Fighting in the French Style
A look at who was teaching, what they taught,
and what written resources were available to the French
in the 15,16, and early 17th century.
By Thomas Harmon, known in the SCA as Philippe de Lyon
I have long been interested in French Fencing during the 16th Century. Ever since finding the fencing manual of Henri de Sainct Didier translated by Lori Angoti some 15 years ago, I have been fascinated by the concept of a French fencing system. At that time Didier was all I knew about. Over the years more information has been found and made available on the web. This class is an attempt to cover the resources I have been able to find and give a picture of what fighting in France during the Renaissance was like. I do not plan to go in to depth on any one system or manual. The purpose of this article is to give information and resources for those wishing to study the French system or for those looking for a fighting style to complement their French persona.
In trying to identify a French system or style of combat I first looked at who was teaching. Were there fencing guilds? Who was allowed to teach? What were they teaching? This last question leads into what written material was available to the French. Not everyone would have access to a teacher and thus what printed works were available would greatly influence how people were fighting.
Guilds1
By the beginning of the 16th century, France and its sounding areas already had three guilds dedicated to the study of war. These were the Guild of Saint Sebastian for the archers, the Guild of St. George for the crossbowman, and the guild of Saint Barbara for the couleuvriniers or cannoniers. These were loose confraternities with rules varying from city to city. They were open to the average citizen and were dedicated to preparation for war. They were also used by the local towns as ready supply for guards. Some of the guilds even had service to the town guard as requirement of membership.
There did not seem to be a formal group for the training of sword. Instead there were informal groups that were getting together for training and sport. In 1513 we find the first reference to a 4th confraternities or company. The company of St. Michael was for sword play and referred to as Escrimeurs. By 1567 we see a charter for a formal fencing guild in Paris organized under the authority of the crown. The charter still required guild members to participate in the guard, but those requirements are not spelled out in the surviving documents. We do have a detailed charter of the Paris Masters. It set forth the requirements to become a master including training from another master, serving two years as a provost, and then testing for the position as Master. The document also states that foreign masters may only demonstrate or teach for no more than six weeks without seeking entry to the guild. In the 1644 charter for the Weapons Masters of Paris the requirements in order for a prevost (senior student) to become a master, the prevost must be a native of France and fight an open demonstration against other prevosts at single sword and sword and dagger. They must also face six Masters with single sword, sword and dagger, and espadone (two handed sword). The charter further states that the prevost “... will be exempted from the use of a halberd and stick in front of the Master's assembly …”2 This is the first reference to only allowing Frenchmen to test for Master. From this we have some idea of what was being taught in the schools. We also see that the Paris Masters were trying to keep foreign fencing masters out of their guild.
Pike Legions3
In the 15th century the French infantry was predominately composed of crossbowman and foreign mercenary (predominantly Swiss). In 1531 King Francis I founded the Legions of Nomandy, Langedoc, Champagne and Picardy. These were 6000 man formations composed of pikemen, halberdiers and shot. These consisted of levies that could be called up as needed. The Legions would muster occasionally during peace. The Legions were maintained or revived through the 16th century and well into the 17th until replaced with a standing army.
We know that each region had to be prepared to call up the levies and were required to give some sort of training. Exactly what was being taught and whether training was uniform through out the Legions is unknown.
Written Material
At this point we have an idea of who was teaching and what type weapons they would have been using. Unfortunately we have no idea of what they were teaching or how they were using these weapons. I have no documentation that shows a curriculum or set system being taught by the French masters. Because the rules of the guilds varied from city to city it is reasonable to hypothesize that what was being taught and how also varied. The varied written material on the subject lends some credibility to this argument. We have several surviving written works in French that were published in the 16th and early 17th century. By reviewing this written material we may get a better understanding of what could have been taught at the schools (or in private).
Traitte de lEspee
The ealiest known work was a three volume set named “Traittie de lEspe,” literally The Treatise of the Sword. It was listed in the library of the kings of France in 1373 and 1411, but disappeared in 1435 when the library was dispersed.4
This was the only known copy of the work, we have no idea of who wrote it or what was in it.
