladini calls this place the misura di ferire, or the measure of wounding; this is our how, that is we use the segno to tell us when we are in measure to strike our opponent. This is similar to Capo Ferro’s wide measure, ie. The wide measure is, when with the increase of the right foot, I can strike the adversary, and this measure is the first narrow one (Wilson). To which Palladini provides our why, since it is the means of attacking securely, which you will see through practice.

It seemed necessary, at the end of my treatise, to present you with an oval figure, so you may learn without any difficulty to perform the quarta while turning your flank, thus evading your enemy’s sword either to your right or left side, since either can be subject to attack.

You should not turn your back, as I have seen at times in some masters schools. By performing such a turn you deprive yourself of your vision and of your left-hand parry, it being beneficial to understand the execution of these parties, both with and without a dagger as circumstance dictates.

These two opposing figures are therefore illustrated here, to demonstrate more clearly this method of evading the point. Note that both fencers started with their feet on the straight line in the center of the oval. As they resolutely thrust at one another as described, the victor brings his left foot onto the right-hand line, in the manner depicted.

If however you wish to defend your right side you should perform the opposite action to this, bringing your left foot onto the left-hand line, and voiding your right side.

With this method a man well-instructed in arms can evade an attack to either side as the situation demands. I will set aside discussion however, to avoid the impression I wish to speak of mathematics instead of arms, since actions and not words are what is needed for endeavors such as these.

—Camillo Palladini (Terminiello, pg. 222)

Here, we get an illustration of how the inside lines of the Segno were used, or “the lines that connect the circular markings,” as Marozzo puts it. Some masters and authors, such as Agrippa, advocate turning your back in quarta to make a thrust on the inside line with a body evasion. Palladini disparages this idea and gives us insight as to how we safely cover ourselves upon making a thrust to the inside.

For Palladini “both fencers started with their feet on the straight line in the center of the oval. As they resolutely thrust at one another as described, the victor brings his left foot onto the right-hand line, in the manner depicted —or—to defend your right side you should perform the opposite action to this, bringing your left foot onto the left-hand line, and voiding your right side.” That is, Palladini does this to evade an attack to either side as the situation demands. Here then is our why.

This is similar to what we see described in MSS Ravenna M-345/M-346 {the Anonimo Bolognese} with the authors typical exit, cover, or finish in Guardia di Intrare² or in Giovanni dall’Agocchie’s Dell'Arte di Scrima Libri Tre, where he says, “regardless of which foot you have forward, you’ll turn your body and rear leg to the opposite of the side on which you parry or hit the enemy’s blow, because by doing so you’ll make two defenses in one tempo, one with the sword and the other with the body. Moreover, you’ll distance yourself from the said sword and draw significantly closer to his opening, and it will be easier and safer for you to strike him” (Swanger, pg. 16). We also see this illustrated throughout Marozzo and Manciolino’s respective Opera Nova’s, with each author frequently telling their readers to let their left foot follow behind the right, or vice versa.

Summary of Palladini:

• How: We start out with our approach, advance to within two or three steps of him, remaining sufficiently covered against any attack he might attempt. Once in measure, approach until you see that by extending your arm and stepping with your right foot you may wound him, either with the point or the cut, depending on the opportunity or situation. Once we have delivered our attack, we will, bring {our} left foot onto the right-hand line, in the manner depicted —or—to defend your right side {we} should perform the opposite action to this, bringing {our} left foot onto the left-hand line, and voiding {our} right side

• Why: Our initial approach is to within two or three steps so that we may, exercise {our} judgement to determine the spot where {we} may attack, the final movement into the misura di ferire is done as, it is the means of attacking securely, after which we’ll allow our back foot to trail because it allows us to, evade an attack to either side as the situation demands.

Marco Docciolini:

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Taking a quick trip from Bologna across the Apennines we arrive in Florence, where Marco Docciolini teaches the segno in the following way:

To proceed with as much clarity as possible, we will first draw a figure. From this we can demonstrate clearly and describe what is required in terms of the guards and counterguards, and govern the movement of our feet on the traversi, which is so vital to this practice.

—Marco Docciolini (Terminiello, pg. 23)

First draw a circle whose center is point A, with a radius of one braccio, designated as B. We will call this the lesser circle. Next draw a circle from the same point, A, whose radius is the length of two braccia and is designated C, which we will call the greater circle, which intersects the lesser circle at point B and terminates on the greater circle at point C. We call this the diriturra.

—Marco Docciolini (Terminiello, pg. 23)

Later in his text Docciolini will explain proportionality, that the average man is three braccio tall, and that their normal stride, without overextending, is one braccio in length or one-third of their height. So, basically, the segno is four passing steps in diameter. This aligns nicely with the Palladini’s discussion of measure and the conclusions drawn above (ie. three to four passing steps away, two to three passing steps away {depending on height}, etc.). For the sake of brevity, I will leave out portions of Docciolini’s text, he goes into tremendous detail, and I highly recommend you pick up a copy of Terminiello’s translation. Continuing at the end of chapter 2, Docciolini states:

By means of this figure, we will instruct on the guards and the counter guards, and especially on the passage of our steps, which is the most difficult and important aspect of this endeavor, not having even been touched upon by those who have written up until now.

—Marco Docciolini (Terminiello, pg. 23)

A fairly clear explanation of why the diriturra is being used. The part that stands out is certainly, especially on the passage of our steps, which is the most difficult and important aspect of this endeavor. Here is an equally succinct demonstration of how it was used:

In the tempo of your attack you should throw yourself onto the traverso as follows. Your right foot, which begins on the dirittura at the point B, should accompany your strike, moving all the way to point A.

You should not put your foot over the center of point A, but about a foots width to the left, such that when your other foot turns onto the traverso your toes will touch point A.

In this same tempo your left foot, which begins on the dirittura at point C, should accompany your right foot, being raised rather than dragged across the floor, and move onto the left traverso to point G. Still in the same tempo, you should then recover your right foot back to point F, on the same line.

—Marco Docciolini (Terminiello, pg. 27-28)

This is very similar to what we see described by Camillo Palladini. The unique thing about Docciolini is that he uses the diagram to describe all of the footwork related to his guards, counter guards, and progressions of fencing. It is a fantastic source for exploring dynamic footwork in the later Italian traditions.

Summary of Marco Docciolini:

• The segno is four paces {4 braccio} in diameter, each level is the length of one full {effortless} step, and is used to instruct on guards and counter guards, and on the passage of our steps.

• Each attack will be accompanied by a turn of the back foot on the traverso (lines connecting the segno) to cover safely as we remove ourselves from the presence of our enemy.

Joachim Meyer:

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From Florence we’ll travel north of the Alps to Stasburg, and visit with the Freifecter, Joachim Meyer.

Item: If you stand on the line which is lettered A, and the opponent also appears on the same, as the figure shows, and he gives you a cut from his left to your right, and then thrusts straight at your arm, then thrust in likewise with him and Indes step with your left foot on the B line to the left, thus your point meets and his fails.

—Joachim Meyer (Maurer, Wiktenauer)

Meyer gives us a more defensive illustration. Rather than being on the attack, here we are on the defensive where our opponent cuts from our left to our right {i.e. a mandritto or right oberhau} and then attempts a thrust. We counter by making a parry against the cut, and then by following the traverso with our rear foot, in the tempo of their thrust; this allows us to set off our opponents blade while they walk into our point. The timing here is best when the traverse step accompanies the extension of our opponents sword. This is similar to what we saw described in Giovanni dall’Agocchie {above}, a decade later, and has the same mechanical properties as the cover after an offense that we see from both Palladini and Docciolini.

Item: If you both stand on Line A as previously mentioned and he cuts at your right and then thrusts straight at you, then thrust in likewise with him and step with your left behind your right on the B line to the right and follow further with your right foot to the C line to the right, thus his thrust fails and yours meets. However, if he also steps like you are stepping, then both thrusts parry each other.

—Joachim Meyer (Maurer, Wiktenauer)

This part is pretty interesting, this is often discussed but rarely outlined. That is, our circular footwork will succeed in creating leverage, but if our opponent mirrors our steps, then the outcome should end up in a neutral meeting of the swords. This is a core defensive tenet; that you can, with turns of the body, create counter attacking opportunities, but if your opponent responds in kind, there termination of your counterattack will create a neutral engagement.

