Abrazare. Medieval wrestling in the style of Fiore dei Liberi. Nicholas Conway and Christopher Penney. December, 2004 Not for Resale

Transcription

1 Abrazare Medieval wrestling in the style of Fiore dei Liberi December, 2004 Not for Resale Nicholas Conway and Christopher Penney

2 2004 Ottawa Medieval Sword Guild Do not copy, reproduce or cite without full acknowledgement

3 1 Acknowledgements This article is a product of the authors themselves, and any criticisms of the document should be addressed to them alone. Except where noted, the following interpretations are those of the authors- any similarity to those of other writers, persons or groups is purely coincidental. Any such occurrence, we feel, only serves to validate our work, and the work of others who share our conclusions. That said, this work could not have been completed without the assistance and support of a number of individuals, both within the Ottawa Medieval Sword Guild and the greater Western Martial Arts community. We would first like to thank the people from the Academy of European Medieval Martial Arts, in particular Free Scholler David Cvet, Free Scholler Brian McIlmoyle and Scholler Frank Williams for their communications concerning some of their interpretations of dei Liberi s grappling. From OMSG, we would like to thank Scholler Mathieu Ravignat, whose seminar on Fiore dei Liberi s grappling system in Montreal in June, 2002 formed the outline of several sections of the present paper, particularly those on footwork ad knowledge requirements. Peter Kautz of Alliance Martial Arts kindly explained his views on the dowel plays to Mr. Conway, and they are his interpretations that we are using here. We thank Scholler Anton Cvet for insights on several aspects of the manuscript. We also thank everyone at OMSG, who have assisted with trying out our ideas, and providing input throughout the development of our grappling program. Thanks to Mathieu Ravignat and Scholler John Woods for reading over the manuscript and providing valuable comments throughout. Unless otherwise stated, all of the images and text from the Pissani-Dossi manuscript were kindly provided by the Knights of the Wild Rose. The text was translated by Hermes Michelini, and the images of the plates were cleaned up by Mich Shire. Disclaimer This article depicts and describes fighting techniques designed to cause severe pain and injury. They are presented for educational and entertainment purposes only. We study this martial system for reasons of cultural heritage and recreation, and are not responsible for the use and mis-use of the information contained herein. Those wishing to study and train in this fighting system should do so only under the supervision and instruction of a reputable, qualified instructor. you have been warned! Abrazare Nicholas Conway and Christopher Penney

4 2 Introduction Fiore dei Liberi was an Italian weapons master from the second half of the fourteenth century 1, noted for recording his fairly comprehensive martial system in a manuscript entitled Flos Duellatorum, or the Flower of Battles. Since beginning to study the art of dei Liberi in the fall of 2001, we have been trying to understand his system of martial arts. Our first reference work was the Academy of European Medieval Martial Arts (AEMMA) The Art of Longsword Combat, Book 1 (Cvet 2001). We felt this work to be a good starting point, but if we were to understand more fully how each component of dei Liberi s martial system contribute to the whole, we needed to look more closely at each aspect of the art. The Pissani-Dossi manuscript is generally accepted to be the lighter version of Flos Duellatorum. The manuscript held by the Getty Library in the United States is larger, with expanded captions for each plate. Currently, only short portions of the Getty mansucript are available online, for example at < We, along with many others, eagerly anticipate the release of the translation of this manuscript, which will surely make obsolete many of our inferences and interpretations of the Pissani-Dossi material, as discussed in the present paper. In light of the continued absence of the Getty manuscript from the public domain, we are pleased to release to the Western Martial Arts community an interpretation of the grappling section of the Pissani-Dossi manuscript. We see this not as the final word on the grappling of Fiore dei Liberi, but as an addition to the growing body of thought concerning this master of later medieval hand-to-hand combat. If this document spurs any debate or discussion of dei Liberi s work, then we will consider this article to have been a success. This article is ordered in a manner that introduces the student to the various practical and theoretical tools required to get started in dei Liberi s martial system. Basic theoretical concepts as discussed by Fiore dei Liberi are covered first. Next comes an introduction to proper stances and footwork, and finally the guards, or poste, of grappling, and the techniques that follow, as demonstrated in dei Liberi s manuscript. Throughout, we have provided exercises to develop habits and skills to compliment the techniques as described in the manuscript. Together, this article will hopefully provide a good introduction to medieval grappling for those with little previous experience with medieval martial arts. For more experienced practitioners of medieval martial arts, we hope that this article will allow others to take a look at how we in the Ottawa Medieval Sword Guild approach the grappling of Fiore dei Liberi, which forms the foundation of his comprehensive medieval fighting system. 1 We do not discuss the biographical details of Fiore dei Liberi in this article, but historical information on Master dei Liberi (along with a variety of other medieval and later-period masters) can be found in AEMMAs The Art of Longsword Combat, Book 1 (Cvet 2001). OMSG 2004 Not For Resale

5 3 The Knowledge Requirements for Wrestling Fiore dei Liberi states that there are seven knowledge requirements for wrestling. If you read the prologue of Fior di Battaglia you will see that this list is somewhat confusing- it is possible to count eight requirements depending on how you read it: Also I say that wrestling requires seven things; which are strength, speed, knowledge, that is, knowledge of binds of advantage, knowing how to fracture, that is how to break arms and legs, knowing binds, that is how to bind arms so that the man has no defense anymore, and can not leave freely, and knowing how to injure the most dangerous points. Also, knowing how to put someone on the ground, without danger to himself. Also, knowing how to dislocate arms and legs in different ways. Which things I will write and draw in this book, step by step, as the art requires. (dei Liberi, c.1409, trans. Easton and Litta, 2003) Looking at the third point (knowledge of binds of advantage, and the fifth point (binding arms so your opponent cannot attack you), we have chosen to consider these as a single attribute, and our list of the seven requirements are as follows: Strength Speed Knowledge of advantageous binds Knowledge of how to dislocate arms and legs in different ways Knowledge of how to injure the vulnerable points Knowledge of how to break arms and legs Knowledge of how to put someone to the ground To aid in understanding these requirements, dei Liberi also states that all seven requirements are illustrated in the plays of the Masters. Strength Most techniques will be ineffective in a combat situation if they cannot be delivered with strength. Although it is true that strength alone will not win a fight, a stronger person will usually win when all other attributes between two opponents are equal. Essentially, your opponent or partner will be trying to resist any technique you use. A good, strong technique, whether it is a strike, grab or ward will be harder for your opponent to stop. Besides the amount of weight you can lift or push, grip strength is also of vital importance. Your hands are generally the part of you that keeps you connected to your opponent. Having the strength to maintain your grip is essential. In addition, strength can refer to endurance. Endurance, simply put, is the ability to exert yourself for a prolonged period of time without tiring. This ability is vital, since even a few minutes of wrestling can quickly sap your energy. Strength and technique are useless if you quickly tire- you need good cardio-vascular endurance in order to outlast your opponent(s). Abrazare Nicholas Conway and Christopher Penney

