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"Rapier Combat: A Social History" by Don Henry Fox.

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This article was submitted to me by the author for inclusion in this set of files, called Stefan's Florilegium.

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While the author will likely give permission for this work to be reprinted in SCA type publications, please check with the author first or check for any permissions granted at the end of this file.

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Mark S. Harris...AKA:..Stefan li Rous

stefan at florilegium.org

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Rapier Combat: A Social History

By: Don Henry Fox

Abstract

This paper is an examination of the social aspects of rapier combat. Rapier combat was a form of civilian combat that flourished in the Renaissance period. The paper focuses on an examination of the important social aspects of honour, the gentleman, duelling and the education of the gentleman. It then relates this to a case study of Elizabethan England to demonstrate how these concepts are important to understanding civilian combat in this period as a whole.

To introduce the topic of rapier combat, the earlier chapters explain the basic elements so that the reader may understand the subject and also gain some contextual grounding in this field. This is followed by an examination of Shakespeare's plays as political and social commentary, followed by an in-depth discussion of the concepts that have been mentioned previously.

This paper will demonstrate the integrated nature of the concepts, and show that each is bound to the others. As such, it will follow that to discuss one concept alone would be restricting the perspective of the topic. The subject of rapier combat itself is only part of a much larger subject of swordplay, and much technical research has been done on this topic. Without a social investigation of these topics a full appreciation of their time cannot be expected. It is hoped that this paper will form a bridge between the technical research that has been completed in the fields and the other more social research that has been done in the same time period. It is also hoped that this paper will form a bridge between the academic research of scholars and the more antiquarian research of re-enactors and recreationalists.

Introduction:

Renaissance-style fencing, which covers such areas as the rapier and cut-and-thrust is a general term for the modes of fencing typically used between the late fifteenth to the early seventeenth centuries The use of the rapier was particularly common during this period and continued to strongly influence modern fencing styles. The popularity of rapier fencing in Elizabethan England was mainly due to fashion. Being Italian, and the Italians being at the height of fashion at the time, rapier fencing became popular as the upper classes wished to be at the height of fashion. The use of the rapier in combat was a civilian style and not one for the battlefield. As such, this thesis will examine the rapier's form of combat from the perspective of a weapon used in civilian modes of combat, the duel and the brawl. The cut-and-thrust form of combat will be mentioned but only in association with the rapier as its predecessor. Rapier combat itself is a single aspect in the much larger area of sword combat, and while these other modes of combat are important, it is the rapier which will be focussed upon due to its presence in the Elizabethan period, and its affect on modern forms of fencing.

Within the field of rapier combat, the social issues that are involved are often overlooked in favour of their technical side. Many of the researchers in the field of rapier combat do not examine the social aspects in any depth but merely brush the surface and go into more technical detail. It is the purpose of this paper to address this issue and examine this subject in much greater detail than has been attempted before. It is also hoped that this paper will form a bridge between academic writings and those of an antiquarian focus. Through understanding of the social side of the combat a better appreciation of the society in which it flourished can be reached and therefore a deeper understanding of the combat itself is possible. This paper will rely less on the findings of historians of fencing or duelling, and more upon current research and period manuals. This will supply a much broader perspective on the subject of swordplay than is available through the opinions of historians who focus on duelling and those who argue the particular question of evolution or development of fencing.

The important concepts that this paper will detail will be; the concept of honour, duelling, and the gentleman. It is these concepts upon which the basis of the social side of rapier combat are based. Each concept is linked to the another, and clear lines between them are difficult to establish. As such each one of the sections on the particular subjects will involve some of the other concepts being discussed.

Primary sources in this field are typically treatises on fencing, duelling and the etiquette of the time. These will give opinions of the skills of the rapier combatant and also supply some of the social details of the period. For example, how the gentleman should respond to particular situations and the learning that goes into the gentleman's education.

With regard to the education and knowledge of the gentleman, one of the most influential treatises is Castiglione's Book of the Courtier[1], especially the first book, which details what the Courtier should be like and the things that he should know and do. The treatises on fencing and duelling also supply some of this sort of detail, especially Vincentio Saviolo's second book Of Honour and Honourable Quarrels[2], which was used at the time as a guidebook to the whys and wherefores of duelling. The other manuals also give insight into this area.

