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Dating from the 1520's, Bolognese swordsmaster's Antonio Manciolino's Opera Nova is the earliest surviving printed book on Italian martial arts. This seminal and eclectic Renaissance work contains clear and systematic instruction on the use of the sword and small buckler, sword and large buckler, sword and targa, sword and dagger, sword and cape, two swords, sword alone, and sword and rotella, plus a fascinating compendium on the use of polearms. Clearly and elegantly written, Manciolino's text is one of the best and clearest presentations of the martial skills required of the ideal Renaissance man. For the first time since its original publishing, this book has been translated into English by experienced historical fencing instructor Tom Leoni. Also included is a valuable and extensive technical introduction, complete with illustrations from both original sources and modern photographs, making it easy to follow Manciolino's instructions, sword-in-hand, even by beginners, while providing years of training for veteran martial artists.

Perhaps no other weapon represents Renaissance Italian fencing like the rapier. But do we know how it was used and how it was taught? This book takes you to the fencing School, or Salle, of celebrated renaissance rapier Master Nicoletto Giganti of Venice, one among the period teachers leaving instructions on the use of this weapon. More uniquely, his 1606 text The School, or Salle is a veritable training curriculum, with its stepwise lessons and easy-to-follow explanations on the use of the rapier alone and rapier and dagger. This faithful translation of Giganti's The School by internationally-known rapier teacher Tom Leoni includes the complete text, original illustrations, and an introduction on rapier fencing that will make Giganti's text easy to follow. If you are a martial artist, a fencer or have an interest in European martial culture, this book belongs on your shelf.

Koryu, literally 'old flow from the past,' refers to Japanese martial traditions that predate the sweeping cultural changes that followed the Meiji Restoration of 1868. They generally have a very different character and tone from modern martial arts, such as kendo, judo or aikido which followed. More than the study of antique weapons, self-defense or a form of athletics, these martial traditions are a cultural legacy and a window to another time and place.In the first edition of Old School, Ellis Amdur, a renowned martial arts researcher, and himself an instructor in two different surviving koryu, gave readers a rare glimpse into feudal Japanese warrior arts, both as they were in the past and as they live on today. Nearly a decade later, he returns to the subject in this new, greatly expanded edition, bringing readers inside the dojos of a number ancient schools, providing details analysis of the evolution and morphology of uniquely Japanese weaponry, addressing the myth and reality of Japan's naginata-wielding warrior women, and discussing the modern relevance of the blood oaths, magical ritual and mysticism that often permeate the koryu. Finally, he looks at the challenge of preservation and transmission, especially as more and more practitioners of the koryu exist outside of Japan itself.Writing with a combination of the initiate's passion for his subject, and the scientist's rigorous search for the truth, Amdur asks critically: do the ancient traditions still meet the objectives of their founders? Are they successfully passing their ancient legacy down to the next generation?Over a third larger than the first edition and filled with new artwork and photography, Old School: Japanese Martial Traditions Expanded Edition will be an invaluable addition to the library of old readers and new alike. 125 b&w illustrations, photographs and drawings.

The late 16th century was one of great political and social upheaval, an era in which medieval knights, feudal armies, town levies and hired mercenaries were giving way to modern militaries. Pike and shot had come to dominate the field, and swordplay had become a pastime, as often used to settle affairs of honour as in military matters. For most students of European Martial Arts, the name Heinrich von Gunterrodt is known as the 16th-century owner of Europe’s oldest known fencing text, a c.1300 sword and buckler manuscript (known as Ms. I.33). However, this Saxon nobleman was a swordsman, soldier and fencing historian in his own right. In 1579, he penned a short treatise on the history of fencing, entitled De Veris Principiis Artis Dimicatoriæ (Of the True Principles of the Art of Combat) and dedicated it to Johan Albrecht, Duke of Mecklenburg.Ostensibly a history, tracing the art of swordsmanship and wrestling from antiquity, the text is also interesting because of the relationships von Gunterrodt draws between fencing and unarmed combat, and his comparisons between what was taught in the fencing schools of his own day with the lessons contained in Ms. I.33. Perhaps of most interest to modern students of swordplay in this period is his scathing critique of the Marxbrüder fencing guild and public fencing contests, or Fechtschulen, which he sees as little more than crudely-skilled, drunken sporting events; a criticism that parallels contemporary writers analysing the fencing guilds and public prize-fights in England and Spain. This beautiful, full-colour edition presents a full facsimile, transcription and translation of von Gunterrodt’s original manuscript, along with complete annotations and comparisons with other Renaissance martial arts texts. A critical analysis of the author’s practical fencing advice, by swordplay researcher Robert Rutherfoord (author of The Art and Practice of 16th-Century German Rapier Fencing), is also included. Students of HEMA (Historical European Martial Arts), and those interested more generally in the sweeping changes in the nature and purpose of swordplay, will find this essay a fascinating addition to their libraries.