6 4 Developing strength involves several different aspects. Of course, general strength and endurance conditioning will help you immensely. Training in light armour (such as a hauberk) can give you a good workout without greatly affecting your range of motion. Using the proper amount of resistance when training with a partner is also an important aspect of strength training (see Speed, below). Speed Speed can be seen in more than one way. Physical quickness, the ability to move quicker than your opponent, is obvious. Mental quickness is also important in any combat situation. One must mentally be able to quickly understand the constantly changing position of the fight, and adapt their focus and attention to where it is needed. Once an advantageous position has been seen, one must have the quickness of reflex and movement to strike in time. Exercise: One of the most important ways of developing quickness can be practised while drilling, either on your own or with a partner. When practising a given technique, start slowly, making sure to maintain proper form and control. As you get more comfortable, try to gradually speed up, making sure that you continue to use proper technique. When practising two-person drills, you can gradually increase the speed and strength that you use as your partner increases their resistance at the same pace. It is very important that you increase the speed slowly, as most people have the tendency to quickly speed up to the point where technique and form deteriorate. What you are trying to develop here are the speed of your hand, hand-eye co-ordination, and your arm and hand strength. These attributes are vital, as the action of the hand is the fastest movement you can make, and is generally the first movement you make in attack or defence. If you train correctly in this manner, you should not be taken off-guard by the increased intensity of free play or sparring (or indeed, a real fight). Advantageous Binds Besides being able to strike or grab quickly and with strength, knowledge of where and how to grab or hold you opponent is of vital importance. A poorly placed grab can easily be countered by our opponent, and will likely leave you in a vulnerable position. A wellplaced grab should give you good control of your opponents position and movement, while restricting their opportunities to counter your attack. It is clear from looking at Flos Duellatorum that Fiore dei Liberi had an excellent command of advantageous grabs and pushes. Carefully applying grabs and holds as they are illustrated in the manuscript will help you learn the proper technique to grab your opponent. It is illustrative to note that the human body is composed of natural handles. These handles provide the best means of grabbing your opponent. All the grabs in Flos Duellatorum will use one or more of these handles. With a partner, learn how to use these handles, and look for them in the plates (Ravignat 2002). The handles: The hair The ears The nose The forehead ridge The kidneys The hips The biceps The triceps OMSG 2004 Not For Resale

7 5 The chin The sides of the neck The shoulders The pectorals The latimus (Ravignat 2002) The elbows The wrists The upper knee The lower knee The ankles Dislocating Arms and Legs The dislocation of arms and legs progresses naturally from advantageous binds and holds. Dislocations in Flos Duellatorum generally focus on the elbow (from an arm bar) and the shoulder (from a key-lock, explained below). Dislocating a leg joint (particularly the hip) can be extremely difficult, and it is hard to see how any of the grappling plays show a method for dislocating the leg. Grabbing the leg (see Plate 7) can lead to tearing and straining ligaments in the groin area, but this would seem to be the most damage to the legs one can produce from the grappling plays. It is important, however, to note that many of the techniques for dislocating joints and tearing ligaments can also cause pain without causing damage. These techniques, to be illustrated later, can be used as pain compliance holds. Fiore de Liberi makes a similar distinction. He divides holds into prese di amor (holds of love), and prese di battaglia (holds of war). Holds of love are those that cause less damage, and can, with care, be used in most training and sparring situations. Holds for war might today be called holds of self-defence. We learn and train these techniques for academic purposes only. In general, tyings and holds involve applying force to the joints of the body. Generally speaking, there are seven major and ten minor joints. Major Joints: The vertebrae The shoulders The elbows The wrists The hips The knees The ankles Minor Joints: The ten fingers These tyings and holds work based on the principle that the body does not tolerate countersense. Joints are designed to bend in a particular way- forcing them to move either in the opposite direction or beyond the normal range of motion for the joint is unnatural and painful. Learn the countersense to these joints. In general, to control someone you must have control of at least two joints, but three is best. Keep in mind that many tyings and holds can be used to grab your opponent, but not all holds will produce pain on the joints or ligaments. Also, some joints are very hard to dislocate, such as the vertebrae or the hip joint. Others, such as the elbow or shoulder, are much easier to damage (Ravignat 2002). Always use extreme caution when learning these holds, and develop your sense of control along with your command of the technique. Abrazare Nicholas Conway and Christopher Penney

8 6 The most common tyings used by Fiore dei Liberi are the arm bar and the key lock. An arm bar is created whenever a person s elbow joint is hyper extended, and their opponent applies force to the elbow (counter to the natural range of movement of the joint). A good example of an arm bar is seen in Plate 6, which will be explained below. A key lock is a hold where a person s forearm is bent at or around 90 to their upper arm, and is wrenched away from the body, putting a great deal of strain on the shoulder. Depending on how this lock is applied, it is called an Upper Key (Soprano), Middle Key (Mezzana) or Lower Key (Sottani). All three of these variations can be seen in Flos Duellatorum, though only the lower key is mentioned in the grappling. Injuring the Vulnerable Points Any strong blow to the body will cause pain, but the most efficient way to cause pain is to target the bodies vulnerable areas. These are generally soft targets, and can be struck with the fist, palm, fingers, elbows knees or feet. The general axiom to remember is that the body is less vulnerable on the outside, and more vulnerable on the inside. For example, the skin on the inside of the arm or leg is more sensitive, and can be quite painful if grabbed. A similar grab to the outside of the arm or leg will be less painful. Many of the inside parts of the body also contain nerve clusters and major blood vessels, such as the groin, neck, or armpit (Ravignat 2002). Dei Liberi mentions that the most sensitive points of the body to target are the eyes, the nose, in the temples, under the chin (referring to the throat?), and the hips (groin?) Other sensitive points of the body are: Below the ear The neck The solar plexus The armpit The top of the foot (Ravignat 2002) Inside of the arms The flanks The knee The inside of the legs The inside of the knee The alert student will notice that Fiore dei Liberi frequently targets these areas in his manuscript. Knowing the bodies sensitive points will help you recognize this, and will aid in learning the techniques. Breaking Arms and Legs Breaking the arms and legs can be difficult. Bone is very hard to break, and it is for this reason that most attacks target the joints and ligaments. There are no techniques in the grappling plates that appear to be able to break arms or legs. One possibility is that breaking does not literally mean breaking the long bones of the arms and legs, but rather the knee or elbow joints. We have already looked at arm bars and how they can damage the elbow, but we looked at this in terms of a dislocation. Perhaps dei Liberi considered key locks to result in a dislocation of the shoulder, but arm bars were considered to break the elbow. To compliment this, there are plays in the longsword OMSG 2004 Not For Resale

9 7 section of the manuscript that illustrate a kick to your opponents knee. Perhaps this would be considered breaking a leg. Putting Someone to the Ground Many of the holds in Flos Duellatorum result in a takedown to the ground as their logical conclusion. Being able to ground your opponent will put you at a definite advantage- provided you are able to maintain an advantageous position over your opponent (literally!) By throwing someone to the ground without control you expose yourself to the chance that you will be dragged to the ground along with your opponent. The best way to take your opponent to the ground is to use focused pressure to break their centre of balance (using your knowledge of the body s natural countersense) and guide them to the ground with control, finishing in a proper balanced position (usually a position known as iron gate, or porta di ferro, which we will cover shortly). Taking someone to the ground with control has the double advantage of often being gentle on your partner as well as being good martial technique. Breaking your opponents centre of balance will be much easier if you use correct foot and leg placement, using the leverage you gain to take them to the ground. Careful examination of the plates will illustrate where the Masters place their feet in relation to their opponents. Note: There are several takedowns that cause your opponent to hit the ground quite heavily, and should never be attempted, even with floor mats. In other cases, you should always perform these takedowns over padded floor mats or outdoors on grass. The ideal situation is to perform these takedowns only under the supervision of a trained martial artist, with knowledge of how to safely fall and roll out of these manoeuvres. Other Requirements In addition to these requirements, dei Liberi states that we must also observe our opponent and judge several factors: His Strength This refers to his physical strength, as discussed above, but it can also include his strength of will, and endurance (physical and mental). Clearly it is advantageous to fight someone who is not a strong as you. His Size Size is somewhat related to strength, though not everyone who is large is necessarily strong. The size of your opponent in relation to you will influence the techniques you should use. It will be difficult for a tall person to grab the leg of a shorter person. Likewise, a thin person will find it difficult to throw a large person without a lot of strategically placed leverage. Such a person would be well advised not to try to stand in close and try to rely on his strength. Abrazare Nicholas Conway and Christopher Penney

