Notes were made from Christopher Holzman’s translation of Pallavicini’s Fencing Illustrated which can be purchased here
Chapter 27
| A | B |
| Engage in 3rd, middle to weak Contratempo with an imbroccata | Disengage with an imbroccata, hand in 2nd, to A’s right shoulder |
- When you’re engaged as such, the prudent actions are as follows:
- Disengage so your sword is in the superior degree;
- Raise your point so you are at the greater degree
To this point, Pallavicini has not given an example of the 2nd option, this may be because he did not find this to be as prudent a decision. Considering the rest of the chapter is discussing the disengage, and when he says cutting over is not a strong method of attack, we can assume he only wants you disengaging.
- The disengage must always be ovoid and as tight as possible, even grazing your opponent’s guard
I will generally teach students to make a V shape when doing their disengages which ends up being an ovoid shape when done at speed.
- Cutting over is bad
With such long, thrust centric weapons, this is not surprising. Though it makes me wonder if he is countering someone in particular. With the term eventually being codified as coupe, a French word, I wonder if he had seen French fencers using a rudimentary coupe at this point.
- The proper disengage and attack is 1 tempo.
Chapter 28
- Rules of attacking with the sword:
- Standing well in guard
- Taking measure to attack
- Taking Tempo
- Hitting where you aim and then returning to guard
- There are two types of attackers
- 1st intention
- 2nd intention
| A | B |
| Guardia 3rdBring yourself to measure Stoccata to face with hand in 4th | Guardia 3rd Do nothing Contratempo stoccata Return to guard |
From the contratempo
| A | B |
| Parry Lift B’s sword with your false edge and imbroccata | Disengage to imbroccata |
Chapter 29
| A | B |
| Engage in 3rd | Disengage and imbroccata to A’s face with hand in ½ second.. |
- The hand in 2nd has little strength and the arm is curved. Half second prevents your opponent from taking your blade
I don’t notice any difference. This will need some experimentation to determine if there is any validity to this.
- When you withdraw to guard you should have your hand in 4th.
This is to ensure you are in the safest position, should your opponent re-engage you, you are already prepared to parry and riposte.
From the disengage:
| A | B |
Advance and stoccata | Withdraw to guard Parry and stoccata with hand in 4th |
Chapter 30
- Quartiata is performed thusly:
- From 3rd guard, stoccata in 4th as contratempo, advance with the right leg and step to the outside with your left leg.
- As a second intention, you make a disengage, and perform the same footwork as above
This section is probably the most direct Pallavicini ever is. He drops all the over explanation which shows how much he wanted people to get this right I feel.
- The body is turned, but the hand stays in 3rd because 4th is slower and weak.
I’m not sure about this, testing is required.
- Capoferro snubs the quartiata because he used it too close.
Pallavicini’s measure is definitely larger than most other rapier fencer’s I’ve read or heard of, so this is unsurprising.
- The Sicilian method is to quartiata farther apart than Capoferro does and to keep the hand in 3rd.
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