To those who study the physical culture of arms in medieval Europe, the German Fechtbücher—treatises on combat arts—are among the most important surviving documentary sources: no other region in Europe produced such an extensive body of writings on the techniques of medieval combat. Among these, the massive compendia commissioned by the scholar-swordsman Paulus Hector Mair (1517-1579) stand out as uniquely ambitious and monumental. The text survives in three manuscript copies, each consisting of two volumes, with each manuscript running to approximately 1200 pages. They include about 17 weapon-forms, from two-handed sword to rapier, armoured combat to sickle and scythe; each form consists of anywhere from 8 to 136 lavishly illustrated techniques, in many cases followed by one or more seminal texts on the form.The combination of text and image in the illustrated techniques offers obvious advantages to the understanding of a physical practice, and Mair is unique among the German masters in systematically giving instructions to both combatants, so that as one learns how to perform a technique, they also learn how to counter it. Lastly, one of the most important features of the Ars Athletica is the Latin translation, which serves as something of a Rosetta stone for interpreting the vocabulary of these long-lost martial arts. In this series, Jeffrey Forgeng, translator of the equally seminal Fechtbücher of Joachim Meyer and Hans Lecküchner, has brought together a team of translator-practitioners to tackle Mair’s opus. Over a decade of work has gone into transcribing, translating and annotating the Ars Athletica (Treatise on the Martial Arts) presenting both the original German and Latin, as well as a modern English translation.Volume One of this series presents the Longsword, which was the traditional centrepiece of the German medieval tradition and provides the core instruction through which all other weapons of the tradition can be understood. In three languages and full-colour illustrations, readers will find a complete curriculum of cuts, thrusts, disarms and grapples; even using the sword as a short spear, which forms the foundation for armoured combat—the subject of a later volume.

Ellis Amdur's writing on martial arts has been groundbreaking. In Dueling with O-sensei, he challenged practitioners that the moral dimension of martial arts is expressed in acts of integrity, not spiritual platitudes and the deification of fantasized warrior-sages. In Old School, he applied both academic rigor and keen observation towards some of the classical martial arts of Japan, leavening his writing with vivid descriptions of many of the actual practitioners of these wonderful traditions. His first edition of Hidden in Plain Sight was a discussion of esoteric training methods once common, but now all but lost within Japanese martial arts. These methodologies encompassed mental imagery, breath-work, and a variety of physical techniques, offering the potential to develop skills and power sometimes viewed as nearly superhuman. Usually believed to be the provenance of Chinese martial arts, Amdur asserted that elements of such training still remain within a few martial traditions: literally, 'hidden in plain sight.' Two-thirds larger, this second edition is so much more. Amdur digs deep into the past, showing the complexity of human strength, its adaptation to varying lifestyles, and the nature of physical culture pursued for martial ends. Amdur goes into detail concerning varieties of esoteric power training within martial arts, culminating in a specific methodology known as 'six connections' or 'internal strength.' With this discussion as a baseline, he then discusses the transfer of esoteric power training from China to various Japanese jujutsu systems as well as Japanese swordsman-ship emanating from the Kurama traditions. Finally, he delves into the innovative martial tradition of Daito-ryu and its most important offshoot, aikido, showing how the mercurial, complicated figures of Takeda Sokaku and Morihei Ueshiba were less the embodiment of something new, than a re-imagining of their past. 202 b&w illus.