10 8 His Age The age of your opponent can give good clues as to how they will fight. Younger adversaries will tend to be in better shape, and will have greater endurance than an older person. Younger people will also tend to be reckless and more aggressive. Older opponents may not be in as good shape, but they tend to be crafty and inventive, based on their greater experience. They may also tend not to be so hot-blooded, but more patient, conserving their energy until they spot an opportunity. Whereas younger people tend to rely on their strength and vigour, older people tend to rely on their technique. Whether He Uses the Guards (his technique) This may seem quite simple at first glance- it is better to fight someone who does not have good technique than someone with training. There are other considerations, however, that one should always keep in mind. Firstly, just because a person does not have a recognizable technique does not mean that they are not an experienced fighter. Speed, strength, a cool head and determination can go a long way, even against a trained martial artist. In addition, new and inexperienced combatants can and will act in totally unexpected ways, and do unorthodox things that can take even an experienced fighter offguard. Although someone with a similar training to your own will know what you might likely do, you also know what he might do, which can tend to balance things out. OMSG 2004 Not For Resale

11 9 Footwork Footwork is the foundation of the entire art. Without proper footwork movement is restricted, and balance is compromised. Although dei Liberi does not write at any length about footwork in Flos Duellatorum, proper foot placement are definitely a major part of his grappling technique, and is a necessary component of any complete training program. We are including the following basic information, which has been inferred from the manuscript as a whole. This should serve as a basis for further study of dei Liberi s martial system. Stance The stance is the initial position of the feet, where every step or technique should begin and end. There are two stances, though they are simply the opposite of one another. These are called the forward and reverse stances. For the forward stance the right foot is positioned ahead of the other, and the toe points a little to the left of the opponent. The left trailing leg is not positioned directly behind the right, but just to the left. The rule of thumb is that if a straight line was drawn on the ground towards the opponent your feet would be on either side of the line (see figure below). For a reverse stance, the left foot leads with the right foot trailing. The knees should be slightly bent at all times. Forward Stance (right) and Reverse Stance (left) Steps There are two basic steps- the passing step and the gathered step. In a passing step your feet will pass each other, so that your stance will change. For example, from a forward stance, step forward with your trailing left foot so that you are in a reverse stance. You could also step back with your right foot, finishing again in a reverse stance. Be sure to correct your stationary foot with a small pivot so that your feet are positioned as they Abrazare Nicholas Conway and Christopher Penney

12 10 should be. This is essentially a normal walking step that you take, remembering to maintain the width of your stance, so that your feet are not directly in line. Passing Step, from reverse to a forward stance Exercise: Practise passing steps, backwards and forwards. Remember that the length of your stride should not be significantly different than your regular walking stride. Stop and look at your stance every few steps- make sure that your feet stay a little further apart than when you normally step, so that your stance is not too narrow. In a gathered step you finish in the same stance that you begin. To do this, move one foot in the direction you want to travel, but only to a maximum of about a foot-length, then move your other foot by the same amount, in order to maintain a correct stance. There are two kinds of gathered steps. In the first case, step forward with your leading foot (i.e. the front foot if you are moving forwards, the rear foot if you re moving backwards) followed with the trailing foot. This is known as a committed gathered step. This is because at the midpoint of this step your feet are wider than a normal stance, and you have to shift your weight in the direction of travel, which makes it relatively difficult to return to your starting point. The other step is the non-committed gathered step. This is where the trailing foot is moved towards the leading foot, before the leading foot is moved. In a non-committed gathered step, the feet are close together at mid-step, with the weight centered. From this position, is it just as easy to return to the original position as it is to complete the step. OMSG 2004 Not For Resale

13 11 Gathered steps forward: Committed (left) and Non-committed (right) There are advantages and disadvantages to each step. The advantage of the non-committed gathered step is obvious: it allows you to return easily to your original position if you wish to do so. It is, however, slower than a committed gathered step. As your body shifts to where you want to move to with the first step, it is easier to make a sideways movement to avoid an incoming attack with a committed gathered step. Exercise: Practise stepping with committed and non-committed gathered steps, forwards and backwards. Remember not to step so far that you have difficulty shifting your weight in a controlled manner, or move your feet too close together that your balance is compromised. This is most likely to occur as you start to step faster. At the end of every step your stance should be identical to your starting position. As you get comfortable taking gathered steps increase your speed, but do not go so fast that you cannot maintain good form and foot distance. Abrazare Nicholas Conway and Christopher Penney

14 12 Direction From a starting stance, the direction of movement can be divided into eight directions, corresponding to the four cardinal and four ordinal directions of the compass (Ravignat 2001). The 8 basic directions of movement Forwards and backwards steps have been discussed already. The other directions employ a traverse, or side step. This is a step where you move in any direction other than straight forwards or backwards. These may be forwards or backwards on an angle, or straight to the side. To take these steps, you use either a passing or gathered step in the desired direction of movement. Whether you use a passing or gathered step, however, will largely depend on the situation, and the stance you are in. As a general rule, however, the first foot you move should be the one on the side you are moving to (i.e. move your left foot first if you are moving to the left, and your right foot first if you are moving to the right). The following diagrams illustrate traverse steps to either side, executed from a forward stance. OMSG 2004 Not For Resale

15 13 Traverse step to the right, using a committed gathered step forward and to the right Stepping off-line to the left, using a passing step Exercise: From a starting stance, step to all eight directions that you can move to. For passing steps, see how many you can do while keeping your forward foot stationary, and see how many you can do while keeping your rear foot stationary. From each stance, some steps will be better if done with a passing step- others will require a gathered step. Figure out which steps feel best in different situations (don t forget committed and non-committed gathered steps!) Make sure you practice this drill from both a forward and reverse stance (Ravignat 2002). Abrazare Nicholas Conway and Christopher Penney

16 14 Stepping Off-line Stepping forwards and backwards are used primarily for changing or correcting distance. When attacking or defending, it is more advantageous to step to either side. This is known as stepping off-line. Stepping off-line uses a traverse step to change one s orientation to an opponent. Stepping off-line in relation to an opponent, stepping forward and to the right In a starting position when two people begin an engagement, they are typically facing one another- from whatever stance you are in, your opponent will be directly in front of you. All attacks in this case come directly from the front. This is the expected attack if both opponents are trained only to step forwards and backwards. Stepping off-line can drastically change the character of the fight. It should be noted that in grappling one tends to step in towards their opponent, and not off-line as often as when using weapons. We feel that stepping off-line is a foundational skill, however, and it is important to train it as a basic component of footwork. Stepping straight into your opponent should be the exception, and not the rule, and saved mostly for when using grappling techniques. Stepping off-line as a defender is designed to move you out of the line of attack. If you can move out of the way of the attack you can devote little to no energy or attention to parrying the attack, allowing you to counter attack without worrying about your opponents actions. As an attacker, stepping off-line will change the direction from which your attack comes. The defender is then obligated to deal with this change in direction. A skilled opponent would then attempt to step off-line from your attack, leading to a fight that takes place in a circular motion, rather than one where combatants move backwards and forwards as they defend and attack. OMSG 2004 Not For Resale