The treatises by fencing masters of the sixteenth and seventeenth centuries supply knowledge of the skills that the rapier combatant should know how to use to survive combat with the rapier and its companion weapons. Particularly influential are Saviolo's His Practice in Two Books[3], Joseph Swetnam's The Schoole of the Noble and Worthy Science of Defence [4], Giacomo Di Grassi's His True Arte of Defence[5], and from an anti-rapier point of view, George Silver's Paradoxes of Defence[6]. These supply much of the technical detail that went into the use of the rapier. What is important at this time is to note that the word "rapier" is sometimes not present in these works. This is due to the fact that the Italians used the word "spada" or sword instead of the word "rapier".[7] To this point it is only through an examination of the techniques which are being used that a clear idea may be gained of exactly which weapon is being spoken about. There are other texts, that seem totally unassociated with rapier combat that are useful to this investigation. Such texts are the plays of Shakespeare, which make political commentaries on the rapier and its use, and also social comments about those who use the rapier and its counterpart the cut-and-thrust.

Modern fencing manuals usually supply a short history of fencing and from their point of view see rapier combat as an evolutionary step toward the modern sport, which is seen by them as the most perfect evolution of fencing. Along with these books, are articles and books written by the modern researcher and practitioner of rapier combat. Such books supply a modern interpretation of the Renaissance techniques from the perspective of recreating these skills, and also academic research into this particular area. There have been great strides made in the understanding of rapier combat and the social aspects surrounding it by many academics and recreationalists.

Sydney Anglo's Martial Arts of Renaissance Europe, in a single text combines an investigation of not only the primarily civilian modes of combat but also the military modes. Anglo's investigation of the topic is more far-reaching than those which came before, as it examines the combat from an historical perspective on general combat, rather than primarily from the point of view of either the history of fencing or duelling.

The works of the recreationalists give the researcher an understanding of the topic, which is much closer to what they themselves understand in the modern world. It is important to recognise the work of recreationalists in this area as they are literally at the cutting edge of research. Over the past couple of years the research in the area of rapier combat has increased a great deal as more and more people become interested in this particular topic. This research has shed more light on to areas of the subject that have been debated. It is important to recognise not only the research of trained academics in this field but also so-called "amateurs". Those recreationalists who often research and train in rapier combat as a hobby, but also as an occupation.

The first chapter will introduce the rapier as a weapon. A definition of the weapon is the first important step as this is a topic that is still being argued.[8] Once defined suitably, there will be a discussion of the development of the rapier from its beginnings to its form in the sixteenth century. Then this weapon will be placed in the society in which it was found.

To understand the rapier it is important to know how it was used, more particularly exactly how it was used in combat. It is most important to understand that this is not a discussion of the effete methods of play of sport fencing but a deadly serious contest, the outcome of which may leave one of the combatants dead. This will hopefully dispel some of the fictions about the use of the rapier that have been created by public media. A brief discussion of the Renaissance practitioners and theorists will be made, along with a discussion of the False and True Art.[9] As this relates directly to the concept of the gentleman. It is the Renaissance practitioners and theorists, who developed the techniques, so it is important that they are the focus of any discussion of technique from that particular period.

There were several different styles of rapier combat; the third chapter will examine four of them, which influenced rapier combat. The examination of these styles will assist in the cultural grounding of the topic. Each one was moulded around its particular cultural situation, though some influenced each other. These styles were influenced in their development by the weapons and the social situation in which they were found, and also the background of their masters[10]. This is especially so with the later English school in that both the Italians and Spanish influenced it through their influence on fashion. The investigation of the styles provides part of the social grounding of the topic. These masters were the exponents of the schools and it is their works, which have been left for the modern historian to examine. It is only through an examination of their works that the particular schools become evident.

The fourth chapter will be a discussion of Elizabethan England as a context in which to examine rapier combat, as a social phenomenon. The arguments, which are discussed, are contemporary to this particular period. One, is the argument between the Italian Masters and the English Masters of Defence championed by Silver.[11] This will also discuss the social and political situation and its impact upon rapier combat and duelling. It is also helpful to use this place and period due to access to primary sources.

Shakespeare is useful in that his plays may be seen as a social and political commentary, and offer insight into the mind of the Elizabethans. These plays are examined in the fifth chapter for social details and the ideals of the period, as well as class distinctions by type of weapon used, as in Romeo and Juliet. His plays were written for an audience that would have experienced rapier combat and duels as an everyday experience, and thus they would have had some knowledge on the subject. They would also know of some of the arguments that were current, such as those mentioned above.

Honour was very important for the gentleman of the Renaissance, so the sixth chapter will be devoted to a discussion of honour[12]. It will investigate what it meant to the gentleman, how it was a part of duelling, and the particular techniques used in the duel. But first of all it will discuss exactly what the term means and how it was used in the Renaissance. This will be all brought together to discover exactly what a "Gentleman's Code of Honour" was.