If you are a long-time martial artist, you have likely been either the recipient, the victim – or both – of the "wise old master" phenomenon, whereby budo students reverentially enfold their teachers as martial, moral and mystical juggernauts sans reproach, in which case, this book will make you clench your fists and laugh out loud, often while reading the same sentence. Iconoclastic, rebellious, yet fiercely holding to some of the most traditional values of Japanese martial culture, Amdur brought something new to martial arts writing - a startling honesty about the flaws, not only within martial arts culture, but also within its practitioners, often using himself as an exemplar of the latter.Originally published in 2000, and now fully revised, with eight new chapters, new artwork and photography, Dueling with O Sensei, Revised and Expanded Edition will be an invaluable addition to the library of old readers and new alike.

The medieval knight was a well-trained fighting man, expert in the use of sword, lance, spear and dagger, and member of a warrior aristocracy whose values, virtues and vices helped shape European society for over 500 years. As a window into the knight and his craft, In Saint George's Name: An Anthology of Medieval German Fighting Arts brings readers a treasure trove of historic combat treatises, musings on the culture and context of the martial arts in the late Middle Ages and hands-on training exercises for wrestling, dagger, falchion and poleaxe. Join medieval combat expert Christian Henry Tobler on an expansive journey into the lost world of chivalric fighting arts, certain to thrill martial artists, arms and armour enthusiasts, and lovers of history alike.

Martial Arts are literally 'The Arts of Mars,' the Roman god of war. For over two and a half millennia, the combat arts of Europe served the hoplite, gladiator, legionnaire, knight, duelist, boxer and wrestler on the battlefield, in the duel, as street defense and in the ring. Interest in these traditions has grown dramatically over the last twenty years, bringing together a unique combination of fighters and scholars in the quest to resurrect and preserve this proud heritage of fighting lore.The Western Martial Arts Workshop (WMAW) was founded in 1999 as a way for the students of these martial arts to meet, train, exchange research and lay the foundation for an enduring Western martial arts community. In the Service of Mars, Volume One is both a compilation of some of the most popular and detailed lectures and class notes from WMAW's first decade, and a record of the growth of the Western martial arts community in depth and breadth over the same time. But it is not only a 'best-of' anthology; most of the inclusions here are substantially different from the form in which they first appeared in the WMAW event guides. The contributions in this book have been substantially revised, expanded and photo-illustrated, coming as close to recreating an actual class in the subject as the written word can ever replicate a physical discipline.From armoured axe combat to the elegant and swift rapier; the wrestling of Germany to the swordplay of the Scots Highlander, In the Service of Mars contains something new for every student of the Western martial arts, providing hours of training, food for thought and a chronicle of the community's growth over the last decade.

In the late 14th century, the German swordsman Johannes Liechtenauer developed and codified a system of armed combat with sword, spear and dagger that spread through the Holy Roman Empire and dominated German martial arts for nearly 300 years. By the end of the 15th century, a fellowship of swordsmen in Frankfurt known as 'the Brotherhood of Saint Mark,' or Marxbruder, had been granted an imperial charter to train and test swordmasters.Peter Falkner was a long-time member and sometime captain of this famed fencing guild, and it was during this tenure that he set about creating an illustrated fight book of his own; colourful, painted figures and short captions depict combat with a wide variety of weapons: the longsword, dagger, staff, poleaxe, halberd, dueling shield and mounted combat. Where his work excels, however, is in its extensive treatment of the falchion-like messer and the unique variations of core techniques of the Liechtenauer canon.In this first, printed edition of Falkner's work, German martial arts teacher and scholar Christian Tobler includes a full translation, transcription and analysis, combined with a photographic reproduction of the original manuscript. The end result is a lovingly rendered, English translation of a 500 year old picture-book that shows an adaptation of the Liechtenauer tradition, by a known master of its most prestigious school, as taught over a century after its foundation.

Armizare ('the Art of Arms') was the name the warriors of medieval Italy gave to their martial art, which included the wielding of sword, axe and spear with wrestling, knife-fighting and mounted combat. In the waning years of the 14th century, Fiore dei Liberi was a famed master of this art, whose students included some of the most renowned and dangerous fighting men of his day.Toward the end of his life, Master Fiore preserved his teachings in a series of illustrated manuscripts, four of which have survived to the present day, and have become the basis of a world-wide effort to reconstruct this lost martial art. However, because medieval books were written for an audience with different expectations than the modern readers 'how-to' manuals, today's students often have trouble understanding the old swordsman's choices in including, omitting or organising information as he did. They may see that fighting art was a system, but lack the background to see the systematic instruction of the book itself.In Armizare: The Chivalric Martial Arts System of il Fior di Battaglia, Robert Charrette brings together his experiences as a martial artist and respected 14th century living historian with his skills as a professional author graphic artist to not only take readers on a walking tour of Master Fiore's manuscripts, but into the mindset behind its creation. More than just an interpretation of an old book's contents, this is a tool-kit that reveals Fiore dei Liberi's brilliance as not just a fighter, but as martial arts teacher. Whether a long-time student, a newcomer to the art or a more academic devoté of the medieval warrior and his craft, readers will find themselves educated and entertained as a door is opened into another time and place - the training hall of the medieval knight.This is a highly illustrated title.