However, note that by using the body to create leverage and the space required to push a counterattack, and our opponents mirrored response, we have reclaimed the initiative in the engagement {seized the vor!}, forcing their tempo in response to come from the body, when our counterattack can originate from the hand {therefore being a smaller tempo}. This sequence of events also creates the carousel, around-and-around style of fencing that Marozzo alludes to in his discussion of the segno.

Note: If one will bind on you and urges the thrust on you, then thrust hard in with him, but be soft with the step a little out from the thrust, as the next figure will teach you.

—Joachim Meyer (Maurer, Wiktenauer)

Summary of Joachim Meyer:

• Using the traverso {lines that connect the circles}, in the tempo of the opponents thrust {extension forward}, we will turn the back foot away from the opponents attack, creating leverage and space for a counterattack.

• If your opponent also utilizes the traverso in their attack, or defense of your counterattack, then the result of your action will end neutral.

Drawing the Segno:

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The dimensions of the segno are described as being the normal pace of the average man, or one braccia, which is one third of their height, with the average height at the time being three braccie; 175cm, or 5’9”. Docciolini talks about what to do if you have fencers who are shorter or taller, he says, when this is not the case it is of little importance, as you can alter the dimensions of the figure to be proportionally larger or smaller. However, we are going to go by Docciolini’s average here to create a universal symbol that everyone can use.

The full diameter of the segno will be 233.33 cm (7’8”) and the diameter of the center circle will be 116.66 cm (3’9”). To create your own segno, tie a piece of chalk to a string, and from the knot, cut the string at 166.66 cm (3’9”) from the chalk; this is the cord length for your outside circle. For your inner circle repeat the process but cut your length of string at 58.33cm (1’10.9”); this will be your cord length for your inner circle.

To draw your segno, mark an X on the ground. Hold the cord for your inner circle on the designated center (X), and draw the your inner circle. Repeat the process with your longer cord, and you should have two perfect concentric circles. This will give you Docciolini’s diraturra.

Marozzo’s segno has one noticeable difference to Docciolini’s diagram. In Marozzo’s figure the outer circle conforms to that of Docciolni, but the inner circle is smaller. If we use the same base height of 175 cm (5’9”), we will get an inner circle with a diameter of of 77.78cm(2’6.375”).³ To create these concentric circles we draw two circles as described above, but the length for the outer circle will be 116.67cm (3’10”), while the length for the inner circle will be 38.89cm (1’ 3 1/3”). This, to me, seems more appropriate for fencing with shorter swords.

Using the Segno: Measure

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Having advanced to within two or three steps of him, remaining sufficiently covered against any attack he might attempt, you can then exercise your judgement to determine the spot where you may attack.

—Camillo Palladini

As we briefly highlighted earlier, Palladini expresses the approach of measure, and relates it to the compass {Note: Docciolini’s description of the diraturra agrees with Palladini’s description, where we approach to within two or three steps away from our opponent. Lets explore further how the segno can be used as an expression of measure and build out a tactical delineation.

Three to Four Steps Away

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Here, we are going to begin to see our order of operations, and how wide play can be utilized safely and effectively.

When both fencers have their lead foot on the outside line of the segno, whether we're talking about Docciolini’s four braccia, or an adjusted pace for a taller fencer, the fighters are approximately three to four steps away.

From this place the fighters can hold wide guards. The first fencer to act, known as the Agent can take a full passing step or gathering step into measure letting their cuts end in wide guards or remain in wide guards. The reason why this set of actions is acceptable or suitable comes from—brace for it—George Silver. Our opponent, in order to reach us will have to accompany the action of their hand with their feet and take a passing step in order strike with a cut or a thrust, therefore the fighter who acts first should have sufficient tempo to bring their sword back on-line and counter attack. Thus a suitable measure for wide play {ie. our cuts will be full, or perfect; as per the Anonimo}. However, if the opponent moves at the same time, then we will have to stop our cut short, ie. mezza {half}, and stop with our point on-line.

I must have you know that this term, “wide play” means nothing more than this, that the attacks you make will be complete, that is to say, these attacks will begin at the head and go through to the feet.

—and—

first, to be clear, this term, “narrow play,” refers to the situation when one has the sword in hand and places oneself into a narrow guard, and throws a blow that does not go beyond another narrow guard, and thus keeps the sword with the point directed always at the enemy's body or his sword hand, throwing half attacks instead of full attacks, while keeping the feet somewhat close together in a smaller stance.

Anonimo Bolognese (Fratus, pg. 70)

Now, because we are approaching two to three steps away from our opponent here, in order to exercise your judgment to determine the spot where you may attack, we’ll turn back to the Anonimo Bolognese:

And so, we have taught and given the knowledge of the gallant guards that pertain to this ingenious art of defense, for there is no thing in this art that you need to understand more readily. This way when you find yourself against an enemy, you can immediately identify how the swords are placed, for the attacks one may make with the sword are infinite and innumerable, and so too are the ways in which the swords may be found; yet from one guard or another, not all attacks will be suitable, and by being shrewd, and also being illuminated with the knowledge of your enemy's placement, you will make effective attacks, in the correct tempo, using your sword and your body; and by making attacks in this manner you will remain secure from harm. (Fratus; pg. 66)

Using the frame work of Angelo Viggiani’s guard system, and some keen tactical advice from Manciolino, we can make a reasonable judgment on how to proceed into measure:

While this measure is suitable for wide play, an opponent may remain in a narrow guard and declare their intention to fight with narrow play. Therefore, we can use this distance to size up our opponent, determine the guard they are in, and proceed with tactical foresight as to how the fight will unfold.

Two to Three Steps Away

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Once a fencer has entered measure and is two to three steps away {ie. has their lead foot on the inside circle}, the nature of the fight changes. In this position, wide targets become viable, and the onus shifts to controlling the opponents weapon, as any movement forward in this measure can be met by a thrust or a cut from either party. It's important to note that any attack will still require a motion of the foot from each of the fencers.

The first fencer to approach in the misura di ferire, as Palladini terms it, has the initiative of defense. From this position the fencer remaining on the outside of the segno is obliged to provoke their counterpart out of guard. This inherently is the stringerai of space we see illustrated throughout Manciolino’s corpus, which we will discuss in greater detail below.

Note: The the misura di ferire begins when a fencer has their lead foot on the center circle or begins to move toward the center circle, because any movement from their counterpart toward that same geographical space will bring them into measure to strike or be struck.

The territory of the Misura di Ferire or Capo Ferro’s Wide Measure

We can correlate this with later authors in the northern Italian tradition. Capo Ferro, for example, in chapter XI of his Gran Simulacro, discusses seeking measure, where he states:

104. There are two parts of the offense: seeking the measure and striking.

105. Seeking the measure for offense is when I am in guard seeking the close measure to strike.

106. There are three methods of seeking the measure: while I move myself and the adversary firms himself, when I firm myself and the adversary is moving, or when I move myself and the adversary is moving.

107. The tempo of these actions must be correct and equal to the final bounds of the lunge distance, which then turns the tempo from seeking the measure. It is from this place that the tempo is for another action: striking.

108. If the tempo is correct, it is necessary that you have patience until you come to the said distance and you do not move to strike first.

109. For example: I form myself in guard to seek the measure and the adversary has already entered the same bounds of offense. While he either circles the measure or pretends to strike me walking with his sword, it is necessary that I firm myself with my swords point such that, arriving at the bounds of lunge distance, I will not move myself to strike first. For in this action his motion must measure my stillness and my stillness his motion. If I move from my stillness before he comes to the bounds of lunge distance, the tempo will not be correct and therefore measure will not have been well sought. This motion and stillness is equal in the end, so that I arrive at the beginning of the close measure in one tempo, and int does not occur only when it is quick, but when it is equal and corresponds to the final bounds of lunge distance. Thus the purpose of the tempo of the lunge distance is for seeking to close measure and the begging of the tempo to strike. (Kirby; pg. 46)

This perfectly illustrates the conundrum of this distance, and emphasizes the inherent advantage of the stringere of space. The first person to claim the measura di ferire, or Capo Ferro’s wide measure {lunge distance; roughly two to two and half steps away}, gets the initiative to act on their opponents movement into measure. That is, if they can time their attack in the motion of the opponents movement with the distance of their lunge then they can successfully strike in tempo.