Christine de Pizan
Christine de Pizan wrote her work “The book of Deeds of Arms and of Chivalry” around 1410. Her work primarily concerns warfare and is considered to be based on the work of Vegtius (Publius Favius Vegtius was a 4th century Roman writer).5 In the work Pizan discusses how to train with the sword and some guidelines for its use. She also discusses current practices of her time for warfare. Among these practices she lists the trainng of youth in the art of war and that they should be taught to wrestle, leap and vault, staff, spear, throwing of the spear and dart, and use of the sword and sheild. It is also possible that she as also had access to The Treatise of the Sword. She did have royal patronage and they book was in the possession of the Crown at that time.
le Jeu de la Hache
The next work is “le jeu de la Hache. This is the oldest surviving work in French.6 The manuscript, believed to be written sometime in the 15th century, deals with the use of the poleaxe. The weapon is usually depicted as having a hammer head, back spike or beak, top spike, a butt spike or steel cap and is about five feet in length. There are surviving examples of this weapon with a small axe head instead of the hammer head. The weapon was a staple of knightly combat and was a formidable weapon in the lists as well as on the battlefield. According to Dupuis “This manuscript could scarcely be more anonymous. In addition to not carrying any information about the author , the document bears no indication about the dating or origin”.7 In “Burgundian Poleaxe, the noble art of Chivalric Axe Combat” Jason Smith argues that the work is indeed Burgundian and written by Master Ambrose of Milan who was well known for the use of the poleaxe. The book is a detailed translation and interpretation of the manuscript.8 a free translation of the manuscript is available at Wiktenaur.com.
Andre Paurnfeyndt
In 1538 “ la NobleScience des Joueurs d'Espee” was published. This is a French translation of Andre Paurnfeyndt's work Ergrundung Ritterlisher kunst de Fechterey (foundations of the Chivalric Art of Swordplay) originaly written in German and published in 1516. Paurnfeyndt states that this work is for beginners and explains the use of the word (two handed), dussack/messer, and staff. The Wiktenaur website has a translation of the original work, the original in German, and the French text. The 1516 work is credited with being the first printed work to include illustrations.
Achille Marozzo
“Livre de'escrime,pour apprendre a tirer de lepee & de toutes armes was a French translation of Achille Marozzo's work “Opera Nova”. It was published by Pierre Marechal in Lyon, France.9 No copy of the French translation survived. Opera Nova is considered to be one of the dominant works in the “Bolognese” school of fencing.10 Marozzo covers a variety of weapons including the two handed sword, sword and buckler, the sword alone, partisan, spear/pike, and poleaxe/halberd/bill. Marrozzo's work is extremely influential as it was reprinted many times through out the 16th and 17th century. A partial translation of the work can be found at www.marozzo.org.
Jacques Descars
Jacques Descars may have written a work on fencing in 1568. It has one mention, there was no name recorded for the work and no copy survived.11
Henry de Sainct Didier
“Tracte contenant les Secrets Du Premier Livre de L'Espee Seule” Written by Henri de Sainct Didier published in 1573 and is considered to be the first treatise conceived written, and printed in French.12 Didier claims to have been a soldier for 25 years who fought under Charles IX and Francis the II. He claimed to have fenced with the king himself although the Archives of the Maitres d'armes of Paris state it was the king's brother.13 We know that Didier was a master of the Paris guild and had connections at court.14 Didier's manual was focused on the single sword and had detailed instructions for its use. There is a reference in his work to other books he intended to write on sword and dagger, sword and cloak, sword and buckler, and two handed sword. Many feel Didier is based on the Bolognes school of fencing and is only an adaption of Marozzo's works.15 Tim Rivera in “An Essay Containing a Detailed Comparative Analysis of the the streatise of Henri de Sainct Didier” has a different take.” Rivera argues that the similarities of Sainct Didiers's style to those of the examined authors, its likely that his treatise represents a style native to southern France, which would of course share similarities with styles from neighboring Spain and Italy.”16 There is an english translation of the manual on Wiktenaur.