In late Victorian England, even as the sword was being rendered useless on the battlefield, swordsmanship was experiencing a unique revival. Captain Alfred Hutton and Egerton Castle, both devoted fencers and amateur historians, led a systematic study and reconstruction of combat with all the weapons of the Elizabethan arsenal - the elegant rapier, deadly sword and buckler, and the massive two-handed sword. Their work found practical expression in classes, exhibitions, academic lectures and theatrical combat, for audiences as diverse as school children, soldiers and the Prince of Wales.Yet for all of their efforts, Hutton and Castle did not establish a tradition of historical swordsmanship that survived their own generation. Instead, their books and essays were largely forgotten until the second revival of ancient swordplay in the late 20th century, and today's researchers often view these early efforts with a cavalier or dismissive eye. In Ancient Swordplay: the Revival of Elizabethan Swordplay in Victorian England, 19th-century martial arts scholar, theatrical fight director and martial artist Tony Wolf reexamines Hutton and Castle's work, both through their own words and those of their enthusiasts, students and critics. Rather than earnest but misguided amateur scholars, they are revealed to be the inventors of a systematic study and practice of lost fighting arts that has only been exceeded in recent years, worthy of being celebrated as the true pioneers in the field.

In the 1600s, the elegant and deadly Italian rapier was the choice sword of duelists, officers, gentlemen and noblemen: to master the rapier was to be a feared martial artist and a paragon in single combat.Among the original treatises on the use of this weapon, the most prized by historical fencing revivalists in the last 150 year has been the Great Representation of the Art and Practice of Fencing, written in 1610 by Master Ridolfo Capoferro. In this remarkable text, Capoferro described and illustrated - in unmatched detail - the use of the rapier alone and with a left-handed dagger, cloak and shield, offering the modern historical fencing student a true wealth of Renaissance fencing theory, form and repertoire.With this book, expert researcher and rapier instructor Tom Leoni offers a full, accurate and accessible English translation of Capoferro's teachings, complete with high-resolution reproductions of the 43 original illustrations. To make the book even more useful, Tom has included bullet-point synopses of all the actions illustrated by Capoferro, as well as a glossary of rapier-fencing terms with examples referring the reader to how they are used in the text. Also included is a primer on key rapier-fencing concepts and actions, as well as a historical introduction about Capoferro and his extraordinary relevance in the revival of historical martial arts.

Writing in the mid-15th century, Master Paulus Kal was the agent, confidante and fencing master to the powerful Duke of Ludwig IX of Bavaria-Landshut. In his fencing book, prepared for this ducal patron, he presented standard and variant techniques in the tradition of Johannes Liechtenauer, in beautifully rendered and highly detailed illuminations of figures wielding the sword, sword and buckler, dagger, messer (falchion), spear and poleaxe, plus mounted combat.This English translation is presented in full-colour, oversize leather edition, complete with a protective slipcase.

Few images of chivalry are stronger in the popular mind than that of two armoured knights in a joust, crashing together astride their chargers.Yet, considering the importance of formal combat to the medieval aristocracy, we possess surprisingly few detailed accounts of tournaments, jousts or duels. As the great sporting event of its day, fans of feats of arms enjoyed hearing about them, but extensive descriptions of the actual events involving contemporary warriors were not what they were looking for. Sometimes, however, there was an upswing of interest that inspired poets and chroniclers to write more detailed descriptions of both combats and accompanying celebrations. One particularly rich time for source material are the years 1389-90, when diplomatic competition between Charles VI of France and Richard II of England inspired the kings to sponsor some of the most spectacular formal combats of the entire Middle Ages. These feats of arms attracted a great deal of attention from contemporary writers and they were not soon forgotten. As a result, we have valuable descriptions of how jousting was performed and appreciated at the highest social levels in the two great rival kingdoms of the West.Bringing together some of the most important accounts of medieval jousting, especially those of the jousts at St. Inglevert, Royal Jousts is a direct look at the sources that have influenced our modern notion, and every modern reconstruction, of late medieval jousting. It is also the first entry in our new Deeds of Arms series a series of short, colour-illustrated readers that make primary source accounts of famous displays of martial and chivalric prowess of the High and Late Middle Ages and early Renaissance accessible to a broad audience.