Thus, the fencer on the periphery of the segno will have to provoke their counterpart out of guard in order to enter a suitable striking range or gain the opponents sword with some form of mechanical advantage. This is where Marozzo, the Anonymous author, and dall’Agocchie shine—provocations.

A discussion of this place would be remiss without citing the tactical wisdom of the Anonymous author yet again:

Also, you must know that if you find your enemy in a wide guard, then you will use your art to bring his sword into presence. If he has his sword in presence, then you must, by means of feinting, make him put his sword into a wide guard that allows you to control the line, such that his sword will point away from your person and off to the side of your body, and so you will then be able to perform whatever action you wish. (Fratus; pg. 81)

This clearly outlines the objective of a fencer who is forced to seek measure. If the opponent has their sword off-line, you will have to bring it back on-line by means of feints or provocations. Then once their point is online you will goad them into a place where they take their own point off-line again—but in a manner where their sword is still accessible to your blade. Then you can gain mechanical advantage over their weapon in the tempo of their sword returning to line, and drive their point off-line with structure.

If they have their point on-line then you must, by means of counter guards or feints, take their point off-line. Here the anonymous author is wary of a core tenant of later rapier authors, as he affirms in a subsequent passage, that one should not let their sword be found unless it is greatly to their advantage. In that, there are advantages that can be found in letting your opponent find your sword, therefore when the opponent has their sword on-line, the process of taking it off-line will be executed through feints and not necessarily committed attacks once a find or counter guard position has been achieved, again relying on the core tenant of provocation as a means of pursuing the execution of a successful attack; ie. always being prepared for worthy and well executed response.

Mezza Spada

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Were both fencers to strike-in simultaneously, or were one to respond to the others attack with defense stepping forward, or were one to successfully navigate the perils of seeking measure with an opponent fixed in guard in the misura di ferire or Capo Ferro’s wide measure, then they would find themselves crossed at the half sword—mezza spada. The land of the true art of fencing.

As you fence against your opponent, you will often get to the narrow play or strette in such a way that it would be best for you to play at the half sword. But this requires a sharp mind and a great deal of art.

This type of play is first among all others.

—Antonio Manciolino (Leoni; pg. 152)

First among all others, eh? What does Achillini have to say about it?

If I wanted to explain the whole game to you, the touches, the blows, the falsi dritti and the footwork, I could fill more than a thousand pages. Of all the plays in this game, these are the ones that have profited me the most. Typically, you play this game to three passes and after a hit you return to your starting place. I want to tell you the most important things and I dare to tell you every secret [which is fencing in the mezza spada.] The Mezza Spada comes in one of two ways, either false edge to false edge or true edge to true. (Fratus; Substack)

The most important thing, surely, but does Marozzo agree?

In the name of Jesus Christ, here is the third assalto, which demonstrates the art of the half sword. I put this here so that if you want to teach, you will know that the half sword is the better part of fencing. If those who teach or who consider themselves to be good fencers do not know the art of the half sword, they have no foundation, since half sword is the basis of the art of fencing. (Leoni; pg. 15)

We will leave our discussion of mezza spada and measure here. I can go on at length about the subject, but it’s not the highlight of this piece—despite being the most important, the foundation, and the first among all others. Attaining mezza spada is the ultimate objective, but its execution is complicated and deserves thorough treatment.

The Tempos of Attack:

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Now that we’ve discussed the use of the segno to determine measure, it's time that we discuss the tempos of attack, and how we can use the segno to teach the tempos as they relate to measure, as:

Fencers who deliver many blows without any measure or tempo may indeed reach the opponent with one of their attacks; but this will not redeem them of their bad form, being the fruit of chance rather than skill. Instead we call gravi & appostati those who seek to attack their opponent with tempo and elegance.

—Antonio Manciolino (Leoni; pg. 112)

Giovanni dall’Agocchie in his Dell'Arte di Scrima Libri Tre, gives us five tempos of attack, they are:

1. When you have made a parry.

2. When their blow goes past.

3. When they raise their weapon to attack.

4. When they injudiciously change guard.

5. When they take a step.

Gio. Since you give me an occasion to speak of tempo, I’ll tell you. {The tempo for attacking is recognized in five ways.} There are five ways of recognizing this tempo of attacking. The first one is that once you’ve parried your enemy’s blow, then it’s a tempo to attack. The second, when his blow has passed outside your body, that’s a tempo to follow it with the most convenient response. The third, when he raises his sword to harm you: while he raises his hand, that’s the tempo to attack. The fourth, as he injudiciously moves from one guard to go into another, before he’s fixed in that one, then it’s a tempo to harm him. The fifth and last, when the enemy is fixed in guard, and he raises or moves his forward foot in order to change pace or approach you, while he raises his foot, that’s a tempo for attacking him, because he can’t harm you as a result of being unsettled.

Giovanni dall’Agocchie (Swanger, pg. 32-33)

In order to proceed we’ll break these tempos down in order and in relation to the placement of the fighters in the segno.

Note: While these are tempos of attack, they don't have to end with the attacking fencer cleaving or skewering their opponent in tempo, think of this more as the initiative to start an attack, which may start with a provocation, and always ends with securing the opponents weapon, taking their points off-line, or initiating a pressa.

Note: The key to seeing the tempos of attack, and deducing our opponents intentions {as stated above} according to the Bolognese authors (namely; Marozzo, Manciolino, dall’Agocchie and the Anonymous author) is to keep your gaze fixed on your opponents sword hand. This differs from the later 16th century and 17th century northern Italian authors, where the focus is on the point of the sword, but for a Bolognese practitioner, focusing on the sword hand is a fundamental element, as all of the core authors agree on this matter.

Always keep an eye on the opponent's sword-hand rather than his face. By looking at this hand, you will be able to devise all that he intends to do.

—Manciolino (Swanger; pg. 110)

So that the art will become clear to you, I’ll add that if you face an opponent, you should make a point of keeping your eyes on his weapon hand rather than on his face. His face may deceive you, but by watching the movements of his sword hand, you may deduce all his designs, whereas looking upon his face may deceive and unreasonably intermediate you.

— Anonimo Bolognese (Fratus; pg. 71)

Marozzo talks about watching the weapon hand throughout his text, Captitolo’s 16, 22, 40, 53, 55, 56, 58, 59, 86, 110, 120. I’ve only included Capitolo 120 for the sake of brevity.

That is, you will watch the sword hand because if he wishes to throw the stocata, he will have to draw the fist back by necessity, and if he wants to throw a fendente or a mandritto to the head, he will be compelled to raise the fist a little, and note forever more that by watching the sword hand, you will always see what the enemy designs to do.

—Achille Marozzo (Wiest)

When they take a step:

This tempo can be seized from any point on the segno. If our adversary were to have their lead foot on the periphery of the segno, and utilize a passing step to seize the misura di ferire, then you can time their approach with an attack, be it a thrust or a cut, and create a mezza spada situation or strike them as they are unsettled {ala. Viggiani's advantages discussed below}.

Exercise: Fencer A and Fencer B have their lead foot on the outside line of the segno. Fencer B is standing in coda lunga alta, and takes a passing step into measure so that their lead foot ends on the inside circle and they end with their body and sword positioned in coda lunga stretta. Fencer A, who is positioned in coda lunga stretta, in the moment of the opponents pass, will themselves pass forward with their left foot and thrust in opposition of their opponents sword, ie. their sword will cross the opponents, and terminate in a palm up position, never leaving the opponents blade.

This exercise can be adapted to a variety of different scenarios, but proves to be a wonderful tool for teaching students to act in the tempo of the opponent’s step. It’s a bit exaggerated, but the length of the pass provides a longer tempo to act upon, and this exercise illustrates the extreme of what’s acceptable to utilize this tempo. Therefore there is a lot of room to adapt, play, and modify to your hearts content. Notice that dall’Agocchie’s description of the tempo relates to an opponent fixed in guard, stepping with their front foot, but Viggiani’s description of a discomoded fencer relates to a passing step.

When their blow goes past:

Any time the point of the opponents sword is not directed at our center we are afforded a tempo to attack. This could come from side stepping a thrust, a cut going past, or any forward motion of the opponents weapon that ends with their point off-line. In that, the opponent will have to take a tempo to bring the point of their sword back on-line, and if we act in time {ie. the motion between two points of rest; Viggiani} then the opponents weapon will have to stop and redirect in the time of our attack, affording us a sizeable tempo to claim the initiative.

