The primary
area of study
of the Scuola d'Arte d'Armizare is the martial
arts system, or l'arte d'armizare,
reconstructed from
the 3 extant manuals of Fiore dei Liberi, a 14th
& 15th century Italian master of arms in the service
of
the Marquis de Ferrara, in northern Italy.
These
manuals are named the Flos Duellatorum or Fior di Battaglia (Flower of
Battle) and are often called the Pissani-Dossi, Getty-Ludwig, or
Pierpont-Morgan, depending on the museum in which they are found.
The manuscripts comprise an
approximately 70 page manual
with
both illustrations and commentary on over 350 techniques. These manuals are slightly different from one
another, but similar
overall, showing all the elements of a single cohesive system of
martial arts.
Within the
Fior di Battaglia is a comprehensive
system incorporating unarmed grappling & striking (abrazare), dagger (daga), dagger against sword (daga contra spada), single-handed
sword (spada a una mano), two
handed
longsword (spada a due mani),
spear (lanza), poleax (azza), armored and unarmored
combat, and mounted combat with the lance and sword. Each element
of the system fits with the others and builds upon the other
parts. The two primary
manuscripts
used by the Schola (the Getty-Ludwig & Pissani-Dossi) begin with
the basic principles of grappling and teach the student specific
positions
and techniques. They then build on these principles, moving on to
unarmed defense against the dagger and sword, then armed defense (with
a dagger) against the dagger and sword. From there, swordsmanship
and the use of the spear and poleaxe are taught; with unarmored,
armored,
and mounted techniques. This system is laid out along such that
it
builds on previously taught concepts and teaches new concepts that mesh
with earlier techniques. This and other fighting manuals of the
time,
are compelling evidence for the existence of a systematic body of
martial
knowledge in the Middle Ages. As well, it contains a well-thought
out, comprehensive and progressive style of training leading to a broad
range of technical knowledge based on simple principles that are
extensively
elaborated on and that function across a wide range of weaponry and
situations.
In short, a true martial art.
Training within the Scuola
progresses as follows:
1) Novice level -
This encompasses the first year or two of training, depending on
student progress. Skills taught at this level are basic movement
and footwork, all of the 20 abrazare
techniques, core techniques from each of the 9 masters of
dagger, the plays of the daga contra
spada, the universal guard and basic plays of the spada a una mano, and basic guards
and plays of the spada a due mani.
Students are expected to learn and be proficient at the guards of abrazare, daga, and spada. A core set of plays
drawn from the skills listed above forms the expected knowledge base at
the completion of the novice level. No armoured techniques are
taught at this level. Students are expected to purchase or
fabricate basic training implements, including a safety dagger trainer,
a longsword waster (wooden and, if desired, either steel or aluminum),
fencing mask & gloves. A gambeson is strongly encouraged at
higher levels for training.
2) Scholar level -
This encompasses the following 3-5 years after the novice
training. At this level, students will continue to study and
develop their understanding of the techniques taught at the novice
level. As well, they will study all the plays of the daga, the
bastoncello, the spada a una mano, the spada a due mani, and the
lanza. Basic investigation into the spada in arme and azza in
arme will commence at this level, as well as investigation into the
basis of the mounted combat plays. Students are expected to
attend national seminars when possible throughout, as well as any local
seminars. .
The
group is led by Keith Nelson, who has been studying
& practicing this system for the past 6 years, working primarily
from a basis
of interpretations made by Bob Charron of the Saint Martin's Academy of
Medieval Arms, one of the premier Fiore researchers.
For
further information on various aspects of Fiore's art, see the sections
below: