Marcelli, Francesco. The Rule of Fencing. Translated by Christopher A. Holzman. Wichita, KS: Lulu Press, 2019. Originally published, Rome: The Press of Domenico Antonio Ercole, 1686. 520pp. ISBN 978-0-359-71908-2. HC $42; Pb $32.99.
Francesco Marcelli’s Regole della Scherma (Rule of Fencing), published in 1686, is arguably one of the most important fencing treatises in the Italian tradition. On the one hand, it’s one of the core works on Neapolitan fencing, not only in terms of how thoroughly Marcelli explains the particularities of the southern school, but also as a book which retained its significance far after the author’s time. His influence is obvious from Terracusa e Ventura’s True Neapolitan Fencing (1725) to Rosaroll and Grisetti’s The Science of Fencing (1803), and even down to Masiello’s Italian Fencing (1887).
Francesco Marcelli was one of several masters within this
tradition who codified the art of the Neapolitan school. There are differences
between these authors, and it’s clear there were serious rivalries.
Pallavicini, for example, refers to Francesco Mattei as a “modern” master, but
receives a few barbs from Marcelli in turn. Their differences notwithstanding
they have more in common than not and have long been considered proponents of the
same regional style.
In some ways Rule of Fencing bridges older models of fencing manuals with those which came after—like earlier works, say by Marozzo, Marcelli covers additional weapons of his time (rapier, smallsword, dagger, and sabre), but the specificity and thoroughness of his system, while often peppered with Classical allusions or extended metaphors, reads more like works of the 19th and early 20th century. This holds true both in outline and precision. Marcelli’s coverage even includes discussions of terrain, fighting at night (with and without a lantern), and what it takes to be a good instructor.
Chris Holzman, as Tom Leoni, the author of the forward and a distinguished translator in his own right, remarks, is ideally suited to tackle the monumental task of translating Marcelli for an English audience. Where his training and deep knowledge of Italian fencing opens up the material, Chris’ language ability and sensitivity to nuances in Italian allow him to unpack the author. Rule of Fencing is not an easy read. Marcelli assumes a familiarity with Classical authors and fencing masters that few contemporary readers possess. His prose is complex, it’s fancy, and much of it expressed in a grammatical mood that doesn’t work well in English.
Chris’ approach here, as indeed in all of his
translations, seeks to provide as much of the author’s ideas, language, and
expression as possible. Keeping as best he can to what the original writer
wrote is difficult, and can ring a little oddly in modern ears, but the
advantage of Chris’ method is that he gives the reader a closer approximation
of the original, and, with far less chance of the translator’s ideas creeping
in. It is always clear if and when Chris’ voice interjects—this is important
for anyone keen to keep clear what is Marcelli, and what is not. To assist us
further there are notes, a short overview of the context in which Marcelli
wrote, and brief explanations of the guard positions, Marcelli’s take on
targeting lines (e.g. what he means by inside line), and less common terms such
as the “scommosa.”
As important as Marcelli’s Rule of Fencing is for students of Italian fencing, it is equally important for any fencer truly interested in the concepts of the Art. Devotees of rapier will have more to chew on than most, but any fencer, Olympic or Classical, historical or SCAdian, will appreciate the degree of specificity, the completeness of Marcelli’s presentation, and the author’s use of illustrations. The connection between Neapolitan and Sicilian fencing with that of Spain is here, as it is in Pallavicini, everywhere evident, so students of destreza have yet another work to consider that touches on their own focus. Marcelli cites a number of earlier and contemporary Italian masters as well, opening a valuable window into how early modern masters looked back at their own, and other, fencing traditions and sources.
Perhaps one of the most valuable features of the Rule of Fencing is the way in which Marcelli breaks down complex ideas. As a quick example, in Ch. VI of Book I, Marcelli treats tempo. He starts with a short statement about when a student should learn it and why, then explores what other authors have said, from de Carranza to Alfieri, and finally provides his own insights into this core universal of fencing. There is a lot there to consider, and this is as true of Marcelli’s notions of universals (timing, distance, judgment) as it is in his explorations of particular techniques, their application, and the various contingencies that arise between fencers of different temperament and skill.
If you buy one book on rapier, or one book on Italian
fencing, or even one book on fencing theory and application, let it be this
one. One can and will return to it again and again, for there is more to mine
here, to consider, to attempt within one’s own training than in most other
works. You needn’t be a rapier fencer to benefit—there is something here, a lot
of somethings, for every fencer.
JBT Emmons
Sala delle Tre Spade
Sala delle Tre Spade 