On March 27, 1351, sixty armed men gathered in a field in Brittany, halfway between the two enemy castles of Josselin and Ploermel. Representing the garrisons of those two strongholds, these two groups of thirty men at arms they had appeared in this field with no strategic or tactical goal, other than to make good on their captains promise: 'We will go to an open field and there we will fight as long as we can endure it.'The battle was fought until all on one side were dead or captured, and no one ran away. This showdown in the fields of Brittany attracted attention in its own time and the story has been retold in many eras since, standing as the subject of romantic inspiration and call to bold action for over six hundred years.But was the Combat of the Thirty an admirable deed? Even in the fourteenth century, opinions were divided: some thought that it was a fight for no sensible reason, 'the product of presumption and rashness,' while others considered it a great demonstration of prowess, a word that designates a heroic combination of skill and courage.Why did sixty men risk themselves in a fight to the finish on that spring day in Brittany six and a half centuries ago? Why did it attract attention and praise in its time? Why does it interest us still? In this volume Steven Muhlberger translates the historical accounts of the Combat and then examines both what contemporaries thought, and how the battle has been remembered through the centuries, giving readers a window into late medieval chivalric culture.As a bonus, renowned 14th century arms and armour scholar Douglas Strong includes an appendix analysing the equipment used by English, Breton and French forces on that bloody day in 1351.Nine colour plates

The term 'medieval martial arts' conjures images of armoured knights wielding sword, lance and axe. While the image is correct, at the foundation of knightly combat was a sophisticated form of close quarter combat, centred on fighting with - and against - the dagger, a deadly weapon of both self-defense and last resort.In Mastering the Art of Arms, Volume One: The Medieval Dagger, Guy Windsor presents a complete guide to the principles and practice of Italian dagger combat, as set down in Il Fior di Battaglia a manuscript written in 1410. Readers are guided step-by-step through the process of mastering this six hundred year old art, from choosing a dagger to striking with it; from guard positions to steps and turns; from disarms to locks and takedowns; from safe falling practice to formal drills, and finally pressure testing their skills with sparring.Both a primer on the art and a methodology for on-going training, this book will give the complete novice a solid starting point, while providing useful drills and ideas for advanced martial artists. Those who study other traditional knife arts, and modern military combatives, will find many familiar techniques present in this ancient system.

In the waning years of the fourteenth century, the household of John of Gaunt, the Duke of Lancaster was scandalized when twelve petulant English knights publicly mocked the twelve ladies-in-waiting to the Duke's wife, calling them ugly to their faces. Outraged, the ladies sought immediate redress, but so fearsome were the knights' reputations that none would step forward. Desperate for help, the Duke appealed to his son-in-law King Joao I of Portugal to find champions ready to fight for the ladies' honor. Enter the 'Twelve of England,' a band of battle-hardened Portuguese knights. Led by the redoubtable Alvaro Gonçalves Coutinho, known as 'Magriço,' or 'The Lean One,' these twelve fearless men set out for England to fight the English knights in judicial combat, prepared to shed their blood to save the honour of ladies they had never met.Such tales of valour and derring-do, which often hinge on the notion of a team of warriors venturing into hostile territory on a quest for vengeance or redress set against a sweeping historical backdrop, have captured the imagination of audiences through the ages, from Jason and the Argonauts to Lieutenant Aldo Raine and the 'Inglorious Basterds.' Although undoubtedly a fictional tale inserted into historical reality, the action does not end at the household of the Duke of Lancaster, and other adventures ensue in France, Germany and Burgundy, as the twelve heroes spread the fame of Portuguese chivalry throughout the great courts of Europe.The third volume of the Deeds of Arms series presents a complete translation of the earliest known version of the Twelve of England, which has survived in only one manuscript. Professor Fallows presents the text in both the medieval Portuguese and an accompanying English translation. A facsimile of the original manuscript and an extensive introduction covering the historical context of both the text and the deeds it discusses are also included. An overview of the arms and armour used by the combatants, colour illustrations, genealogical tables, maps and a comprehensive bibliography further complement the text.