Exercise: With fencer A settled in a guard, having their lead foot of the inside circle, were fencer B, from the outside circle, to deliver a roverso to the head or the legs, then fencer A can gather their lead foot back, and counter attack in the tempo of fencer B’s weapon going past, with a thrust to the flank or a cut to the lead leg. This is textbook Marozzo.

Again, you can formulate a lot of different scenarios to play with this tempo of attack on the segno. We’ll highlight a few plays from Marozzo that really illustrate this well at the end of this article.

When they raise their weapon to attack:

Any preparatory action is a tempo to attack, whether it is raising the sword to deliver a cut, pulling the hand back before a thrust, or whatever else your opponent does to will their body to send a sword in your general direction. Often referred to as a tell, your opponent isn’t only telegraphing their attack, they’re also giving you an opportunity to send a flurry of attacks in response. Take for example the following:

Exercise: Fencer A is settled in coda lung stretta with the lead foot on the inside circle of the segno. Fencer B, fixed in coda lunga alta, wishing to enter measure, decides to do so by delivering a mandritto. In the tempo that they raise their hand to deliver the cut, Fencer A may come forward with a thrust into Guardia di Faccia and—as Marozzo puts it—attack and defend at the same time.

Here the preparation of the coming attack signals or invites the fencer fixed in range to react to their adversaries movement and come forward with an attack. Because fencer B’s attack will have to be accompanied with a step to strike or constrain, fencer A has a series of compound tempos to act upon.

When you’ve made a parry:

Attacking inherently puts you in a vulnerable position, not only are you creating tempo’s for your opponent to react, but the execution of a well timed parry will inevitably lead to a counter attack. In the eternal words of Antonio Manciolino:

This is the providence of the false edge of the sword:

Those who learn how to parry the opponent’s blows with the false edge of the sword will become good fencers, since there can be no better or stronger parry than the ones performed in this manner.

—Manciolino (Leoni; pg. 113)

The defenses with the false edge of the sword are preeminent over all other ones, because they more effectively displace an enemy's sword and then quickly open a line of attack behind his blow. By attacking in the same space from where the enemy's attack had come and been driven from, you will reclaim the initiative, and even if the valorous one can gain no other reward, if he does not delay in his riposte, he shall render himself victor by striking one of the enemy’s limbs with his weapon.

—Anonimo Bolognese (Fratus; pg. 73)

You will show your scholar, being in {porta di ferro larga or stretta}, if anyone were to deliver an attack of any kind, in what way he must parry and then strike, advising him to defend with the false edge, since you well know that the false edge can wound and parry at the same time.

—Marozzo; Capitolo 139 (Wiest)

Exercise: Fencer A has assumed position in the misura di ferire, fixed in porta di ferro stretta or larga, with their lead foot on the inner circle. Fencer B, set with their lead foot on the outside circle, determined to pursue an attack comes forward with a thrust, which A parries with the false edge of their sword, and quickly makes a half turn of their hand to drive a thrust.

This is quintessential Bolognese fencing. You can, of course, explore this tempo on the segno in a number of other ways, but given that this discussion has it’s roots in Bologna, it would be incomplete without this illustration. For those familiar with the source material, you’ll be well aware of the many dynamic follow-ups that result from this defense and counterattack. {See; Manciolino Book 4, Chapter XII; Marozzo, Book 2, Capitolo 100}

When they injudiciously change guard:

Up until now the initiative has strongly favored the fencer who claimed the misura di ferire, but the fencer who claims that center space must be aware that they too can fall asunder by changing guard in measure.

The tempo of a guard change can be incredibly minute, but a simple repositioning of the hand and turn of the body from coda lunga stretta to porta di ferro stretta can be an invitation for a well timed attack—thus executed in poor judgement.

Exercise: Fencer A has gathered into measure, with their lead foot on the inside circle, in porta di ferro stretta. Fencer B remains similarly fixed in the same guard with their lead foot on the outside circle. Fencer A changes guard to coda lunga stretta to increase their attacking potential. Fencer B, seeing the movement of fencer A, attacks in tempo, constraining their sword with a thrust, and initiates an attack.

This is a very small tempo, but well practiced timing, and understanding of mechanical advantage can turn this into a world of hurt for the unsuspecting.

Footwork:

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Pattern 1 (Right Variant)

Segno Stepping Pattern 1:

This pattern can start with either the left or the right foot forward. If you're going to the right {as depicted here} your right foot will move first (red then green), if you're moving to the left {reversing the pattern; not depicted} the left foot will move first. This pattern will teach you how to traverse the segno without ever crossing your feet.

Patterns 2-3

Segno Stepping Patterns 2-3:

Once you've gotten comfortable with pattern 1, you can start to explore patterns 2 and 3, notice that every other line that connects the circles defaults back to pattern 1, so you can switch which foot is forward.

Pattern 2:

In pattern one your lead foot moves first, then the back foot, then you do pattern 1 (left or right variation). This simulates the half step to the left or right that we so often see in the Anonimo.

Pattern 3:

Here you will follow the same visual structure, but your back foot will move first, followed by your front foot, then you’ll do pattern 1 (left or right variation).

Note that both patterns 2 and 3 are great for creating angulation in parries and cuts. Once you have the basics of those steps in place you can modify them to be more dynamic, for 3 in particular we see the foundation of what Docciolini calls the traverso, and almost exactly what Meyer described in his defensive footwork. For Docciolini, add an accresimento of the front foot to near the center of the segno {1 half pace}, then let the back foot trail to the next line, and recover.

In the end, there’s a wide variety of footwork patterns you can apply to the segno, try doing the plays found in Marozzo’s second book, isolate patterns, and see if you can use this framework to create a dynamic exercise of your own.

Plug-n-Play:

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Wide to Narrow:

I'm going to give three plays from Marozzo's second sword and small buckler assalto that I think exemplify the tactical considerations of entering measure from a wide guard {Guardia Alta}:

Second Part.

Lying as I said above {Guardia Alta}, with your enemy being in the same guard as you or in guardia di sopra braccio, throw a fendente to his head that will not pass beyond guardia di faccia. Having done so, throw a riverso ridoppio that will strike his sword forcefully, so that our of fear of that ridoppio he’ll uncover the upper part of his body on his right side. Then throw two tramazzoni followed by a fendente dritto so that your sword falls in porta di ferro stretta. If your enemy then throws a blow to your head, extend a thrust to his face with your sword up against the inside of your buckler, taking his blow on the true edge of your sword in guardia di faccia. Advance toward his right side with your left foot as you parry, throw a riverso to his right temple, and make your right foot follow behind your left one as your sword lowers into coda lunga e alta…

Third Part:

Lying in guardia alta, as said, with your enemy being however he may wish, advance with your right foot and cut a fendente into the edge of your buckler that will fall into porta di ferro stretta. Not halting with that fendente, throw a tramazzone into your enemies sword. Having done so, extend a thrust aimed at the right side of his face, accompanied with your buckler, as you step with your left foot. Out of fear of that thrust he’ll uncover his left side, so you'll throw a fendente to his head, stepping straight toward him in that tempo with your right foot. Withdraw your right foot behind your left one as you throw a riverso so that your sword goes into coda lunga e alta…

Fourth Part:

Now, lying in guardia alta as I said above, step forward with your right foot, and as you do so, in the same tempo throw a fendente, a rising falso, and a Roverso into the edge of your buckler, so that your sword goes into coda lunga e Stretta. If your enemy then throws a blow to your head or leg, parry it with a false, hitting it from beneath, followed by two tramazzoni to his head, the last of which will lower into porta di ferro stretta. If, as it lowers, your enemy responds to you in a way, hit with a false and step swiftly toward his right side with your left foot, cutting, as you step, into the edge of your buckler with a Roverso that will go forcefully into his face, and then draw your left foot near your right one…

—Achille Marozzo, Book I, Capitolo 11 (Swanger, pg. 92-93)

I like these three plays because they open with the same action, and the follow-up is predicated {in my opinion} on how the opponent responds. If your opponent cuts simultaneously, you'll cross in the middle, and your second action, a riverso ridoppio will regain control of the center. If the opponent cuts after you, or tries to control your sword, you throw a tramazzone to re-establish an advantageous bind and drive a thrust. If they do nothing or act very late, you don't take a chance and come back to guardia alta with a rising falso, then cut a riverso into coda lunga stretta in preparation of dealing with a firm or passive opponent.