The concept of the gentleman is important to the Renaissance. The seventh chapter will discuss the qualities that were necessary to be regarded as a gentleman[13]. In this chapter the gentleman will be related to the other important concepts which have been discussed. More importantly this chapter will establish the concept of the gentleman so that a mutual understanding is possible. This will be the Renaissance concept of the gentleman, not the modern version, in which any man who is pleasant and generous is considered a gentleman.

Education was important to the gentleman, due to Renaissance humanism and the concept of the "universal person", and education in the martial arts was most essential. In the eighth chapter the education of the gentleman will be discussed, along with the reasons for such a heavy emphasis on the martial arts. This will focus on the martial education of the gentleman due to its importance in this period. Along with this will be a brief discussion of fencing schools and academies and how they changed over time[14]. This chapter will most easily link to the previous one on the gentleman, and also to the following chapter on duelling.

Duelling was a common part of Elizabethan English society, especially for the upper classes. What will be defined in the ninth chapter is the different types of conflict, from the formal duel to the brawl. There will also be discussion of why duels were entered into, and what formalities were observed.[15] This is directly linked to the concept of honour and martial arts as well as the martial education of the gentleman. A brief history of the duel of honour will also be discussed in this particular section.

Chapter 1: The Rapier as a Weapon

The definition of the rapier as a weapon and a concept is in the process of being debated. There has been no clear evidence of exactly what weapon is meant by the term "rapier."[16] For the purposes of this particular paper it is important that a clear, concise definition is established for the benefit of the reader. Before this is attempted, it is important that the development of the rapier is discussed from its origins in the medieval era as the classic war sword of the period.

The rapier developed from the cut-and-thrust sword, a weapon with a broad blade and reasonably sharp tip. Designed as a civilian weapon, the cut-and-thrust sword had a more elaborate guard (hilt) than its predecessor, the medieval war sword. It was also lighter and was not designed for fighting men who were armoured.[17] It has been argued that these "war swords" were heavy and unwieldy by many of today's scholars: "In the Middle Ages swords were heavy and clumsy and more strength than skill was required for their use."[18] What these scholars fail to recognise is that continued mastery of these weapons requires several hours training each day, every day, and thus, a trained fighter would be used to the weight of this weapon and not find it unwieldy.

As the use of gunpowder became more popular, the form of combat for which the medieval sword was suited became obsolete. There was no need for heavy armours and, therefore, there was no need for weapons designed to penetrate or smash through armour. Gunpowder brought about a: "sudden transformation of weapons to lighter forms more suitable for quick, neat movements and more skilful sword-play."[19] Some of the earlier forms of the lighter weapons were developed to penetrate through the gaps in armour that were exposed in movement; "The need for swift weapons with sharp points to penetrate between the joints of armour led to the development of the rapier."[20] The sword had become obsolete as a weapon for war, but in civilian life the sword was only beginning to come of age. The sword became the mark of the gentleman, a self-defence weapon to be used when attacked in the streets.

"Much of this development [of the hilt] was due ... to the need to protect

the unarmoured hand, a result of the Renaissance predilection for

wearing swords with civilian dress, in accordance with fashion, for self-

defence and for settling quarrels by duelling."[21]

Such development started slowly with a single finger ring to protect the exposed finger when it was wrapped around the quillon (cross hilt) for a better grip, and for the ease of pointing the tip of the sword at the target. More elaborate hilts, designed for protecting the hand by virtue of their rings, were designed. Often these designs were borrowed from those found on cut-and-thrust swords of a contemporaneous or slightly earlier period;

"Compound hilts of decorative shapes and designs are common

features of both cut-and-thrust swords and rapiers, ... These hilts

provide obvious hand protection,"[22]

These hilts were further developed into much more elaborate designs. From the knuckle guard, finger rings developed the "swept-hilt", which became popular in the sixteenth-century. This particular type of hilt had an S-shape moulded out of the quillons, with other bars and rings attached for the sole purpose of protecting the unarmoured hand;

"The typical sixteenth-century rapier is sometimes referred to as 'swept

hilted' on account of the bold S-shaped sweep of the quillons round the

knuckles to the pommel, and at the other end curved forward over the

blade."[23]

Such hilts were elaborate in appearance and sometimes were jewel-encrusted and gold-plated.[24] These hilts gained more and more rings and the hilt became more and more enclosed until the rings all met to form what is known as the cup hilt:

"rapier had begun its existence as the plain cross-hilted sword of

knightly times, and had been furnished with finger-guards which had

developed by way of the so-called 'swept' hilt to the cup."[25]

Being a sword, at the opposite end of the weapon to the hilt was the point, and in between was the blade. The blade, especially the point, was the killing part of the rapier. While it is possible to use the pommel to pummel the opponent into submission, the blade was a much more effective way of dispatching one's adversaries.