The Questions Concerning the Joust, Tournaments, and War is a lost classic work of European chivalry; the only record we have of a dramatic occasion when crucial questions on the nature of war and the proper conduct of the warrior's life were posed to an audience of experts, professional men-at-arms of rank and influence. Written in the mid-14th century by the famed knight, Geoffrey de Charny, most modern scholars, perhaps sensibly, have shied away from even offering much in the way of analysis of the Questions as a whole, leading to a situation where the Questions are hardly known, even to scholars.But if Charny does not provide definitive answers about the practice of chivalry and the content of the law of arms, the Questions nevertheless do provide us something else of value - a picture of how knights, squires and other professional warriors of standing, conceived of their way of life. Completing the work he began in 2003 Jousts and Tournaments, Steven Muhlberger turns his pen to the final section of Charny's work to reveal what it tells us about how medieval 'men-at-arms' conceived of themselves as a class, at precisely the moment that their world was undergoing a series of sweeping changes that would forever change the profession of arms.

The poleaxe is a fearsome weapon: the armour-breaching weapon par excellence of the late Middle Ages, wielded on foot in friendly tournaments, lethal duels, and on the battlefield. Instruction on its use is found throughout surviving medieval martial arts manuscripts from Germany and Italy, but Le Jeu de la Hache (Axe-Play)—written in the mid fifteenth century for the Burgundian Court--is both the most complete study of this deadly weapon and the oldest known French-language martial arts text.In this new translation and interpretive guide, Jason Smith presents a complete translation of Le Jeu, detailed photographic reconstructions of its many techniques, and a short primer on the basics of axe combat, creating a complete curriculum for actually training in this unique medieval martial art. Combined with a historical overview of the manuscript and a detailed biography of Jacques de Lalain, a famed Burgundian axe-fighter, this volume is not just a modern training manual, but also a window into knightly culture at the waning of the Middle Ages.

Martial Arts are literally "The Arts of Mars," the Roman god of war. For over two and a half millennia, the combat arts of Europe served the hoplite, gladiator, legionnaire, knight, duelist, boxer and wrestler on the battlefield, in duels, and in the ring. Interest in these traditions has grown dramatically over the last twenty years, bringing together a unique combination of fighters and scholars to preserve the heritage of fighting lore.The Western Martial Arts Workshop (WMAW), founded in 1999, gave students of these martial arts the opportunity to meet, train, and exchange research. In the Service of Mars, Volume Two is both a compilation of the most popular and detailed lectures and class notes from WMAW's first decade, and a record of the growth of the Western martial arts community over the same time. From longsword to sword and buckler fencing; deadly knife-fighting to mounted combat, the martial traditions of England, Germany, Italy and Spain are all amply represented and combined with detailed, practical instruction.

In the late 14th century, the German swordsman Johannes Liechtenauer developed and codified a system of armed combat with sword, spear and dagger that spread through the Holy Roman Empire and dominated German martial arts for nearly 300 years. By the end of the 15th century, a fellowship of swordsmen in Frankfurt known as 'the Brotherhood of Saint Mark,' or Marxbruder, had been granted an imperial charter to train and test swordmasters.Peter Falkner was a long-time member and sometime captain of this famed fencing guild, and it was during this tenure that he set about creating an illustrated fight book of his own; colourful, painted figures and short captions depict combat with a wide variety of weapons: the longsword, dagger, staff, poleaxe, halberd, dueling shield and mounted combat. Where his work excels, however, is in its extensive treatment of the falchion-like messer and the unique variations of core techniques of the Liechtenauer canon.In this first, printed edition of Falkner's work, German martial arts teacher and scholar Christian Tobler includes a full translation, transcription and analysis, combined with a photographic reproduction of the original manuscript. The end result is a lovingly rendered, English translation of a 500 year old picture-book that shows an adaptation of the Liechtenauer tradition, by a known master of its most prestigious school, as taught over a century after its foundation.