The Traverso:

Or, you can throw your left foot towards his left, while jamming your false edge under his incoming attack; pass with your right foot towards his left side and deliver a mandritto to his left leg, letting your left foot follow behind the right. Then, throw your right foot back and perform a mezza volta with your sword-hand, which will get you into the initial guard.

—Antonio Manciolino, Book 4, Chapter I (Leoni, pg. 164)

You could also pass with your right foot towards his left side, pushing a thrust to his flank and letting your left foot follow behind the right; then, pass back with your right foot and comfortably recover in the initial guard.

—Antonio Manciolino, Book 4, Chapter I (Leoni, pg. 164)

Just a handful of plays from Chapter one of Manciolino’s Opera Nova, that illustrate the left foot following behind the right in our defensive actions after we’ve performed a stringere, and our opponent decides to attack. This is a common occurrence throughout the the Bolognese corpus, so we’ll leave it at this.

However, we can also use the traverso offensively to gain leverage and mechanical advantage, this series of plays from the Anonimo Bolognese highlights this nicely:

9. (p.52/#3) (Porta di Ferro Stretta vs. Porta di Ferro Stretta)

If your enemy is in porta di ferro stretta with the right foot forward, you will set yourself in the same. Pass diagonally toward his right side with your left foot, and as you step throw a falso and roverso that ends in coda lunga stretta, making sure that your right foot follows behind your left foot. You will make this falso and roverso not to wound the enemy, but to disconcert him in such a way that you can hit him with another attack. After the falso and roverso take note of how your enemy has the point of his sword, for if he has it aimed at your right side, then you will proceed in one manner, whereas if he has his sword pointed at your left side it will be better to use another method.

Let us propose that the enemy has the point of his sword directed out toward your right side. Take a great step forward with your right foot and drive your true edge into your enemy’s sword pressing it somewhat toward the ground, and in this tempo drive a thrust into his body from behind his sword with all of your might. If he draws back, then pass on with your left foot, seeking to perform a presa to his sword with your left hand.

10. (p.53/#1) (Porta di Ferro Stretta vs. Porta di Ferro Stretta)

If your enemy has his sword aimed at your left side, and you are in coda lunga stretta with the left foot forward, then as soon as you have determined that he will have his sword aimed at your left side, take a great step toward his left side with your right foot, make a half turn of the hand and drive your true edge into your enemy’s sword, pushing it as hard as you can toward his right side or knocking it toward the ground. Then drive a thrust to his flank, your sword ending in the manner of guardia di intrare and your left foot following behind your right foot, and in so doing you will need to turn your body well. If the enemy raises his sword to defend himself against the thrust, then immediately pass forward with your left foot, looking for a way to make a presa to his sword or his sword hand with your left hand.

This sequence is a great example of what to do if you are seeking measure and your opponent has already assumed the misura. A falso and roverso to their sword to disorder them as you approach the center of the segno {Marozzo has a similar appraoch in his third assalto with sword and small buckler but prefers the mandritto}, then follows with a set of dynamic sequences to proceed based on the orientation of your opponents sword. This play is flush with lots of turns of the feet to ensure that you’re gaining mechanical advantage, and covering with structure.

The Oppenent Using Our Tempo of a Step to Attack:

If you want to press your adversary in this guard, gather forward with your left foot and pass forward with your right foot. As you press him this way, he will be forced to do one of two things: either attack you or retreat—and if he gives ground, he does so with shame.

Let us say he passes forward with his left foot and thrusts with the goal of disrupting you, then attacks you with a mandritto or any other blow he chooses.

Against the thrust, pass back with your right foot and set your sword in Cinghiara Porta di Ferro. As he attacks you with a mandritto (or another blow), immediately pass forward with your right foot and parry with a falso; riposte with a riverso to the right leg. Protect yourself by pushing a thrust to his face from under your buckler.

From there, pass back with your right foot in a wide stance, turning your sword so that the point is aimed at the opponent’s face; push another thrust while retreating with a sprightly jump. Finish by recovering into Coda Lunga e Stretta with your right foot forward.

—Antonio Manciolino, Book 4, Chapter IV (Leoni, pg. 167)

Here we intend on performing a stringere with the goal of settling in the misura in coda lunga stretta. The opponent, wise to our intentions, decides to interrupt our approach with a provoking thrust and a follow-up mandritto. Because we are approaching from the periphery of the segno, we can retreat {without shame}, set a trap {cinghiara porta di ferro}, and use our defense potential to build a decisive counter attack.

The Maestro’s Predilections:

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Every author has their predilections toward a particular tactical framework, an approach to how they perceive an ideal fight. We're going to start with Antonio Manciolino because he's a creature of habit, where Marozzo, dall’Agocchie and the Anonimo have a number of different tactical modes that they demonstrate with their plays. You could argue that this makes the Anonimo, dall’Agocchie and Marozzo more dynamic, but in my opinion it serves to add depth to Manciolino’s purview, as we’ll see. My hope is that this conclusion will draw particular attention to how the Segno informs the tactics of the northern Italian fencing tradition, and will act as a key to help us better understand the order of operations and perceived rules for sword fighting that the authors may have explained in broad strokes but at times have failed to concisely detail.

Antonio Manciolino:

In his 1531 publication, Opera Nova; wherein are all the instructions and
advantages that are to be had in the practice of arms of every sort, Manciolino demonstrates a proclivity toward utilizing the stringerai {Manciolino’s spelling} of space as a tactical device. Simply put, when demonstrated on the Segno, the stringerai will look like this:

When you are about to fence your opponent with the spada da filo, set yourself with the right foot forward and the sword in Porta di Ferro Stretta. Then, without delivering any sort of attack, press your opponent in this manner: gather forward with your left foot, and then step forward with your right. Thus provoked, the opponent will see himself compelled to either deliver an attack or retreat.

—Antonio Manciolino (Leoni; pg. 176)

And in Italian:

VOlendo combatter contra il tuo nemico con la spada da filo sola, prima ti assetterai con il piede destro innanzi et con la spada in porta di ferro stretta, et senza tirare alcuno colpo tu lo stringerai in questa guisa, cioè tu ritirerai il piede manco appo’l destro, et poi scorgerai esso destro innanzi. Che trouandosi il nemico cosi stretto gli conuerra, o ferire, o fuggire a rietro…

—Antonio Manciolino (Reich; Wiktenauer.com)

The objective here is to claim the center, where as Capo Ferro puts it, we will, firm {ourselves} with {our} swords point such that, arriving at the bounds of lunge distance, {we} will not move {ourselves} to strike first, as our opponent, either circles the measure or pretends to strike {us} walking with his sword, and concludes with a rule for being in this measure, the misura di ferire; for in this action his motion must measure my stillness and my stillness his motion (Kirby, pg. 46). This aligns nicely with Manciolino’s declaration that our opponent will, either attack you or retreat—and if he gives ground, he does so with shame (Leoni, pg 167), and is further exemplified in Viggiani’s advantages, where he says:

Here we gain what I like to call the advantage of stillness {what Capo Ferro calls firmness}, you are fixed in low guard with your point on-line {ie. coda lunga alta, coda lunga stretta, porta di ferro stretta, or cinghiara porta di ferro}, and your opponent now has to feint or circle measure to get you out of guard, or take your point off-line; ala the advice of Capo Ferro and the tactical wisdom of the Anonimo. This is the fight that Manciolino prefers, and we know that because every play in his sharp sword sections (large buckeler, sword alone, two swords, sword and cape, and sword and dagger; where have we seen that list before) throughout books four and five of his Opera Nova feature either the constraint of space or this counterattacking ethos.

