What _is_ “Transitional Rapier?”

Transitional Rapier; bladesmith Tomas Aiala Spanish hilt, ca. 1625–50; blade, 17th century [https://www.metmuseum.org/art/collection/search/27450]

An extremely clever and well-read chap I know, let’s call him “Mr. B.,” has more than once said that he believes the next “big thing” in historical fencing will be “transitional rapier.” Certainly there are signs that this is true–rapier, ever popular, thrives, but the smallsword community is growing and with it, in time, will come those who want to know how rapier led to smallsword.

In an offhand way, I often refer to rapier as a sedan and smallsword as a sports car, which is to say that (eschewing linear progression) the smallsword appeared largely because some people (not all) grew tired of the longer, sometimes more cumbersome rapier. There are a number of amusing anecdotes from the 17th and 18th centuries about swords tripping people up, becoming a nuisance in a cafe or shop, and the smaller weapon, while it can certainly be a pain to wear, was less of an annoyance in public spaces if not when sitting down, mounting a horse, or at court. [1]

Defining just what is a transitional rapier, and the dates that surround it, is challenging. Like most things in sword development and change over time, the dates are best used as guides rather than firm start and end points. To save others time, I examined a few places that discuss this–there is much more to read on it than I present here.

Egerton Castle, a Victorian scholar of fencing, whose interpretations have often been found wanting since his time, on the one hand delineates a “transitional period” well, while also muddying the waters of sword classification with his take on the “flamberge” as only Victorians could:

In broad outline this holds up well, though there were other sorts of military swords in use, and some people continued to use previous styles of rapier. I left out his discussion of the “flamberge,” what Ewart Oakeshott among others refers to as “dish-hilt” rapier. The former term can be confusing as it referred to a variety of swords. E.D. Morton, in the Martini A-Z of Fencing, defines the flamberge as:

Perhaps significantly, one of the most important works, A.V.B. Norman’s The Rapier and Small-Sword 1460-1820, while it discusses various hilt and blade types, does not provide a specific chapter for the “transitional” stage. Norman’s treatment of the changes in guard, however, and how we date them, is informative. Placed next to other discussions, he fills in a lot of the details. [4]

In his chapter “From Rapier to Smallsword” in Swords and Hilt Weapons, Anthony North provides a succinct summary of rapier development. Just prior to his coverage of the smallsword in this chapter, North mentions what he calls “light rapiers,” such as the dish-hilts popular in England in the 1660s, and reminds the reader that many styles coexisted. The title of the chapter is fitting, for as he writes:

Rapier; hilt, probably Dutch; blade, Spanish, Toledo, ca. 1630 [https://www.metmuseum.org/art/collection/search/27371]

What is the take away from this short sample of examinations? First, “transitional” rapier might refer to a few different styles of weapon–to different lengths and widths of blade, to different hilts. Second, the period of transition, which includes overlap in style preferences, is centered on the 17th century. Individual hilt styles varied, some coming in the 16th century for example, but for the most part we’re looking at the 17th century. Fourth, and for me most useful, is considering how these weapons were intended to be used. By and large, “transitional” rapier points to use of the sword alone, that is without a parrying dagger, buckler, rotella, or other off-hand options.

Guard position, _The Free Master of Arms_, Charles Besnard, 1653

It would be unhelpful to include all the options under the title–by that logic smallswords might be considered transitional rapiers too. That isn’t wrong, I don’t think, but it isn’t helpful either. Likewise, Italian, especially Neapolitan, and Spanish systems of the time, had not yet abandoned off-hand options. Marcelli, I would argue, represents later period rapier, but not necessarily “transitional” rapier. Ditto Pallavicini.

I am not an authority on rapier nor on sword styles and development; I’m a passionate enthusiast and fencer, so what follows on what I look to as “transitional” is just my take on things and offered only as suggestions.

A few sources I recommend:

–first and foremost is The Free Master of Arms by Charles Besnard (1653)–it is excellent and provides a very thorough approach in logical progression. Rob Runacres and Anne Chauvet have a delightful dual-language edition published by Fallen Rook Publishing.

–Another master worth examining is Johannes Georgius Bruchius (active in the 1650s)–Reinier van Noort has translated and published his important work. For fans of Fabris and his legacy in northern Europe, Bruchius is a must.

Alfieri, while he covered a number of weapons, including rapier and dagger, devoted a lot of attention to the rapier alone–his On Fencing (1640), later republished with additional material as The Art of Handling the Sword Well (1653), is excellent.

–the work of André des Bordes, whose Discourse on Theory, Practice, and Excellence at Arms (1610) is considered a French distillation of the upublished the book by Camillo Palladini.

I would love to hear your thoughts on the topic, both the idea of “transitional” rapier, and, the masters you most look to, so feel to message me and we can make this post more of a discussion.