Hieronymus Cavalcabo
“Treatise or Instruction for Fencing” by Hieronymus Cavalcabo of Bologna was originally published in Italian and was translated into French by Lord Vellamont in 1597. The work also includes a short essay by the Poternostrier of Rome (Fencing master of Rome). Although Cavalcabo was an Italian he was also the fencing master of Henry IV of France. He was suceeded by his son Cesar who was the Master of Arms to the French Court until 164217. Cavalcabo primarily focuses on sword and dagger. He does discuss sword and cape and single sword but states that sword and dagger is the stronger system. Cavalcabo seems to be a mix of the Bolognese school and the Roman school (Agrippa). His work was praised by Dancie and was in the library of Desbordes (two French fencing masters we will be discussing shortly). Portions of Cavalcabo's work appear in the “book of Lessons” by Don Pedro de Heredia and will be be cited in other French books until the 18th century.18 He is probably one of the most influential fencing masters for the French.
Capitaine Peloquin
“Le Cabinet d'Escrime de l'Espee Poignard de Peloquin” is a manuscript in the Hauge that was writen by De la Haye and was presented to Maurice de Nassau (the younger brother of the Prince of Orange). De La Hay claims to have received the work from Capitaine Peloquin a French fencing Master who supposedly taught Henri De Navarre fencing before he became king of France. However there is no trace of Capitaine Peloquin to be found in the historical records19. Peloquin's work focuses on the sword and dagger and uses a very unique system in his illustrations to depict the techniques. The illustrations show a disembodied face and heart on a grid work. It shows the students foot and sword positions and subsequent moments in relationship to an opponent.
The system shows a striking similarity to Cavalcabo's work and to the Bolognese system. However, like Didier, there are enough differences that this could be a unique system influenced by the Italian masters and not a direct copy. A free English translation with illustrations can be found on Wikteneaur.
Andre desBordes
“Discours de la Theorie de la pratique et de lExcellence des Armes” or the “Discourse on Theory, Practive, and Excellence at Arms”, was written by Andre desBordes in 1610 and dedicated to the Duke of Lorraine20. Andre desBordes forcused on the use of the sword and dagger. It has been argued that his work is really just a french translation of “Discorso di Camillo Palladini Bolgnese sopra l'arte della scherma come L'arte della scherma e necessaria a chi si diletta d'arme” by Camillo Palladini written in Italian in 160021. DesBordes had a coppy of Palladini's work in his library.22I was unable to find a translation of desBordes work that was free on line.
Francois Dancie
Francois Dancie wrote two works on fencing. “Discorse of Armes and Method to properly fence with the Sword and Dagger” is a manucript written in 1617. The manuscript formed the basis for his book “The sword of Combat” published in 1623.23 Dancie's work is based on the sword and dagger and the single sword. His method is very pragmatic. In addition to technical discussion of the use of the sword Dancie also discusses mindset, attitude, and the necessity of regular practice in order to maintain speed and judgment24. A translation of the manuscript is available for free at the Renaissance Sword Club website.
Don Pedro de Heredia
“The book of lessons and its collection of Illustraions” is a set of three manuscripts that are believed to be writen by Don Pedro de Heredia sometime between 1600 and 164825. The manuscripts set forth a series of lessons using sword and dagger and the single sword. The manuscripts contin between 54 and 71 illustrations. The work is in French but uses some Spanish fencing terms. “The work focuses on tactical advice and exercises to understand the use of time, the use of the free hand, strokes against a a left-handed opponent, etc.”26 Discussions of the work and a link to purchase a translation can be found at The Renaissance Sword Club web site.
Nicoletto Giganti
There is a French translation of Nicoletto Giganti's book “ Scola overo Teatro” (writen in 1610). The work was translated into French by Jacques de Zaeter in 1619.27 Giganti's work is focused on the use of the rapier both single and with a dagger and was the first work to break down the mechanics of the lunge.28 Wiktenauer has a trascription of the Italian and French texts and an English translation based on the Italian text avalable for free on Wikenauer.com.