Now this doesn’t mean that Manciolino was out there gathering around like a cranked-up disc jockey, to the contrary, the gathering step was a device used specifically for that final approach into measure. Take a look at how Manciolino executes this and appreciate the brilliance of this paradigm:

Get in a good guard with the sword and the large buckler, with your left foot forward, the buckler-arm well extended towards the opponent and your sword in Coda Lunga e Alta. Gather your right foot forward near the left, then step forward with your left foot, without delivering any attacks. As you press the opponent in this fashion, he will be forced to do one of two things: either attack you or retreat. Let us assume that he attacks you with a thrust; at this, you can do many counters:

…Against the thrust, you can deliver a half mandritto to his sword hand, ensuring that your head is well defended by your buckler and finishing with your sword in Cinghiara Porta di Ferro. As he delivers the mandritto to your head, immediately pass forward with your right foot and parry by getting into Guardia di Testa; riposte with a sideways mandritto to his legs. Then, pass back with your right foot and turn your sword-hand, ending in Coda Lunga e Alta with your left foot forward.

—Antonio Manciolino; Book 4, Chapter 1 (Leoni, pg. 165)

First, note that we assume our guard prior to making any movement towards the misura di ferira, then we perform our gathering step, claiming the center circle. This is important, because what Manciolino is doing is minimizing our opponent’s tempos of attack, and limiting their ability to disrupt our approach and start an effective attack before we’re settled in position, check it out: when you have made a parry {can’t parry if we don’t attack}, when their blow goes past {no blow, no go}, when they raise their weapon to attack {we’re not sending messages in the 19th century here!}, when they injudiciously change guard {firm, fixed, fortuitous}, when they take a step.

We are giving up the tempo of a step, however, in order for our opponent to come forward with an attack, they have to take a step as well. Giovanni dall’Agocchie describes it like this; The fifth and last, when the enemy is fixed in guard, and he raises or moves his forward foot in order to change pace or approach you, while he raises his foot, that’s a tempo for attacking him. Which he follows with a conversation with an explanation of how to step and change guard in a judicious manner.

Lep. Now that I understand all the ways to recognize the tempo in which to attack, I’d also like to know, if I want to move my feet or change my guard judiciously and without danger, how I have to do it.

Gio. If you know that your enemy can reach you by extending his sword during your change of pace or guard, then you can move back or pivot around, turning a tramazzone to his sword in that tempo. You can also move your rear foot, or while moving yourself hit the enemy’s sword with your false or true edge, throwing a cut or thrust at him, depending on the circumstances, because by doing so you’ll come to move with judgment and without danger.

—Giovanni dall’Agocchie (Swanger, pg. 33)

Manciolino’s final approach with a gathering step satisfies Viggiani’s approach with advantage, which his muse Rodomonte explains with the following:

Manciolino understands this quite well, as his pedagogy is built on instilling the reader with the tools necessary to act with this proper judgement. As, if we approach well composed and aware of the solitary tempo we’re rendering this can be viewed as a provocation, which we should anticipate {As we’ll see below}. However, if the enemy doesn’t take that opportunity, then a disciplined patient—firm—approach at this measure will give you the advantage of all of the tempos of attack, and deny the opponent the same luxury, because the initiative to attack is forced upon them {ie. if they don’t attack, and retreat, they are shamed}.

Remember here to always follow Manciolino’s Golden Rule:

Achille Marozzo

Let’s start with one of the more controversial hypotheses I’m going to draw in this piece, Marozzo’s assalto {both sword and small buckler and longsword} can be viewed as an expression of navigating measure on the segno. Allow me to illustrate:

Sword and Small Buckler Titles:

1. Cap. 10. Del primo assalto de gioco largo de Spada e Brochiere. {The first assault of wide play with sword and buckler.} (Purple)

2. Capitolo 10. The first assault of open play with sword and buckler. {The entire second assault of the wide and narrow play with the sword and buckler.} (Blue)

3. Cap. 12. Del prologo del terzo assalto, el quale tratta de prese & strette de meza spada insieme. {The first part of the Third Assault, which practices both the closing to the half sword and the prese.} (Green)

Spada da due Mane

1. Adunque se ben hai guardato in le ditte parte del ditto primo assalto, le quale son state partite di gioco largo. {Therefore, you have watched well in this part of the first assault to which I have imparted to you of the wide play} (Purple)

2. In questo secondo assalto, il gioco stretto con el largo, perchè int’el principio se gli fusse alcuno che volesse imparare di tramendui insieme tu l’insegnerai di questo ditto secondo assalto de priegio. {In this second assault, the narrow play with the wide because in this principle if the same is made that wants to learn them both together you will teach this said second assault.} (Blue)

3. Seguita el terzo assalto pure de spada da due mane, e sono tutte cose de meza spada a filo dritto con filo dritto e falso con falso. {Here follows the third assault at two handed sword and all the things of the half-sword, true edge to true edge, and false edge to false edge.} (Green)

Now, these zones illustrated above aren’t perfect, fencing is far too chaotic to say; this space has this, and that space has that. However, the modes of fencing, ie. wide play, narrow play, and mezza spada do have a measure component to them. Marozzo’s assaltos in both books one and three show that the plays demonstrated in the assalti are devices to navigate between passages of play; ie. wide play, wide into narrow, narrow into mezza spada, just as the segno illustrates similar rules for what is acceptable and suitable as a demonstration of measure. The nature of and fencing character of our opponent can also dictate the mode with which we pursue our fencing. If we are constantly seeking the safety and security of mezza spada, our opponent may deny us by simply stepping back, thus our cuts will be full, and we will utilize wide guards. When bards attempt to tell of goat-gods’ wooly limbs, their horny brows, their gestures so licentious, words are not compos’d, but hues on canvas paint their rustic charge, while breathless Nymphs a-flee {Antonio Manciolino; Leoni, pg. 152).

The second point is perhaps more concrete, because Marozzo does say, “Do this especially with sharp weapons—that is, with targa, rotella, large buckler, single sword, and cape, sword and dagger, and two swords.” That is, we can look at the structure of Marozzo’s capitolos in book two of his Opera Nova and extract a few interesting tactical paradigms by explicitly using the segno.

Marozzo gives three basic modes; agent, patient, and uncovering an enemy fixed in guard.

Most of Marozzo's agent plays are provocations, ie. means of attacking to elicit a response, so you can defend and counter attack. Some of them are relatively progressive, as in they take two or three steps before being drawn to a conclusion, others have multiple steps along and around a fixed position. It's my belief that most of these plays are done when the opponent is moving to claim the misura di ferire or has claimed that center space and rendered a tempo, as most of them are done with a passing step forward. I'll elaborate on this more in a moment.

His defensive actions can be done from a similar position, though I think they lean more toward a fighter who has assumed the misura, as that seems to be the general pedagogical principle of most of the northern Italian authors. I've discussed Marozzo's defensive philosophy at some length in an article titled Marozzo’s Razor, definitely take some time to check that out.

The last one is particularly interesting, and could lend some insight into the rules of the segno, or the tactical framework of the system—how to deal with an opponent fixed in guard. This is presented in a number of ways; drawing the enemy from guard, induce the enemy, tire the enemy, “if he doesn't move”, etc.—fixed, firm, still. In all of these plays, no matter the weapon, Marozzo attempts to lure the opponent by attacking the closest (from his distance) available target {wide target}, the hand. It's safe, you aren't over committing, and you have time to react if the opponent devises a counter attack. This is why I think that in Marozzo’s agent plays there is a presentation of a tempo prior to the attack, most of those scenarios involve a thrust or a cut to initiate the sequence. So, you have two modes of attack, one in tempo, and one against a fixed, firm opponent. In summary, Marozzo recognizes the danger of an opponent fixed in guard, who refuses to relinquish an overly opportune tempo, and has devised ways to entice, or induce the enemy into rendering a tempo themselves. As Marozzo says:

You should hold it to be a certain factor that no one who is attacked when raising out of a guard, or in falling from a guard, can perform any counter except for an instinctive response as if he knew nothing…But if perchance you were to attack him when he was neither rising nor falling, be advised that he could interrupt your intention with a variety of blows. So if you wish for honor, be attentive, and look to attack him as he rises or falls from his guard with his counters.

—Marozzo, Capitolo 171 (Swanger, pg. 256)

To which we can add a similar assertion from Manciolino:

Because no blow that can be thrown that does not sensibly culminate in a guard, it follows that the prowess of the fencers is shown in rising from and descending into the guards. From this a clear field of victory will appear to one who attacks his enemy again before he arranges his weapons in a guard, because continuing, having broken his train of thought, makes it easier to hit him.