NOTES:

[1] I covered a few of these in the short piece I wrote, “A Brief History of Smallsword,” available here under “Coaches.” Scroll to the bottom and in bold you’ll see “Research, Interviews, and Media.” Click on that and it will take you to a list of articles, etc.

[2] Egerton Castle, Schools and Masters of Fencing: From the Middle Ages to the Eighteenth Century, 1885, Reprint New York, NY: Dover Books, 2003, 238; Ewart Oakeshott, European Weapons and Armour: From the Renaissance to the Industrial Revolution, Woodbridge, UK: The Boydell Press, 2000, 165-166.

[3] E.D. Morton, Martini A-Z of Fencing, London, UK: Queen Anne Press, 1988, 66.

[4] A.V.B. Norman’s The Rapier and Small-Sword 1460-1820, 1980, Reprint Ken Trotman Publishing, 2019, see especially the discussion 43-47.

[5] Anthony North, “From Rapier to Smallsword,” in Swords and Hilt Weapons, New York, NY: Barnes and Noble Books, 1993, 58-71.

The Event we _Need_: Rose & Thorns Historical Fencing Symposium

In my hands is an original copy of Marcelli’s _Regole della Scherma_ 1686 owned by Maestro Kevin Murakoshi.

This weekend I had the pleasure to attend and the honor to present a class at the Rose & Thorns Historical Fencing Symposium, a two-day event composed of classes and various tournaments hosted by the folks at Diamond Rose Academie d’armes, Auburn, California. To say I enjoyed it is understatement—it was extremely well run, the quality of the fencing (beginner and advanced) was impressive, and the hosts were open, friendly, and passionate about fencing. My good friend Alex Spreier (High Desert Armizare), who kindly joined me this weekend, and I found ourselves actually enjoying the bouts—on several occasions we approached the fencers to tell them how much fun it was to watch. This is in no way a dig at Issac and company—from all I could gather pre-event they appeared as delightful as I found them to be in person, but there is sometimes a disparity between great folks and less ideal tournaments. Rose & Thorns, in my view, is the ideal.

Before explaining that, I should state that my notion of the ideal meet consists of quality fencing, education, and camaraderie. Many events feature people who get on well, and many do their best to provide classes, but with few exceptions I’ve not seen the level of fencing skill, beginner to advanced, that I did here, whether in the pools or in pick-up bouts. Caveat: this is not to say that such events don’t exist—I’m assured by friends and one recent reader that there are other high quality examples of solid fencing. I believe that, I do, but this said for the events I’ve not attended some of the footage shared from them has proved the rule (hop and chop, all first intention, no use of measure, etc.) rather than the exception. Put another way, Rose & Thorns is what “HEMA” tournaments should be.

Smallsword and rapier, generally, draw a different crowd. Interest in these weapons overlaps with like-minded enthusiasts in the SCA, among others, and given Diamond Rose’s history (iirc it began as SCA), this isn’t surprising, but at the risk of offending friends of mine in the Scadian orbit, the smallsword and particularly the rapier I saw was, by and large, not what I typically see in the SCA. It says a lot that I could often identify the source a particular fencer favored, and it says more that the fencers in question weren’t merely costumed up and aping the plates, but making effective use of the source material. There was also a healthy mix of people—some clearly classically inspired fencers, some from the sport-rapier/black tiger side, and even—importantly—Olympic fencers with one foot in historical. Among the last, it was a treat finally to meet Christopher Bartlett. He’s a seriously nice chap and an excellent fencer.

The blend of classes and lectures, the division of the hall into a teaching/pick-up bout/vendor side, and competitive sections, was smart. I was not able to do it all, and missed a few options that I should like to have attended, but the classes I was able to attend and the people whom I met and had a chance to chat with, more than made up for it. In particular, I had a chance to meet some people I’ve mostly known via fb, such as Matthew Lawrence, Christian Killingsworth, and Maestro Kevin Murakoshi (Maestro, thank you so much for sharing your recent book acquisitions, and, for introducing me to Itto Ryu). Meeting such wonderful humans is one of the things that makes these events so special.

Thanks to two long days on concrete, and a misstep (my own fault) during Christian’s class on Nicolaes Petter, I had trouble with my hip and so was unable to enjoy some pick-up bouts with Issac and his people, among others, and so here I’d like to add that I collectively owe them a bout or two next time we meet.

Thank you Issac Humber and Diamond Rose for hosting and running such a stellar event. I am honored to have been asked to teach and am grateful to you all, and to those who attended my class on Charles Besnard’s Le maistre d’escrime libéral. The Rose & Thorns Historical Fencing Symposium has joined SabreSlash in Prague (hosted by my dear friend Maestro Michael Knazko) and the excellent Russ Mitchell’s St. George’s Day Exhibition of Arms as one of the events I should like to attend again and which I hope never dies.