In the Middle Ages, wrestling was practiced as both pastime and self-defense by every level of society - nobles, townsman and peasants alike - and was regarded as the foundation of all other martial arts. And no medieval wrestler's name looms as large as that of the Jewish master Ott, 'wrestler to the noble Princes of Austria', whose treatise is included in over a dozen fencing manuscripts.In this first of its kind book, Jessica Finley of the renowned medieval martial arts association, the Selohaar Fechtschule, guides the reader on a journey that begins with the historical background of Ott's wrestling and culminates in step-by-step instruction for practicing the techniques of this ancient fighting art. Both the lover of history and the wrestler on the mat will find this work an invaluable resource.

The fourteenth century witnessed a late medieval arms race; an era that began with knightly combatants armed in mail—and ended with them dressed head-to-toe in the complete plate armour that is commonly associated with knights. Although well documented in art and effigies, only a very few examples of this early plate armour survive. In this series of four planned volumes, Douglas Strong brings together three decades of research to offer a lavishly illustrated catalogue of these surviving pieces with a detailed record of their provenance, characteristics, construction details, and current whereabouts. Filled with colour and black-white photos, line-drawings, this book is a piece of artwork in its own right. Volume One focuses on the bascinet, the ubiquitous helmet of the period. Developing out of a small skull-cap worn beneath the great helm, it quickly evolved into a complete head defence of its own, becoming the helmet that defines the knightly harness of the second half of the fourteenth century and which survived in common usage into the early decades of the fifteenth century. Organizing the surviving examples into broad, morphological categories for both helmets and visors, Douglas Strong not only creates a catalogue of surviving pieces, but presents a basic typology, the first of its kind, into which future discoveries can be placed. Colour and b&w illustrations. Forthcoming volumes include: Volume II: Additional Head Defenses Volume III: Limb Defenses Volume IV: Body Defenses

Understanding the past takes more forms than historiography. Since 2005, professional and amateur scholars have come together at the annual International Medieval Congress in Western Michigan University to discuss the role re-construction, re-enactment and re-creation can play in 'breathing life into these dry bones' to deepen our knowledge of the past. Under the sponsorship of the Higgins Armory Museum and the Oakeshott Institute, presenters have looked at subjects ranging from ore smelting to equitation to the use of recreation and reenactment in the classroom.A special focus of these sessions has always been the critical examination of European fencing books, or Fechtbucher - not only for the sake of reconstructing the arts found therein, but also for what these sources can tell us about intellectual, cultural and social history. Thanks in part to editors' Mondschein and Cramer's work, the study of fencing books has rapidly become a recognized field of academic study.This volume brings together eight papers examining the study and reconstruction of medieval and early modern fight-books and related subjects. The subjects covered range from manuscript studies to philology, from Aristotelian physics to martial musicality, from medieval textuality to women and warfare. It will be of interest not only to professional historians, musicologists, literary scholars and art historians, but also to the vast army of impassioned and enthusiastic practitioners who endeavor, as a labour of love, to make the past come to life.

Understanding the past takes more forms than historiography. Since 2005, professional and amateur scholars have come together at the annual International Medieval Congress in Western Michigan University to discuss the role re-construction, re-enactment and re-creation can play in 'breathing life into these dry bones' to deepen our knowledge of the past. Under the sponsorship of the Higgins Armory Museum and the Oakeshott Institute, presenters have looked at subjects ranging from ore smelting to equitation to the use of recreation and reenactment in the classroom.This volume brings together seven papers examining the depth and breadth in which experimental archaeology and textual analysis can come together to reveal the past. From glass beads to iron smelting, the profession of arms to the chivalric virtues of franchise and 'doing what one said they would do', this collection provides a unique insight into both the daily and intellectual life of medieval man. It will be of interest not only to professional historians, musicologists, literary scholars and art historians, but also to the vast army of impassioned and enthusiastic practitioners who endeavor, as a labor of love, to make the past come to life.