"The blade, of wonderfully tempered steel, was lighter, more narrow and designed to be used entirely with the point."[26] This change from predominantly edge attacks to thrusting attacks meant that the rapier's blade could be much thinner than that of a weapon designed for cutting. The simple fact is that "rapiers do not cut well and that wider-bladed swords, being heavier, are not as agile for thrusting."[27] The blade shape dictates the way that the weapon is to be used. A sword with a broad blade is made for cutting and a sword with a thin blade, such as the rapier, is predominantly designed for thrusting. The nature of the weapon's use is decided in the construction and shaping of the blade. It is this part of the weapon, the attacking part, which decides what the weapon is most useful for: "It is a sword's blade that directly follows from its purpose and that dictates its manner of use."[28]

Movies produced in Hollywood would have the watcher believe that the rapier was made to slash and cut; this, however, is a fallacy:

"The actual "edge" of a rapier is fairly limited and sometimes not even

sharp enough to make lacerations or prevent it from being grabbed by

the bare hand."[29]

A weapon with such characteristics would not be useful for cutting or slashing at all. To make a successful slashing attack it is necessary to have a sharp edge on the blade. Rapiers did not, and do not, and therefore it is hard to credibly argue otherwise.

"The influence of Hollywood leaves many with the impression that

rapiers are intended for slash-and-cut use. This is inaccurate."[30]

The length of the blade was dictated by its user. Most rapiers were substantially longer than the modern fencing weapons (epee, foil, and sabre). During the early part of the rapier's

evolution, the blades were of a reasonable length. Towards the later period (early seventeenth century) blades tended to be longer. This occurred due to a change in technique;

"When the lunge and parry/riposte became more common techniques,

blades shortened to a more "standard" length. The average appears to

have been between 40 and 45 inches, but some were more than 50

inches."[31]

According to Capo Ferro "the proper length of a sword, ... should be twice as long as the arm."[32] This keeps the rapier in proportion to the user of the weapon. A person with longer arms would have a longer weapon, whereas a person with shorter arms would have a shorter weapon. This makes a great deal of sense, as a longer weapon in the hands of a shorter person would be less than optimal in use.

"Giacomo di Grassi was the first to clearly define the different parts of

the blade and their properties for both offense and defense."[33]

The parts of the blade closest to the hilt (known as the forte) are the best in defence as they give more ability to control the other person's blade. The parts furthest from the hilt (known as the foible) are the best for attack as they are the quickest moving parts of the blade. The correct use of the blade was imperative when parrying.

The weight of a weapon gives the modern practitioner some idea of what the real weapon was like to use. The rapier, while fast for its time, was nothing in comparison to the modern sporting weapons, due to its weight;

"Despite its "modern" sporting descendants, rapiers were not

exceptionally light weapons (ranging from two and a half to three

pounds, with the earliest versions being heaviest)."[34]

This weight was distributed to balance the rapier in the correct place for the user, typically about two or three fingers above the hilt. The correct organisation of this weight meant that the movement of the weapon assisted in the carriage of its weight.

The description above should give the reader an image of a long, slender-bladed weapon with an extremely sharp tip, and not so sharp edge. The hilt would be a combination of rings and bars to protect the fingers. A gentleman's weapon, carried suspended from a hanger, was mounted on the belt with the hilt at the most convenient height to draw the blade out of its scabbard. This is the definition of a rapier that will be used for this paper.

"It needs to be realized that fighting tactics come from techniques, and

techniques are derived primarily (though not exclusively) from the

mechanics of the weapon itself."[35]

From the description above, it can be seen that this particular weapon's techniques will focus on the use of the sharp tip rather than the edge of the blade. This biases the weapon toward thrusting attacks, the hallmark of fencing as it is known today, and was known in the days of rapier combat. Most of the arguments in the area of rapier combat revolve around technique and technical detail. Technical details may not be so important today, but in the days in which the masters wrote their treatises, the use of the wrong technique at the wrong time, or the use of an inferior technique could have easily caused a person to be killed.

Chapter 2: Techniques of the Use of the Rapier

The techniques for using the rapier have been debated and are still being debated in the modern era. The big questions asked by the Renaissance masters usually come from the same sort of viewpoint. It was the techniques, which were taught, that would keep a person alive. These manuals were about the most efficient way to dispose of an opponent and, as such, they were deadly serious. It is on these questions and points of technique that much historical argument is based. The discussion of techniques is essential so that it may be understood that these techniques are those which would be used in combat for the defence of a person's life and honour. Due to the limitations placed on this paper the discussion of techniques will be focused on the use of the single sword alone. Details about the dagger, one of the many companion items, can be found in Appendix 1.