17 15 Execise: Practice stepping off-line in relation to either a real or imagined training partner. As a solo drill, assume a forward or reverse stance in front of an object to simulate an opponent standing in front of you. Take a traverse step forwards, either to the left or right, adjusting your stance so that you continually face directly towards your opponent. As a two-person drill, one partner can step towards the other with a forward passing step, allowing the other to step off-line. As you get comfortable moving to either side from both a forward and reverse stance, the attacking partner can begin stepping towards the defending partner in an off-line manner. Help each other learn which steps seem to work best in different situations, which steps are quicker to take, and which steps place you in the most advantageous position (i.e. as far around to the side of your partner as possible.) Note: Although stepping off-line can occur backwards or straight to the side, concentrate on stepping forward. Stepping forward allows a defender to maintain close enough distance to attack their opponent- stepping away is too defensive. Also, stepping backward is the most common instinctive step that an inexperienced fighter would take- try to break the habit! Abrazare Nicholas Conway and Christopher Penney

18 16 The Four Masters of dei Liberi s Martial System Flos Duellatorum explains the techniques and counter-techniques of Fiore dei Liberi s martial system by employing a series of Masters and Schollers (1409, trans Easton and Litta, 2003). These Masters work sequentially, each opposing the technique of the previous Master. After the First Master demonstrates the guards, or poste, the Remedy Master demonstrates a defensive technique. His Schollers demonstrate one or more applications, which continue from the initial Masters technique. These Schollers illustrate a series of techniques until they are defeated by the Contrary Master, or Third Master, who may or may not be followed by Schollers demonstrating his applications. There is also a Fourth Master, known as the Contra-contrary Master. Dei Liberi states that few plays reach this stage (dei Liberi, 1409, trans Easton and Litta, 2003). There are no techniques of the Fourth Master in grappling. When looking through the manuscript, do not think of these four Masters as figures or individual illustrations, but rather as layers to the fight, each representing a technique to counter the one that preceded it. To understand how this system of Masters works, imagine two combatants. The player A, who makes the first attack towards the other, would use one of the techniques of the First Master. If player B cannot mount a suitable defense, player A would win the engagement. To remedy the attack of player A, player B him would himself take action to block the attack, and counter-attack in turn. This block and counter attack would be the technique of the Second Master, known as the Remedy Master. If player A was quick enough, he could modify his action from his initial attack (which has been blocked by player B) and try to get around the counter attack of player B. This counter-to-the-counter is the play of the Third Master, or Contrary Master. It is even possible for player B to counter this attack- this final play would be known as the Contra-Contrary Master, or the Fourth Master. Each of the Four Masters can be distinguished from the others as follows: The First Master wears a crown. He stands by himself and demonstrates the starting guards. The Remedy Master (Second Master) also wears a crown, but he is shown applying a defensive technique to a player who does not wear any distinguishing marks. The Schollers of this Master wear a leg band. The Contrary Master (Third Master) wears a leg band and a crown. The player who opposes him does not wear any distinguishing marks, but will be using a technique that was previously demonstrated by the Remedy Master or one of his Schollers. Like those of the Remedy Master, the Schollers of the Contrary Master also wear a leg band. The Contra-contrary Master (Fourth Master) also wears a crown and leg band. The player who opposes him does not wear any distinguishing marks, but will be using a technique that was previously demonstrated by the Contrary Master or one of his Schollers. It should be noted that the Schollers of the different Masters cannot be distinguished from one another by their markings. The Contrary Master and the Contra-contrary Master also wear the same markings. However, if you study the plates sequentially, you will note how OMSG 2004 Not For Resale

19 17 the Masters are named based on the techniques they use, and the techniques of the players who oppose them. For every plate, we have indicated which Master technique is shown. The opposing player will always be using a technique of the previous Master (i.e. if a plate is titled as the technique of the Contrary Master or Third Master, the player opposing him will be using the technique of the Second Master, or Remedy Master). The Guards of the First Master of Grappling The First Master of Grappling can be identified by the crown without a leg band. The plates of the First Master demonstrate the guards, or poste, from which all attacks and defences are made. There are four poste in grappling- two matched opposing pairs. They are not named in the Pissani-Dossi version, but the Getty Manuscript lists the four as follows: Posta Longa (Long Guard)...Dente di Zenchiar (Boar s Tooth) Porta di Ferro (Iron Gate).Posta Frontale (Front Guard) (dei Liberi, 1409, trans Easton and Litta, 2003) The relation of the poste to each other is illustrated in how one is used to counter the holds of the other in the plays of the manuscript. It is important to note that the next Master (the Second, or Remedy Master) counters the attacks based on these poste, but he also uses these same four poste. Before this, it is important to learn them individually, and learn how to move between them using proper footwork and technique. Plate 1 The First Guard of the First Master I m ready to gain my holds, If I don t trick you, you ll have a deal Posta Longa (Long Guard) From the forward stance, the right arm is extended, palm facing inward with the thumb pointing up. The elbow must NOT be locked, and the arm must be in line with the leading leg and the elbow above the knee. The trailing left hand should be positioned to the side of the body, in line with the groin but positioned far enough to the side that a straight downward motion of the arm will clear the trailing leg. Abrazare Nicholas Conway and Christopher Penney

20 18 Posta longa has the longest reach of all the guards. Reach can be extended by turning the hips, so that the hips and torso face to the side. The will lengthen the distance the leading hand can reach, though it will also decrease the ability of the trailing hand to assist, the further the hips are turned. Another way to extend your reach is to shift your weight forward onto your leading foot (though you should never lean forward with your body, where you can easily be pulled off balance). Posta longa is the guard from which the first series of attacks (see plates 5-7) are based. In an alternate translation of the verse, the first line reads: I make an opening for me to earn a hold (dei Liberi, 1410, trans. Cvet, 2001). This suggests that the holds are achieved by using posta longa, but the holds themselves are expressions of another posta. Posta longa can also be used as a strike, either with the heel of the hand, or with a closed fist, though this is not explicitly demonstrated in the plates. It is also used as a takedown manoeuvre (see Plates 7 and 8) Exercise: Practise posta longa from both a forward and reverse stance, using passing and gathered steps. To transfer your stance through a passing step, it is imperative to use a smooth arm motion in combination with the step. As you step forward from a forward stance, pull your right hand down and towards you as you extend your left hand. This hand should move in a slight upwards motion, and should be quick and powerful, as if you were striking something with your open palm. Concentrate on moving as smoothly and fluidly as possible, maintaining proper form while remaining relaxed. Plate 2 The Second Guard of the First Master I try to change my fight, And with this one I'll throw you to the ground. Dente di Zenchiar (Boar s Tooth) As the verse implies, this is a dynamic posta whose movement is reminiscent of the upward stabbing action of a boar s tusks. Although it is also a strong position in which to hold an opponent via a neck and hip grab (see Plate 8), its primary purpose is its powerful upward action, whether it is used to ward an attack, knock an opponent off balance, or to throw an uppercut punch (sometimes all three at once!) The first play of the Second Master of grappling (Plate 5) demonstrates how dente di zenchiar can be used to attack the elbow of the extended arm of an attacker using posta longa. OMSG 2004 Not For Resale