—Antonio Manciolino (Swanger, pg. 112)

And the following from Giovanni dall’Agocchie:

But to return to the discussion of attacking outside of tempo, someone who proceeds determinedly without any advantage to attack an enemy who is fixed in guard will proceed outside of tempo, because in that case he’ll find him free to perform the counters as I described to you in the fifth heading.

—Giovanni dall’Agocchie (Swanger, pg. 33)

Therefore, look to pursue Marozzo’s attacks when a tempo presents itself (provoking a counter attack or taking the opponents point off-line), look to lure the opponent when they remain firm in guard with feints and provocations, and defend valiantly (ie. making sure to follow your defense with an offense) when you have found the opportunity to claim the misura, thereby making your opponent work to uncover your guard position, or if your opponent has claimed the misura themsleves, work safely from the extreme to create an opportunity to enter safely by provoking, luring, or forcing a tempo of attack.

Giovanni dall’Agocchie:

The structure of Giovanni dall’Agocchie’s dell’Arte di Scrima Libri Tre, follows this format; defenses from various guards, provocations, mezza spada {straights of the halfsword}. Again following our cascade of measure. When Giovanni is describing the defenses for Lepido, he does so by saying, when he wants to wound you either with a cut or a thrust, be it high or low, when you’re fixed in {name of guard}. When your opponent is the one fixed in guard however, you resort to provocations, to incite them to attack, or give rise to more advantageous attacking progressions. Mind you this is accompanied with the heading, The way to provoke and wound an enemy who doesn’t want to throw any blows. There again echoing this idea of claiming the misura, and remaining still, fixed and firm.

Said provocations, so that you understand better, are performed for two reasons. One is in order to make the enemy depart from his guard and incite him to strike, so that one can attack him more safely (as I’ve said). The other is because from the said provocations arise attacks which one can then perform with greater advantage, because if you proceed to attack determinedly and without judgment when your enemy is fixed in guard, you’ll proceed with significant disadvantage, since he’ll be able to perform [24verso] many counters. Therefore I want to advise you that you mustn’t be the first to attack determinedly for any reason, waiting instead for the tempi. Rather, fix yourself in your guards with subtle discernment, always keeping your eyes on your enemy’s hand more so than on the rest of him.

—Giovanni dall’Agocchie (Swanger, pg. 27)

Here, Giovanni dall’Agocchie affirms a number of different points we’ve already coalesced from our other authors! Now, dall’Agocchie in particular admits that the fencing of the Ancients (Marozzo, Manciolino, and Achillini) is no longer in vogue, that the fencing of his day, 1572, is quite narrow, and his pedagogical framework shows that. However, the approach of measure, and the associated dangers that this role possesses, are still tantamount, echoing his Bolognese forebearers and the later publication of Capo Ferro quoted above. That said, dall’Agocchie has no problem retreating and this is where his approach differs from the Ancients—or does it?

Lep. Now I know that many deceive themselves who say that drawing backwards a pace is a great shame. Rather, I hear that it’s entirely the opposite, that is, that this is nothing else than a change of guard, which is a very safe and necessary protection.

Gio. If it weren’t so, this art would be imperfect, since there are a great number of blows that you could not parry except by withdrawing back a pace.

—Giovanni dall’Agocchie (Swanger, pg. 30)

Giovanni gives this advice as away of mitigating a well-timed counter attack when you're approaching your opponent. On the segno, this would be a step back to the periphery of the segno, which is a similar device we see from Marozzo, Manciolino, Viggiani, and the Anonimo, so perhaps we can give Giovanni a break on this one.

In summation, you are either fixed and defending, or provoking a fixed opponent, pursuing the five tempos of attack, and armed with the straights of the half-sword. If the opponent disrupts your approach you may take a step back, turning and covering to create a more advantageous position—again, using the traverso.

Achillini:

“Um, guys, has anyone seen my notes!” If you want to understand the nuance of this joke, subscribe and read Stephen Fratus's translation of Achillini!

The Anonimo Bolognese:

How much time do we have? The Anonimo covers everything, and has just about every tactical consideration you can imagine, but I’d like to point out that his enormous corpus starts out with a play that could’ve been pulled straight from the pages of Antonio Manciolino’s Opera Nova; ie. a stringerai of space forcing our opponent to attack or retreat. The tactical tome of the Anonimo is better understood from the musings of the man who translated the book, which can be found here and here.

What I do want to highlight here is the Anonymous authors nine characteristics of fencers:

I say that one with the sword in hand and facing his enemy may do only one of three things: to go valorously forward against the enemy, to retire back, or to stay fixed in place—going neither forward nor backward. Furthermore, each of these three things can be done in three different manners, making nine in all, and as you will come see one naturally overcomes the other.

• The first way we mentioned was that of going valorously forward. One may go forward in three manners: the first is to go forward attacking brutishly; the second is to go forward without making any attack, always defending oneself strongly; the third is to go similarly forward both defending oneself and attacking your enemy.

• The second way is to retire backwards which may also be done in three ways. First, one can retire without throwing an attack, constantly defending oneself; the second is to retire backwards continually dealing blows to the hand; the third manner is to retire back both defending oneself while also striking your enemy.

• The third way is to stand firm, neither going forward nor retiring backward. One may do this in a brutish manner, throwing fast attacks without stopping; the second is that one may stay in place defending oneself without ever throwing an attack; the third is that one may be able to defend oneself and likewise attack.

All nine manners may be employed with malice and art. Advancing brutishly can be done with malice and art, and yet show in one’s actions an ignorance as to how actually strike one’s enemy. So too, one can retire with malice and art by continually throwing attacks and beckoning the enemy forward.

In addition to these, as to staying firm and throwing attacks in the manner of a beast, similarly this can be done maliciously and artfully. And so that in all the ways that it will be possible to proceed one can make them maliciously and be born from the greatest of art, and yet they can also be done from ignorance.

—Anonimo Bolognese (Fratus, pg. 73-74)

This fits well with Manciolino’s Nymphs and Satyrs, and all three of these core modes and nine subsets fit well with the tactics of the segno, and what we see illustrated throughout the Bolognese corpus. We are required to read our opponents guard from two to three steps away, their body language {whether they come toward us, go back, or remain fixed in guard}, and always keep our gaze fixed on our opponents sword hand until we reach mezza spada whereupon our focus will shift to their off-hand.

Angelo Viggiani:

From Viggiani, we can extract his ideas on the approach of measure and an echo of our growing compendium of derived rules for the segno from his discussion on the advantages. This is a long section, so I’ll do my best to break it down into concerted parts, but first let’s take a look at the authors fencing modus operandi:

CON: Tell me, Rodomonte, give me advice, how should I go when I want to close the distance with my enemy; which is the greater advantage: to go to encounter him, or to wait for him?

ROD: All the answer to this question is reduced to you being in advantage, and the enemy in disadvantage, because if you go in tempo, such that you are in disadvantage of the sword, and your enemy is in advantage of guard, your going would undoubtedly be worse; but if it were the contrary, it would certainly be better.

CON: I do not doubt this, but I want to learn when one and the other were of advantage, and what would be the case were all else equal.

ROD: One never strikes safely if not during the disadvantage of the enemy; therefore it seems impossible to say that both may have the advantage, and be in equal conditions. Indeed because you ask not of throwing a blow, but of going to encounter the enemy, I would say that it is better to wait; because he who would go discommodes himself, and [62V] the moving of his body often moves the spirit as well; and who stands firm does not receive discommodity, neither by change of body nor of spirit; hence it appears that when both the one and the other could have advantage, that the lesser advantage would always be to whom would go to encounter his enemy; and that when the both could be of disadvantage, the lesser disadvantage would always be to that one who waits for the adversary, and so much more so if he who waits knows to maintain himself in guard.

—Angelo Viggiani (Swanger, pg. 26)

The advantages are as follows:

1. Settling yourself in guard.

2. In the striking.

3. In the stepping.

Advantage of the Guard:

Accordingly it may be said that you settle yourself in guard with advantage when the point of your enemy’s sword is outside your body and not aimed at you, and when the point of your sword is aimed at the body of your enemy in order to offend him, so that you may, in such fashion, easily offend him, and it will be difficult for him to defend himself from you; consequently you will be able to strike him in little time, and in order to defend himself, he will require more time; and conversely, he will find it difficult to offend you, and you will be able to easily [61R] defend yourself from him for the selfsame reason, he having need of much, and you of little time.