"It is important to remember that in Elizabethan England the sword is

the most terrifying and deadly weapon imaginable. A drawn sword is

like a loaded gun with a hair-trigger. A sword fight is not a sport to

watch like modern fencing. It is life or death."[36]

Techniques were not taught because of their style or look, but as a form of defence. The wrong technique at the wrong time was not only likely to lose a person the fight, but is more than likely going to cause them to lose their life. Rapier combat was a life and death affair. It is important to remember this when examining the techniques that were advocated by the masters. Unlike modern sport fencing, these were not to see who gets the first point, or the first touch, but to see who lives and who dies. This form of combat is almost like high-speed chess, it requires a; "unique combination of quick thinking and elegant athletic movements."[37] In distinct difference to the previous form of combat involving armoured men and weapons designed to shear through armour, rapier fencing involved quick and precise movements, with less strength and more precision in the attack and in defence.[38]

The absence of armour meant a blade or tip that barely touched one of the fencers could easily do damage. Small cuts and scratches were frequent, as were small puncture wounds.[39] The only thing that stopped a person from getting killed was their skill with the blade. No armour was worn, only the normal clothing of the individual. Skill was the deciding factor in the rapier fight. Different length weapons could be got around, it was up to the skill of the fighter with the weapon.[40]

Swords, in general, had been out-dated on the battlefield, and replaced by the gun and cannon. The sword, however, did find a place in civilian life. Guns were too slow and cumbersome to load and fire quickly. In a street brawl the sword was the chosen weapon. The narrow streets of the urban situation meant that opponents would only attack from two directions. This meant; "the rapier's thrusting, fencing style for self-defense in urban settings."[41] was perfectly suited.

New techniques developed as the rapier evolved. As the weapons became more slender and sharper at the tip, it became more prevalent to use the point of the weapon rather than the edge.[42] When describing these techniques it is important to look at how these could be applied, especially considering that rapier fencing, even now, is a practical art. As such the techniques will be described in the same order that they would be taught, because it is necessary to have the basics before one moves on to the more advanced. Readers who have experience in fencing should also take particular note of the differences between the details of the rapier-style as compared to Olympic-style.

In Olympic-style fencing there is one starting stance, in general, for each foil, epee, and sabre. Even though there are slight differences, they are all essentially the same in style. The feet are placed shoulder-width apart. The front (right for right-handers) foot is placed forward pointing at the opponent, the rear (left for right-handers) foot is placed on an angle, for balancing purposes. The sword is gripped in the right hand and this is placed with the arm slightly extended. The left hand is placed out of the way so that it cannot be hit.[43] This stance is standard across modern fencing, each style having its own minor variations.

In rapier combat on the other hand, there are many different on-guard positions or wards. During the Renaissance period many teachers devised, and taught, their own wards. Some bore very little resemblance to the Olympic-style stance.

"Agrippa reduced the number of useful wards to four. He gave them

simple numerical names: prima, seconde, terza, and quarta."[44]

These four wards became the standard used to teach fencing with the rapier. Olympic-style fencing uses a modification of terza, the third ward in its on-guard position. Salvator Fabris codified and defined each of the four wards. "Prima: is the position assumed when the sword is drawn out of the scabbard, point turned at the adversary."[45] This leaves the arm in its high position due to the length of the rapier, and the point of the sword toward the opponent's head. The left arm is brought out in front for balance and defence. "Seconda: Is when the sword hand is slightly lowered to shoulder height."[46] Very similar to Prima, it leaves the arm in a high position and the tip pointing at the opponent's face. The arm can also be extended and parallel with the ground, in a stance that is sometimes known as Broad Ward. "Terza: Is where the hand is held naturally at the right hip without being turned",[47] this is the stance that Olympic-style fencing borrowed and modified. The arm is in a relaxed position and is ready to either thrust or parry. It is this stance that was most often taught first due to its ease, and relaxed position. "Quarta: Is where the hand is turned towards the inside, hand held at the left hip".[48] This stance looks tangled because the arms are crossed over the body, but it does put the sword in a good position to parry or thrust. This stance would look very out of place on a modern fencing piste (strip).

"Camillo Agrippa thought that an effective ward should facilitate every

possible combination of attacks. The rapier being held in front of the

body, threatening the opponent."[49]

The above gives no definitive opinion as to which is the most effective ward, but states that