21 19 To form dente di zenchiar the leading arm is bent at around a 90 angle, and the upper arm is held horizontal, roughly parallel to the ground. The upper arm should point towards the opponent, and the hand and forearm should point upwards. The trailing hand stays down to protect the groin, but is positioned far enough to the side that a straight downward motion of the arm will clear the trailing leg. Exercise: Begin with dente di zenichar, transferring between the forward and reverse stance. Remember that your leading hand should pull down when you step, as your trailing hand strikes upward. Your arm movements should not be too tense, but it should be swift and deliberate. When you are comfortable with this, add posta longa. Work between the two poste, moving backwards and forwards. Plate 3 The Third Guard of the First Master If you won't beat me with your cunning, I believe That with my strength I'll hurt you, and worse. Porta di Ferro (Iron Gate) Based on the name of the posta, and the accompanying verse, this is a strong position to hold. Indeed, many of the holds used by the attacking players in the grappling plates are based on porta di ferro. In porta di ferro both hands are placed palm facing down at approximately waist height. The right hand is in front of the groin and in line with the knee. The trailing left hand should be positioned to the side of the body, in line with the groin but positioned far enough to the side that a straight downward motion of the arm will clear the trailing leg. Perhaps more so than other poste, the Master appears to have his knees bent and his weight sunk down. Where dente di zenchiar is a guard of movement, porta di ferro is a guard of stability and inertia. That s not to say that this guard cannot be used in various transitional techniques, but it is commonly found as the final posta in a technique when you have taken an opponent to the ground. More immediately, it is the posta on which the low holds, either grabbing the belt, or holding your opponent around the lower back, are based (see Plates 9, 16 and 17). Abrazare Nicholas Conway and Christopher Penney

22 20 Exercise: Incorporate porta di ferro into your posta drills, moving through all three. As you get comfortable with the movements, begin to use off-line steps. Instead of moving straight back and forth, you should be able to move in any direction, while at the same time moving from posta to posta. Plate 4 The Fourth Guard of the First Master I come forth with my arms well forward To gain my holds in any way I can. Posta Frontale (Frontal Guard) In posta frontale both hands are raised to head height, palms facing slightly forward with thumbs up and are around 6 to 12 inches apart. The arms are roughly in line with the legs. The right elbow is above the right knee and the left hand is off to the side but still in line with the right knee. Posta frontale is a guard that emphasizes distance. Where porta di ferro is low, posta frontale is high. In a close grappling situation, posta frontale can be used to push an opponent up and away, upsetting their hold and their balance. Examples of this can be seen in the Remedy plays of the Second Master against holds based on porta di ferro (see Plates 9 and 17 below). Exercise: You now know the four Master Guards of grappling. Be sure to practice all combinations while using all eight directions of movement. You actions must be deliberate, but smooth and relaxed. You will notice that certain combinations of poste work better than others. While posta longa and dente di zenchiar can work as jabs from a gathered step, they both get their power from a strong movement via a passing step. Porta di ferro and posta frontale work well in combination as a sweeping and blocking motion, starting in porta di ferro as you take a passing step forward, bringing your hands up into posta frontale and back down into porta di ferro on the other side. Strikes and Blocks in Grappling Looking at the techniques described by Fiore dei Liberi, one will notice that there are no system of open-handed strikes (i.e. punches) and blocks described in Flos Duellatorum. Although throwing and blocking punches or other strikes with the hands or elbows are necessary components of any system of hand-to-hand combat, dei Liberi s Abrazare is just that- a series of wrestling or grappling techniques. Some practitioners may choose to add strikes and blocks to make a more complete system. This section on strikes and blocks OMSG 2004 Not For Resale

23 21 outlines some of our ideas of using the poste in this manner, but it should be recognized that this is not taken from the grappling section of the manuscript. Several of the following drills are adapted from techniques described in the Daga, or dagger section of Flos Duellatorum. We are including several of these here for the sake of convenience. The best method of developing a program of unarmed fighting is to study the dagger plates, and adapt them yourself, once you have a good knowledge of how these techniques work in their original form. This, we believe, is how the manuscript should be used. Posta vs Posta As discussed in the previous section, the four poste can be viewed as two matched pairsposta longa / dente di zenchiar and porta di ferro / posta frontale. Posta Longa vs Dente di Zenchiar Posta longa, with its superior reach, is an ideal striking posta. Either as a palm strike or a punch, one can either jab with the leading arm, or step through to strike with power. This punch can be blocked, however, using dente di zenchiar. Exercise: Both combatants stand facing each other. The Attacker, who is going to remain motionless, adopts posta longa in a forward (right foot leading) stance, with his hand aimed at the defenders face as if he were striking or grabbing the Defender. The Defender assumes a reverse stance, starting in porta di ferro, but positions himself so that the Attackers hand is around one inch from his face. From this position the Defender deploys dente di zenchiar as a cover or block, shooting his left hand upwards in a crescent shape, moving from the inside (his right) to the outside (his left). Because the attacking hand is so close to his face, he must use a true time 2 defense (move his hand first). To assist the ward, the Defender may pivot on his front foot, taking a small traverse step to the right with his rear foot, so that he moves out of the direct line of the attack. If he uses a false time defense and merely moves by taking a step forward he will run into the hand, or if he steps back he will be in such a position that he cannot apply a counter or play. Both situations are considered failures of technique. For a correct true time defense, his hands must first come up to clear the attackers hands, and in doing so neutralize his attack. He can then step and employ a counter-technique, such as a palm strike or uppercut to the Attackers face, using dente di zenchiar. Posta Frontale vs Porta di Ferro We are going to look at how to use porta di ferro to defend against an attacker using posta frontale, in a different manner than demonstrated in the grappling plates. Posta frontale, as the description implies, is a good posta for grabbing or trying to hold your opponent. In response, porta di ferro becomes the beginning and end of a sweeping manoeuvre which can clear an opponents attempt to grab, and counter with a hold of your own. In the exercise following, an attempted grab will be blocked using porta di ferro and will finish in 2 True and False time refers to the works of George Silver, a swordsman of the late Sixteenth century. He divided timing into two categories, True and False times. In this context, True Time involves moving the hands to ward an attack before stepping in, as the hands move more quickly than the body. A False Time defence would involve using your feet or body before using your hands, such as by ducking or stepping back from an attack. These are named True and False Times because True Time is considered a superior method of defending yourself. For more information on True and False times see Paradoxes of Defence, by George Silver (1599), which can be found on the AEMMA website at < Abrazare Nicholas Conway and Christopher Penney

24 22 an arm bar. Please note that we are suggesting that this defence can be used against an attack from posta frontale, but it can also be used against an attack based on posta longa. This technique as described forms the foundation of a dagger defence, as the plate below illustrates. This technique is also demonstrated when using a sword in one hand, and elsewhere in the manuscript. This technique, first shown in the dagger section, and repeated throughout Flos Duellatorum, can be demonstrated using the guards of grappling. The Fifteenth Play of the Second Master of dagger Exercise: Both partners stand facing each other, as in the above exercise. The Attacker, again remaining motionless in a forward stance, assumes posta frontale. The Defender also stands in a forward stance, near enough to the Attacker that his outstretched hands are about one inch from grabbing his neck or shoulders. The Defender assumes porta di ferro. The Defender clears the arms of the Attacker by sweeping his arms upwards in a clockwise motion. The first contact should be the Defenders right forearm against the Attackers right wrist (use the outside edge or back of your wrist to strike). The Defender continues his sweeping motion down and to the right, but as soon as he strikes the Attackers arm, he grabs the wrist with his right hand, and strikes the Attackers right elbow with his left hand. The Defender then takes a passing step forward so that his left leg is in between the Attackers legs, and his left hip pushes against the Attacker. Pulling the Attacker off-balance by the wrist, the Defender can then put light pressure on the Attackers elbow. This technique should finish looking similar to the above illustration. This exercise and the previous one are shown as static drills, in that the attacking partner does not move. Once you are able to perform these drills smoothly, the Attacker can begin a step back from the Defender, and slowly step forward to attack. You can gradually increase the speed and the Attackers resistance as both partners become more comfortable with the manoeuvre. Don t forget to drill these from both sides (i.e. starting in both a forward and reverse stance). In addition, you can experiment with using poste in different combinations, for example, using posta longa as a strike from distance to defend against a person trying to punch using dente di zenchiar. OMSG 2004 Not For Resale