—Angelo Viggiani (Swanger, pg. 24)

Advantage of the Striking:

ROD: Bear in mind to never try to strike unless when you throw the blow you can reach the enemy with a half step, or at most a step.

CON: And why is that? Could I not still try although I could reach him in two steps? It seems to me that it still wounds, that it doesn’t have to lose time.

ROD: If you always want to attempt to throw blows when you still cannot reach your enemy without more steps, then you will spend too much time in throwing them, and give too much of it to the enemy in order to be able to shun your blow, and [61V] simultaneously to strike you, because you would overly disconcert yourself needing to move yourself from that distance between you. But when you can close with a step, and with half of one, you will not disconcert yourself, and you will strike quickly, without giving the enemy time to protect himself. Then you will have to pay attention that when you strike, you do not look to the point of your own sword, but rather to that of your enemy.

—Angelo Viggiani (Swanger, pg. 24-25)

Advantage of the Stepping:

Noticeably these advantages align nicely with what we’ve discussed of the segno, the misura di ferire, the stringerai of space, and the advantage of being firm—fixed in guard. Given that Viggiani’s rule of striking is to do so from a half-step or a full step away, approaching the opponent and firming ourselves one and half steps away means that the opponent will have to assume a disadvantage in striking and stepping, while Manciolino’s approach to measure satisfies Viggiani’s approach of the enemy, as noted above.

This is, of course, nicely summed up by Rodomonte when Conte d’Agomonte asks him whether it is best to be first to strike:

ROD: Because he who strikes first, uncovers himself first, and uncovering himself, cannot in the same time cover himself; hence, when your adversary uncovers himself, you can seize the opportunity to strike him; and if you are shrewd, you may also, passing a step diagonally, hit the enemy in the same time. Besides which, if you uncover yourself much, it is better to do so in guard than while striking; because in guard you can more conveniently recover yourself, but when you throw a blow you are entirely intent on hitting. And then, if you consider well, while the adversary strikes, of course he either [63R] somewhat raises, or somewhat lowers his sword, in which time he often removes his sword from your presence, and consequently rests in disadvantage; for which reason you can say that it is advantageous to wait for the enemy to be the first to throw a blow.

—Angelo Viggiani (Swanger, pg. 26)

Conclusion:

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The segno is a dynamic pedagogical tool that can help modern practitioners of northern Italian fencing explore the tactical intricacies of fencing. It provides nuance to a perceived set of rules and illustrates a deeper strategic outlook to the order of operations a fencer may follow in the course of an engagement. These are the commonalities among authors that I have extracted:

Rules:

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Order of Operations:

• When both fencers are on the periphery of the segno (three to four steps away) all actions are possible.

• If both fencers act in the same time their swords will cross at mezza spada or they will have entered a narrow play situation depending on the arrangement.

• If one fencer acts to claim the center, the other may act in tempo of their approach.

• If one fencer acts to claim the center, and his opponent has remained on the periphery {stringerai}:

  • The fencer on the periphery must by means of provoking and feinting, create a suitable situation to approach; ie. they must attack or retreat in shame.

  • The fencer who has entered the misura di ferire, may remain still and defend {counter attack, etc.}, initiate an attack in tempo of the opponents movement, or they may retreat honorably. {The consensus is that they are best to remain still/fixed/firm until the proper tempo presents itself}

• The first fencer to act may step into the misura di ferire in a wide guard, the second may not. If the second fencer to act forces their opponent to take a full step back they may let their attack end in a wide guard (deliver a perfect blow; Anonimo), eg. porta di ferro larga (ala Marozzo).

Tactics of Measure and Rules:

• From two to three steps away we will keep our eyes focused on our opponents sword hand, determine what guard our opponent is in, and proceed with the knowledge of the virtue of the position they hold. Subsequently, in your pursuit of measure, by keeping the eyes on the opponents sword hand, you will be able to see the tempos of attack as they present themselves.

• Wide play {Giocco Larga} is acceptable when both fencers are up to two to two and a half steps away. Wide play can be done to:

  • Provoke an attack, ig. stepping into the misura di ferire with a full cut to create an invitation.

  • It can be done around the periphery of the segno to induce a guard change from our opponent thereby creating a tempo of attack.

  • Create intricate tactical problems. Given that wide play actions end with the sword in a wide guard {high or wide}, the fencer looking to attack must work to bring their opponents point on-line to then bring it off-line so they may strike safely. In the course of these actions the fencer in a wide guard can perform a number of counters.

• Narrow play {Giocco Stretta} begins when the fencers are two to two and a half steps away. Narrow play has the following rules:

  • Here the first fencer to act may keep their sword on-line to force narrow play {stringerai}, or they may hold a wide guard (eg. with the intent of pursuing narrow play or retreating back into a wide guard.

  • In order for the second fencer to act, they must keep their point on-line as they come into the misura di ferire or make sure that their cuts are mezzo or half {thereby keeping their point on-line}, they may also play at their opponents sword with feints and beats, or attempt to gain mechanical advantage if the opponent allows their sword to be found.

  • The objective of narrow play is to take the opponents sword off-line so you may strike them safely. This can be done through mechanical advantage, beats, pursuing mezza spada, or acting in the tempo of the opponents sword going past.

Footwork:

• In defense, and as a means of covering (repositioning the body after an attack) utilize the traverso to create dynamic mechanical advantage over your opponents sword, pull yourself away from their weapon, and create new dynamic lines of attack.

• Gathering steps into measure, or into the mesura di ferire are preferred over passing steps. {Viggiani}

By applying the plays, notably the sharp sword plays of the Bolognese corpus, to the segno we can see a more dynamic tactical framework start to emerge. Through that, a clear order of fencing or rules that we can abide start to emerge and give us a better understanding of how fencing was tactically perceived in the 16th century.

It’s fascinating that by applying the ancient authors plays, or headings and modes into the segno we can see such a clear expression of the tempos and advantages illustrated by their later Bolognese counterparts. This is the schermo.

Now, it’s my hope that you—dear reader—will take this framework and test this for yourselves. Draw a segno, play with the tempos of attack, the advantages, insert plays from the various authors, and see what you can find. I hope this is a helpful and resourceful tool that will benefit you in your training, if you have any questions feel free to comment on this article or reach out through the message button below, I’d love to discuss this material with you. Until next time!

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Works Cited

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• Fratus, Stephen. “With Malice and Cunning: Anonymous 16th Century Manuscript on Bolognese Swordsmanship.” Lulu Press. 18 February 2020. Print.

• Swanger, Jherek. “The Duel, or the Flower of Arms for Single Combat, Both Offensive and Defensive, by Achille Marozzo.” Lulu Press. 22 April 2018. Print.

• Leoni, Tom. “The Complete Renaissance Swordsman: Antonio Manciolino's Opera Nova (1531)” Freelance Academy Press. 27 May 2015. Print.

• Swanger, Jherek. Giovanni dall’Agocchie, Dell’Arte di Scrimia, “The Art of Defense: on Fencing, the Joust, and Battle Formation”, lulu press, May 5, 2018. Digital.

• Terminiello, Piermarco & Reich, Steven. “Marco Docciolini’s 1601 Fencing Treatise; Treatise on the Subject of Fencing.” Vulpes Press. 2017. Print.

• Swanger, Jherek. “The Schermo of Angelo Viggiani dal Montone of Bologna.” 2002. Digital.

• Swanger, Jherek. “How to Fight and Defend with Arms of Every Kind, by Antonio Manciolino.” Lulu Press. 4 February 2021. Print.

• Termiello, Piermarco & Pendragon, Joshua. “The Art of Fencing; The Discourse of Camillo Palladini.” The Royal Armories. October 2019. Print.

1. This likely refers to the concentric circles of the symbol (geometric compass), which are used to denote measure {As compasses were used to chart distances on maps}.

2. This is a guard with the sword hand high and on your left side, with the point at the enemy’s face.

3. When we lay them across the segno, they are almost exactly 3/4 the length of the figure {on my screen 5 1/4” with the length of the Segno being 7” exactly}. If we were to scale this {175=0.75(x)}, we get 233.33cm (7’ 7 1/3”) for the outer circle which matches Docciolini perfectly, and 77.78cm (2’ 6 3/5”) for the center circle which is likely 1/3 of that, and is the difference between the two figures.