Gerard Thibault d'Anvers
“Academie de L'Espee” was written by Gerard Thibault d'Anvers and was published in 1628. The work is extremely detailed and well illustrated and discusses his version of the Spanich system known as Destreza.29
Was there a French System
This is a contested point and there are no easy answers. Dupuis points out “...that in this period there were as many translations of Italian fight books published as original French works.”30 This becomes fairly obvious as one looks through the written works listed above. Dupuis further states “...fencing at the court of Valois and even during Henri IV's reign is undoubtedly marked by the Italian fencing fashions.” But why was this. The answer may go back to King Francis I and his love for all things Italian. He was bringing Italian artisans to his court. Most notable were Leonardo daVincie and Benvenuto Celinni ( a famous goldsmith from Rome). He was obsessed with the conquest of Milan, He even married his eldest son to an Italian noble woman, Katherine de Medici. As regent and queen mother to several of her sons while they were king, she had considerable influence on the monarchy and thus on France. This may be why we see so few works from native French masters, there simply was no incentive to publish works and there was no royal patronage being offered. Dupuis believes that there was no interest in the monarchy for this type of work. “The case of the Kings of France is a good Illustration, outside the intriguing Traittie de lEspe discussed before; le Jeu de Hache is the only fencing treatise belonging to the library of the king of France in 1542. A reason for the absence of French fight books at the beginning of the Renaissance seems to be the lack of interest of the great and good for this type of technical document.”31 This may be why we do not see any works by French masters until after Charles IX of France creates the the French fencing academia in 1567. Over the next 100 years we have six French fencing Masters publishing books on fencing.
We aslo see that when we do have Dancie, a Frenchman, writing works in the 17th century it is the Italian Cavalcabo he credits as the foundation of his work and not his fellow Frenchman Didier or Peloquin. The same goes for DesBordes. He does not mention any of the French masters when he writes his book. There seems to be no continuity between the French masters.
The other issue we should address here is what weapons the French fencing guilds were teaching compared to what what weapons appear in the manuals. We stated earlier that the guilds (at least in Paris) were teaching single sword, sword and dagger, two handed sword, halberd, and staff (baton). The written material of the French masters only cover the single sword, and sword and dagger. Although they do cover other weapon combinations such as sword and cloak, none of the French masters discuss the use of two handed sword, halberd or staff. Didier does mention that he was going to produce a work on two handed sword but as far as we know he never did. To find instructions on the two handed sword, halberd and staff we have to look at the foreign masters. The German master
Andre Paurnfeyndt discusses the use of two handed sword and the staff in his work. He also states that the staff is the foundation of all hafted weapons thus we could deduce that it would apply to the halberd as well. The Italian Master Achille Marozzo also discusses the use of the two handed sword in his work. Marozzo also teaches the use of the poleaxe and states that it is the foundation for hafted weapons that can cut and he includes the halberd in that list.
I would like to make the argument that the manuscript “le jeu de la Hache” focuses on
Poleaxe and thus could be applied to the use of the halberd and could be used to teach staff as well. Christine de Pizan does mention staff as one of the weapons used in training youth for the battlefield. It very well could have been used as a teaching/training devise for the poleaxe.
Conclusion
What we can say is that there is evidence through the manuals available in French, of the German systems, Italian Bolognese and Roman schools, and Spanish schools of combat were available to the French. These works may or may not have been being taught by the French fencing masters but would have definitely influenced later generations. We also have evidence of a distinctive version of combat that was being taught by French masters. These masters were certainly influenced by the works that preceded them but they are distinctive enough to be consider a native style and influential in their own right.
So to answer the second part of our original question. What type of fighting styles can be used by someone with a French persona? The answer is just about anything. The influence of the foreign masters was considerable. These masters represented most of the major thoughts on combat from across the continent. You can also use materiel from one or more of the French masters for a more home grown feel on the subject. We an safely argue that all of these system were being taught and used in some form or another in France during the 15th, 16th, and early 17th century.