25 23 The Plays of the Remedy and Contrary Masters of Grappling So far, we have looked at basic techniques (strikes and blocks) that derive from the four Guard Masters. We will now look at the applications in Fiore dei Liberi s martial system. As stated above, the attacks initiated towards the Masters and their Schollers are based on the poste, whose remedy and contrary plays are likewise based on the poste. As stated above, the four Master Poste form two matched pairs. These pairs oppose each other, and form the basis for most of the plays. Posta Longa vs Dente di Zenchiar Plate 5 The First Play of the Second Master (Remedy) With this hold I'll throw you to the ground, Or else I'll dislocate your left arm. The Attacker The attacks used against the Second Master (Remedy) or his Schollers are not explained by dei Liberi in the manuscript, but are implied by the First Masters (i.e. the poste). The first attack used here is a neck and elbow grab, based on posta longa. Starting from a forward stance, the Attacker takes a passing step forward, placing his left leg between the Masters feet. He reaches out with his left hand to grab the Master by the neck, while at the same time grabbing for the Masters left hip, using his belt (or left elbow) with his lower right hand. Although it is true that the Remedy performed by the Master and his Schollers invariably defeats this attack, it should not be thought of as a straw man (i.e. a hold that is destined to fail.) Once the Attacker has grabbed the Master, he would likely try to pull him towards himself, moving into dente di zenchiar. Using his hand on the Master s elbow or hip to pull the Master off-balance, the Attacker would then take him down, using his right hand to help pull the Master down and to his right. Abrazare Nicholas Conway and Christopher Penney

26 24 The Master In response to the action of the Attacker, the Master checks the Attackers right hand with his left by pushing it away at the elbow. The Master then strikes the Attackers left elbow with his right hand (dente di zenchiar). This strike should hit the elbow directly in-line with the point of the elbow and the natural plane of movement of the elbow joint. While it is easier to get power by striking with dente di zenchiar from a passing step, the Master in this case can shift his weight forward and turn his hips to add power to the strike. The concept to be learned here is to attack the elbow of an extended arm (posta longa) when one is presented to you. If the Attackers arm is straight when it receives this strike, it could dislocate the elbow. If not, a good, strong strike should still cause a considerable amount of pain, and momentarily stop the Attacker from continuing his action. This loss of momentum on the part of the Attacker is what the Master will use to take him to the ground. It is from this point that the next three plays (Plates 6-8) continue. Exercise: With a partner, slowly practice these techniques. While one person plays the part of the attacking player, the other practices the Master technique. The Attacker should move slowly at first and offer no resistance, but allow their training partner to learn the techniques. Run through the technique five times and then switch roles. As you get better and smoother you can slowly increase the speed, but be careful not to increase resistance to the point that control is lost and the risk of injury is increased. It is always preferable to learn and train these techniques under the supervision of an experienced martial artist. Once you get comfortable with each technique, you can reverse stances and practice them from the other side. As you learn more techniques you can practice them together (i.e. practice how the first technique of the Second master can be continued with the techniques of the second, third and fourth plays of the Second Master). Plate 6 The Second Play of the Second Master (Remedy) With your mouth I'll make you kiss the ground, Or I'll make you enter in the key below. This is a continuation of the First Play of the Second Master (Plate 5). The verse implies that the Scholler has a choice of two different techniques to apply, either taking the Attacker down face first, or applying a lower key-lock. Our interpretation is that the arm-bar takedown is the primary technique that the Scholler would attempt, and that the key-lock is the secondary technique to be used if required. OMSG 2004 Not For Resale

27 25 Having struck but not broken the Attackers left elbow using dente di zenchiar, the Master then applies an arm bar, using his right shoulder to hold the Attackers left arm. To do this, he uses the heel of his right hand to turn the Attackers left elbow around in a counterclockwise motion, so that it is pointing straight upwards. The Scholler then slides his right arm over the Attackers left, applying an arm bar, with the arm supported on the Scholler s right shoulder. The Scholler can hold the Attackers wrist in place with his left hand if necessary. If properly applied, the Scholler lets go of the Attackers wrist, and grabs his own right wrist. Pivoting on his left foot, the Scholler can turn and step back with his right foot, so that he is now facing away from his starting position. With little difficulty he can then take the Attacker face first to the ground alongside his right foot. Variation For Love: This arm bar can be applied in situations of free play with much less risk of injury to the attacking player if the person performing the Master technique does not turn and step as described above. He can instead hold the Attacker in the arm bar, perhaps by grabbing the Attackers left wrist with his own left hand, and holding the Attacker in a pain compliance hold. There are several reasons why this technique might not be successful. The Attackers arm might slip off the Schollers right shoulder, or the Attacker might be able to bend his elbow as the Scholler is turning his arm over. It is in this case that the Scholler would apply the lower key lock. As soon as the Scholler realizes that the arm bar takedown will not be successful he grabs the Attackers upper arm above the elbow with his right hand, while simultaneously pushing the Attackers left wrist down and to the left, applying a lower key lock. If successfully applied, the Scholler should be holding the Attacker in a key lock using his right hand alone. This hold is repeated in the dagger section of the manuscript, and is illustrated using the Scholler's left hand to apply the key lock. Applying a lower key lock To maintain and strengthen the key lock the Scholler keeps the Attackers wrist close to his stomach or chest, while pushing the elbow away from him. Strongly applied, this hold could dislocate the Attackers shoulder, cause him to lose his footing and fall face first to the ground, or both. Abrazare Nicholas Conway and Christopher Penney

28 26 Plate 7 The Third Play of the Second Master (Remedy) I'll make you fall to the ground on your back And I won't let you get up without pain. This is a continuation of the First Play of the Second Master (Plate 5). As the Scholler strikes the Attackers elbow, the Attacker tries to withdraw his left arm from this strike, avoiding the arm bar. As the Attacker tries to pull away, the Scholler moves forward, deploying posta longa as he strikes the Attacker in the chin, jaw or neck. Sinking his weight, he grabs the Attackers leading (left) leg. Although it is possible to use the lifted leg to throw the Attacker into his back, this may not be the most effective technique, and it does not appear to be what is depicted in the plates. A better technique would be for the Scholler to lean back onto his left leg, pulling the Attackers leg and body forward. This will pull the Attacker badly off balance, possibly straining his groin or damaging his knee (Charron 2002). The Scholler can then complete the manoeuvre by throwing the Attacker to the ground in front of him, finishing in porta di ferro. To inflict maximum damage, the Scholler will continue to hold the Attackers leg, ensuring that he falls to the ground head first. A variation For Love would be to throw the Attacker to the ground without the groin stretch and by letting go of the leg as soon as the Attacker is off-balance. OMSG 2004 Not For Resale