The Late Middle Ages (c.1350 - 1500) provides us with many of our stock, childhood images of the 'Middle Ages': the knight in shining armour, the joust, lords and ladies dressed in rich, voluminous robes and elegant dresses. Yet it is a paradox, for at the start of the period, Europe had endured the worst pandemic of recorded history: the Black Death, the climate was rapidly cooling, causing massive crop failures and France and England were locked in the brutal, dynastic struggle of the Hundred Years War. Meanwhile, in the second half of the period, intrepid merchants became the new knighthood of Europe, seeking new wealth in Asia and Africa, and launching what has been called the 'Age of Discovery' while a new interest in Classical culture would give birth to the Renaissance.All of these elements have long intrigued and inspired writers, researchers and reenactors to take a trip through the looking glass to this lost world. In the Book of Historic Fashion: A Newcomer's Guide to Medieval Clothing (1300 - 1450), authors Allen and Mele provide a visual snap shot of the courtly elegance and common wear of the period. Filled with hundreds of sketches taken from original sources, mechanical drawings and detailed 'layer drawings' demonstrating how the clothing was worn, this entrée both introduces the period and helps newcomers find their way forward in the study of primary and secondary sources. Whether you are a teacher or professor who wants your students to understand what the clothing of the day really looked like, a costume designers working in theater, TV and film looking for visual reference or just new to medieval reenacting who wants guidance on what to wear in order to be appropriately dressed at events, this volume is for you.

The rulers of both England and France had reason to be unhappy as the 1380s dawned. Although the French regime was in better shape than it had been in a while, the country still lay open to English attack and the populace was angry about it. The English regime was no happier; it was futilely trying to realize the gains seemingly promised by the victory at Poitiers back in 1356. This had been its constant occupation for a quarter century, but ultimate success seemed as far away as ever.This book describes a campaign of the Hundred Years War in 1380-1 in which a variety of different kinds of combat and different motives for fighting are evident. The campaign itself was a great chevauchée, or raid, by the English through France and though it had its practical goals, it was also a striking illustration of the place of chivalric self-image in shaping warfare. The English hoped to weaken their opponents by demonstrating that the French king, Charles V, could not defend his subjects. The French king had practical reasons for wishing to avoid spectacular but dangerous set battles similar to Crecy and Poitiers - battles that had been catastrophic for the French.Avoiding battle, however, had its price. If enough people in France concluded that the English were right in their scorn for royal power, that power would be significantly reduced.The fourth volume of the Deeds of Arms series demonstrates that although Charles V's strategy for avoiding battle was prudent, it was unpopular, showing how considerations of war, peace and personal honour were tightly bound together, and that direct confrontation of man against man or army against army was the most satisfying way of settling such issues

The `Getty Manuscript’ (Il Fior di Battaglia/The Flower of Battle) by the greatest fencing-master of the late 1300s, Fiore Furlan dei Liberi, instructs the reader in the intricacies of combat. Lively illustrations of charging horses and armoured knights accompany the text; through words and pictures, the manuscript teaches a variety of fighting techniques including single combat on foot with sword, dagger and axe, and mounted combat in all its variations.Fiore’s magnum opus, The Flower of Battle, composed in 1409, is one of the oldest, most extensive and most clearly elucidated martial arts treatises from the medieval period. It is a record of a complete medieval martial tradition, and provides unique insights into the life and milieu of the professional fighting man at the birth of the Italian Renaissance.Fiore preserved his teachings in a series of illustrated manuscripts, four of which have survived to the present day. The first volume in this new five-part series (see SERIES NOTE) presents a complete translation, transcription and reproduction of the largest and most complete of those four manuscripts. It includes chapters on the life of Fiore dei Liberi, his students and patrons, arms and armour in the Getty Manuscript, duelling and chivalric culture in Italy at the close of the 14th century, a detailed analysis of the manuscripts' use of pedagogy, number and metaphor and The Flower of Battle's relationship to other medieval combat manuscripts.190 illustrations, 90 in colour. SERIES NOTE:This is the first volume in a new five-volume series from Freelance Academy Press. Flowers of Battle is a series of lavishly illustrated hardbacks, combining full-colour facsimiles of the original manuscripts with professional, annotated translations and extensive, peer-reviewed essays.The Flowers of Battle Series Includes:Vol. I: Historical Overview and the Getty ManuscriptVol. II: Flos DuellatorumVol. III: Florius de Arte LuctandiVol. IV: The Pierpont-Morgan Manuscript and General ConcordanceVol. V: Leaves of Battle – Fiore dei Liberi’s Martial Heirs and Influence