Bibliography:
“French Fencing Guilds of Parris , Lille, and Amiens in the 16th and 17th century.” translated by Pierre Pichon , Edited by Jean Changler, SDA NOLA & Roger Norling GHFS/MFFG.
https://hroarr.com/article/french-fencing-guilds/
Renaissance Warfare website.
www.home.mysoul.com.au/graemecook/renaissance/16_French.html
These Airfax Maagzine articles based on George Gush's book “Renaissance Warfare”
“The French Fencing traditions, from the 14th century to 1630 through Fight Books”. Olivier Dupuis 2016.
This is an essay that was downloaded from Brill.com on 8/30/2020.
“The Book of the Deeds of Arms and of Chivalry”, By Christine de Pizan , translated by
Sumner Willard (Brig. Gen., USA, Ret.) and edited by Charity Cannon Willard.
“The Burgundian Poleaxe, the nobel Art of Chivalric Axe Combat, and illustrated guide to Le Jue De La Hache”. Jason Smith 2020.
Wiktenauer.com A HEMA Alliance Project, is a website dedicated to European martial arts. It specifically deals with Masters, and written works of the 15th, 16th and 17th centuries.
“Secrets of the Sword Alone”, by Henri de Sainct Didier and translated by Chris Slee. 2014.
“An Essay Containing a detailed comparative analysis of the treatise of Henri de Sainct Didier to the treatises of Giovanni Anbonio Lovino, Domingo Luis Godinho, and Pedro de Herdia, illuminating their technical similarities, in order establish a place for Sainct Didier's treatise, very useful and beneficial all supporters of the arts of Mars.” composed by Tim Rivera 2013.
Treatise or instruction for Fencing: By Hieronymus Calvacabo of Balogna and Paternostrier of Rome, Translated by rob Runacres
The Renaissance Sword Club. www.renaissanceswordclub.com
a translation of Francois Dancie, “Discourse of Arms and Method to Properly Fence with the Sword and Dagger (ore 1617) is available as a PDF file on their Translations page.
Additional Resources:
The Renaissance Sword Club has some great videos and resources for the the 17th century fencing masters. I highly recommend their site. http://www.renaissanceswordclub.com/
The St. Louis School of Arms focuses on the Bolognese system. The instructor Ken Harding has a patreon account that has videos and several works on his interpretation of the Bolognese masters. Ken also has a YouTube Chanel with a videos covering the use of the single sword, two handed sword, poleaxe and other hafted weapons. I highly recommend his work.
Wiktenauer.com is a wonderful website with an exhaustive list of Fencing Master, manuscripts and books of the 15th, 16th, and 17th centuries. They have biographical information, links to museums and library for extant copies of works, as well as free translations for some of the manuals .
1Most of this section comes form “French Fencing Guids”, translated by Pierre Pichon and edited by Jean Chandler and Roger Norling.
2“French Fencing Guids”, translated by Pierre Pichon and edited by Jean chandler and Roger Norling.
3From the Renaissance Warefare website. Under the article on the French.
4The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
5“The book of the Deeds of Arms and of Chivalry”, By Christine de Pizan , translated by Sumner Willard (Brig. Gen., USA, Ret.) and edited by Charity Cannon Willard. Page 2.
6The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
7The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
8“Burgundian Poleaxe”, Jason Smith 2020.
9The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
10Wiktenaur.com
11The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
12The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
13“secrets of the Sword Alone”, by henry de Sainct Didier and translated by Chris Slee.
14The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
15The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
16“ An Essay containing a detailed compaarative analysis of the treatise of Henri de Sainct Didier...” compase by Tim rivera 2013.
17Treatise or instruction for Fencing: By Hieronymus Calvacabo of Balogna and Paternostrier of Rome, Translated by rob Runacres
18The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
19The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
20he French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
21Wiktenaur.
22The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
23The Resnaissance Sword Club website on the Traslations page.
24he French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
25The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
26The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
27The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
28Siktenauer.com on the page for Nicoletto Giganti.
29Wiktenauer.com from the page on Gerard Thibault d'Anvers.
30The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
31The French Fencing Traditions, from 14th century to 1630 through Fight Books, Ollivier Dupuis. 2016
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