29 27 Dente di Zenchiar vs Posta Longa Plate 8 The Fourth Play of the Second Master (Remedy) Even if you were a master of wrestling, I would throw you to the ground with this hold. This is a continuation of the first play of the Second Master (Plate 5). As indicated in the verse, the Attacker has been successful in applying the hold of the First Master (i.e. the holds implied from the poste, in this case posta longa) on the Scholler. It is our belief that holding an opponent with a straight arm is not particularly good martial technique. We feel that the Attacker would likely try to pull the Scholler in closer to him with dente di zenchiar in preparation for an attempted throw. All is not lost, however, and the Scholler can still remedy the technique of the First Master. He will use posta longa to hold the attacker away from him, and take him to the ground. The Attacker takes a passing step and applies a neck and hip hold. Even if the Attacker is braced against the elbow strike, the Scholler can continue by deploying posta longa, striking the Attacker in the chin or jaw. At the same time he checks the Attackers right hand with his left, and pins it to the Attackers side, either by pressing the whole arm in or grabbing the elbow. The Scholler meanwhile continues to push the Attacker away from him using the chin, grabbing it with his right hand, so that his thumb is underneath. He pushes the chin back and around to the right, in a circular motion. The object is to throw the Attacker to the right side of the Scholler. The simplest way for the Attacker to try and prevent this is to step back with his right leg in order to stabilize himself. If his arm is properly pinned, however, the Scholler should have enough leverage to prevent him from stepping away and throw him to the ground. As the Attackers left hand may still be on the Schollers right shoulder, it is particularly important to throw the Attacker in a controlled manner, finishing in porta di ferro. If the Scholler tries to throw the Attacker while remaining in a standing position, the Attacker may be able to grab the Scholler, and pull him to the ground as well. Abrazare Nicholas Conway and Christopher Penney

30 28 Porta di Ferro vs Posta Frontale Plate 9 The Fifth Play of the Second Master (Remedy) With the hold I have above and below I'll break your head on the ground. This is a play of the Second Master, but it is a remedy to a different hold on the part of the attacking player. The Attacker The Attacker is applying a low hold around the back, based on porta di ferro. This hold, like the neck and hip hold, is intended as a takedown to the right over the Attackers leading leg. If correctly applied, the Attackers head should be tucked in to the right, against the Schollers neck, so that it is protected from the reach of the Scholler (see Plate 16). As the Attacker is holding his opponent lower than his previous hold, it is a more jarring takedown, and his opponent will be less likely to be able to safely roll out of it. The Master technique, demonstrated by his Scholler In response to a different attack from his opponent, the Scholler of the second Master uses a different response, based on a different posta. As the Attacker enters, the Scholler strikes his face with his right hand. He continues by pushing it away, countering the downward force of porta di ferro (the Attackers lower back hold) with the upward motion of posta frontale. He places his left hand on the small of the attackers back, grabbing his belt if possible. By holding the Attackers body in tight to him while he pushes his head away, the Attacker will soon lose balance, and fall backwards. As he begins to fall, the Scholler puts the Attacker to the ground, taking a passing step forward (porta di ferro). If the Attacker is tenaciously holding on to the Scholler, the Scholler will fall on top of the Attacker, but should be able to maintain the advantage, as he should fall on top of the Attacker. OMSG 2004 Not For Resale

31 29 Plate 10 First Play of the Third Master (Contrary) With my hands well put on your face, I will show you other holds. This plate is difficult to interpret, as the text seems contrary to the plate. The text says With my hands well put on your face, but it is not the Scholler with the leg band that has his hands on the Attackers face, but the other way around. Adding to the confusion is the fact that the Scholler is the player on the left hand side for the first time. Based on the illustration and not the text, this would appear to be the Contrary technique to the Fifth Play of the Second Master (Plate 9). In this case, the Attacker, employing the face push with his right hand, is in a reverse stance. It is our interpretation that the action of the Attacker is the technique of the Second Master from the previous plate, pushing with his left hand instead of his right for purposes of clarity. To avoid the face push the Scholler strikes the Attackers left elbow with his right hand (dente di zenchiar), dislodging the Attackers hand. The second line of the verse, I will show you other holds, suggests that another play continues where this one leaves off. Plate 11 Second Play of the Third Master (Contrary) Because of my head which I have put under your arm, With little effort I will throw you to the ground. This plate is difficult to interpret and place in context of the other plates, as it is not clear what technique the Attacker had attempted. Having studied this and the previous plate, we think that this is a continuation of the technique of the First Play of the Third Master (Contrary), or Plate 10. This seems to be indicated by the second line of the verse of Plate Abrazare Nicholas Conway and Christopher Penney

32 30 10 (see above). In this case, the previous plate was illustrated demonstrating the technique from the opposite side in order to make things easier to see. The Scholler, having pushed the Attackers right hand from his chin, grabs the arm by the wrist. Pulling it up sharply and to the left, he pulls the attacker off guard. Taking a step forward, the Scholler strikes the Attackers armpit with his right shoulder and lowers himself to grab the Attackers right leg. Once he has grabbed the Attackers leg, the Scholler shifts his weight back to his left, pulling the Attacker off the ground, or at least off-balance, to the left in a similar fashion to the technique employed by the Third Play of the Second Master (Plate 7). Once the Attacker is unbalanced, the Scholler slips him over his head and pulls him to the floor with his left hand, maintaining the grip on the Attackers leg so that he falls on the back of his head and neck. Note: This is a very dangerous manoeuvre. Do not ever attempt to take someone to the ground in this manner. Even if you let go of your partner s leg as he falls it is very likely that you will hurt him. Plate 12 The Sixth Play of the Second Master (Remedy) Because of the finger I keep under your left ear, I see that the hold you had on me is failing. This is not so much as a complete technique as a good method for breaking a strong hold that an Attacker may apply. Here the Attacker has again successfully applied a neck grab, this time holding the Scholler's left elbow. Scholler presses his thumb straight into the space below the Attackers ear, directly behind the angle of the jaw. There is a nerve point there, and the Attacker can be turned to the side, and will lose much of his strength. The Scholler is then free to use other techniques as opportunity allows, perhaps the Second Play of the Second Master (Plate 6). OMSG 2004 Not For Resale

33 31 Plate 13 The Seventh Play of the Second Master (Remedy) With great cunning you grabbed me from behind, And this hold will for sure throw you to the ground. This technique seems out of place, in a way, as it seems to counter an attempted full-nelson hold, as applied in the Ninth Play of the Second Master (see Plate 15). The case could be argued that this play is in fact the Third Master (Contrary) to Plate 15, but we will consider it a play by the Scholler of the Second Master here. This a technique used when the Attacker is moving to grab the Scholler from behind, such as to apply a full nelson. In order to take the Attacker to the ground, the Scholler tries to step behind him with his right leg. Bending with the knees to lower the centre of gravity will help pull the Attacker slightly off balance. The Scholler then steps back and to the side, putting his right leg behind the Attacker. He then takes the Attacker to the ground by deploying long guard with his right arm, possibly striking the Attacker with his right elbow, and pushing his head backwards. This manoeuvre works best if it is done before the attacker has a firm and locked on hold applied. If the attacker has applied a firm hold the Scholler can weaken or break that hold with an elbow strike, head butt, stomp to the Attackers foot or ankle or by striking at the groin. Struggling to escape from a full nelson is a potentially dangerous manoeuvre and should never be attempted in free play. Posta Frontale vs Porta di Ferro Several of the next few techniques (Plates 14, 19 and 20) demonstrate situations where both the Attacker and Scholler are using the same guard- posta frontale. It illustrates the value of other skills and attributes, such as strength, speed, and the value of initiative, and the ability to seize an opening before your opponent does. Posta frontale is not the posta that defeats the Attacker, however. The object of each of these plays (as well as many others) is to put the Attacker to the ground, and for that the Scholler uses porta di ferro. Abrazare Nicholas Conway and Christopher Penney

34 32 Plate 14 The Eighth Play of the Second Master (Remedy) This wrestling is to trip you up, Of the five, not one is successful. The Attacker This is another remedy technique against a new hold based on the First Master, in this case a diagonal back hold based on posta frontale. The Attacker takes a passing step and reaches around the Scholler, with his right arm above the Scholler s left shoulder, and his left arm under the Scholler s right. To complete the diagonal hold the Attacker grabs his right wrist with his left hand and puts his right foot behind the Scholler s, in an attempt to throw him down and to the left, over his leading left leg. The Master technique, demonstrated by his Scholler The Scholler, seeing the attack coming, steps forward to intercept and move against the incoming force of the Attacker. As the two move to grab each other, the Scholler maintains his balance, and applies the same hold to the Attacker. The Scholler uses his initiative to ground the Attacker to the left, ending in porta di ferro. This play is perhaps the best example of the importance of porta di ferro as the guard to use when taking someone to the ground. While posta frontale is the posta to meet the Attacker, porta di ferro is the one with which to defeat him. In this plate both the Attacker and Scholler are in identical positions. The person who has the advantage in this situation is the one who acts first, and can successfully assert their strength and leverage. If you examine the plate, the Attackers weight is back, towards his rear foot, while the weight of the Scholler is forward, pushing the Attacker back. To successfully execute the diagonal hold, one must strike their opponent with their shoulder and upper body as they grab them. Doing so will give the Attacker the momentum and force to unbalance his opponent, allowing him to take his opponent to the ground. This illustrates the importance of strength, momentum, balance and timing. Another subtle advantage the Scholler holds is that his right arm is over the point of the Attackers left shoulder, rather than against the Attackers neck. This restricts the Attackers motion with his left arm, and weakens his ability to execute the takedown. OMSG 2004 Not For Resale

35 33 Plate 15 The Ninth Play of the Second Master (Remedy) This is for sure a hold for practice, For I can block you without hurt. The Attacker is positioned with his back to the Scholler. Although there is no indication from the verse, the Scholler presumably has already countered a hold attempted by the Attacker, such as the neck and hip grab. The Scholler wraps both his arms under the Attackers armpits and clasps his own hands together behind the Attackers neck. The Scholer can then hold the Attacker at bay. Alternatively, he can then step backwards, twisting his torso and throwing the Attacker to the ground, finishing in porta di ferro. Plate 16 The Tenth Play of the Second Master (Remedy) I'll hit your groins so hard, That you'll lose all your strength. The Attacker successfully deploys any of the holds of the First Master. The lower back hold (see Plate 9) is illustrated here. Grabbing the Attacker to hold him in place and slow his momentum, the Scholler immediately and forcefully raises his leading knee upwards, striking the attackers groin or lower abdomen, causing the Attacker to weaken or release his hold. This technique can be repeated as desired. Abrazare Nicholas Conway and Christopher Penney

36 34 Plate 17 The Eleventh Play of the Second Master (Remedy) I'll give your nose so much pain and suffering That you'll want to leave right away. The Attacker successfully deploys a back or diagonal hold (an upper back hold is illustrated in the plate). The Scholler places one or both of his hands on the Attackers face, with thumbs under the nose, and sharply deploys posta frontale, pushing up and back thus breaking the hold. This technique is in part a pain-compliance hold, as the underside of the nose is extremely sensitive, and most Attackers in this situation would withdraw. The nose is also one of the handles that can be used as a leverage point to move the head. If the Attacker does not immediately step away, the Scholler can pull the Attackers head to the left, taking him to the ground over his leading leg. Plate 18 The Third Play of the Third Master (Contrary) It's true that I left you from this grab And with this counter grab I'll floor you. This is the Contrary to the Eleventh Play of the Second Master (Plate 17). The Attacker puts his hands on the Masters face to break the back hold and put him to the ground. The Master, starting in a forward stance, strikes upward with his right hand. He grabs the Attackers hand and pushes upward to raise the Attackers hands. He then sinks down as he shifts his weight forward, grabbing the Attackers leading leg behind the knee with his left hand. In doing this, he does not lean forward, but bends his knee to lower himself. Once OMSG 2004 Not For Resale

37 35 he has the leg he shifts his weight backward, pulling the Attacker forward and down to the right side of the Master. Besides taking the Attacker to the ground, this manoeuvre could also strain or injure his groin or legs, in a similar fashion to the Third Play of the Second Master (Plate 7). Plate 19 The Twelfth Play of the Second Master (Remedy) Under the chin I give you pain and suffering, And quickly on your back you'll hit the ground. This plate is virtually identical to Plate 17, except that here the Attacker is employing a diagonal back hold, and the Scholler places his thumbs into the soft area under the Attackers chin to achieve a similar result. Like the nose, the soft area under the chin is a sensitive point, and also a good handle with which to direct the movement of the Attackers head. Please note that by pressing your thumb under the chin and toward the back of your partner s neck you can press the windpipe. This is obviously very dangerous, and should never be done. A variation For Love would be to press in immediately behind the chin, and press straight up. This should give you a good handle to push your partner away without causing excessive damage to his throat. Please note that you can still damage your partners neck by pushing too vigorously in this manner- this variation is no substitute for careful and controlled training. Abrazare Nicholas Conway and Christopher Penney

38 36 Plate 20 The Fourth Play of the Third Master (Contrary) With your hands on my face you bother me, As a counter move I bother your eye even more. This is the Contrary technique to the Twelfth Play of the Second Master (Plate 19), or to any face-push type of attack. This is substantiated by the verse, which describes this technique as a counter to the previous play, as well as the plate, which clearly shows the Attacker using the Remedy technique as described in Plate 19. The Attacker, in response to a diagonal back hold, uses this technique, pushing the Schollar away by pressing his thumbs into the soft area under the chin. In response to this, the Scholler of the Third Master reaches for the Attackers face and presses his thumb into the Attackers eye or eye socket. This should cause enough pain and discomfort that the Attacker releases his hold. This technique is interesting for a couple of reasons. First, the accompanying verse illustrates dei Liberi s requirement that a good wrestler know how to injure the vulnerable points of his opponent. We see that when someone tries to target a vulnerable spot (under the chin), the best response is to attack an even more vulnerable spot (the eyes). Although the concept of gouging someone s eye seems a little extreme to many people today, it serves as an example of how the victor in any real-life engagement will often be the person who is willing to do whatever it takes to win. In addition, it should be noted that this response is somewhat dictated by the original hold used by the Scholler. In Plate 18, the Third Master (Contrary) reached down to grab the leg in response to a face push. In the case of this play, the Scholler performing the Third Master s technique began using a diagonal hold, where one of his arms is over that of his opponent. It would likely be slower and less efficient for him to try the leg-grab technique from this position. This is obviously very dangerous to the person receiving a thumb press, and should never be attempted except in cases of self-defence. A variation For Love would be to grab the head of the Attacker and use leverage rather than pain to move his head and therefore his body, perhaps pressing behind the ears as in the Sixth Technique of the Second Master (Plate 12). OMSG 2004 Not For Resale