The Guards

I believe that the intent of the multiplicity of guards was to provide a shorthand notation for combat sequences. The guard positions are more invitations or positions to launch an attack from, than true parries. The only exceptions are the guardia di testa, guardia d’entrare and the guardia di faccia. For example, to a Dardi student if I said start in the guardia alta and throw a mandritto sgualimbrato while ending in the guardia di sotto braccio, the student would know the exact start and end with the angle of the cut in between. Using this shorthand notation (i.e. using just the guard names) facilitates instruction.

Bolognese sword combat should flow smoothly with the combatants moving from guard to guard, blades touching (engaged) at times and moving with absence of blade (not touching) at others. The different guards must be learned and internalized so that they are used subconsciously to defend certain areas of the body (close lines) and to provide invitations. To begin in this style of combat, one need learn only three of the guards. These are the porta di ferro, the coda lunga stretta and the guardia d’alicorno, which I will describe later.

Dall’Agocchie taught eight primary guards grouped as high and low: four low and four high. Low guards (porta di ferro and the coda lunga) are those where the sword hand is below chest level and high guards (guardia d’alicorno, guardia di testa, guardia di faccia and guardia d’entrare) where the sword hand is above chest level. You may form these guards with either the left or the right foot forward. Another high guard used by the earlier masters is the guardia alta which Marozzo preferred beginning students use. The low guards are defensive in nature, while the high guards are offensive in nature; I will discuss the reasons for this later.

The low guards are invitations from wide measure. These guards are useful for determining your opponent’s skill. The high guards are starting positions for launching an attack or are used as defensive-offensive positions to launch a counterattack. Certain guards like the coda lunga e stretta, porta di ferro e stretta and the gaurdia d’alicorno may be made with engagement of the blade (blades touching) and narrower distance between the fencers than say the guardia alta or the coda lunga e distesa where there will be absence of blade (blades not touching) and wider distance.

The illustrations used in this chapter are from the 1568 edition of Marozzo’s Arte dell’ Armi. In order to understand the Dardi system you must know the guards and be able to move into them flawlessly upon command. For each of the guards I will give a brief description, show an illustration or picture and then will quote from the masters on what they said about the guard.

In some of the descriptions of the guards I will refer to Italian hand positions. The illustration to the right shows these hand positions. Although the authors from the Dardi Tradition did not use this nomenclature, it is helpful in describing hand positioning. This nomenclature began to be used in the 17th century.

The High Guards

Guardia di testa

Dall’Agocchie:

“This is when you have the arm well extended to the right of the enemy’s face and the sword traversing, that is, that the point is opposite your left side and a little towards the ground. This is so it secures the area above.”

Marozzo:

“In this guardia di testa one can be both agente and patiente, but I shall first speak of the patiente; If any one should throw a mandrtitto fendente or sgualembrato, or a dritto tramazone, in all these attacks you will make said scholar strong in the guardia di testa, and then from this guard, being agente, you will tell him what is possible as agente, he can do so with a thrust from the right over the hand, or a mandritto fendente, or tondo, or sgualembrato, or falso dritto, accompanying this attack with a riverso. . .”

Manciolino:

“The second guard is called guardia di testa, and is executed by stretching both arms towards the opponent. The outstretched arms should be positioned so that the fists are about shoulder-height; the only difference being that the sword-hand should be slightly lower than the buckler-hand. As far as the feet, they can be positioned right-forward or left-forward with a wide step; in both instances the guard is the same for the above-mentioned reasons.”

The guardia di testa (head guard) is a high guard, good for protecting the upper body and head, and formed by holding the sword hand at shoulder height with the blade crossing your body to the left and either the point high, as in the illustration from Marozzo, or low, a la dall’Agocchie. In the earlier and later style, the weight shifts forward so that more weight is on the front leg than the back. The body is upright. The blade of the sword should cross diagonally in front of the body as in the illustrations. The guard also invites an attack. In the event that your opponent makes a cut at your head, you may parry in this position and follow it up with a point thrust over your opponent’s hand.

Guardia di Faccia

Dall’Agocchie:

“The third is the guardia di faccia and is when the arm is well extended and the palm is up with the true edge of the sword looking to the inside. That is towards the left side and the point together with the right flank looks to the face of the enemy.”

Marozzo:

“Having made him assume this guardia di faccia, inform him that in this he can both assault and defend at the same time. On his adversary’s cutting mandritto tondo, or fendente dritto, he should thrust at the same time at his face.”

Manciolino:

“The third guard is called guardia di faccia, and it has two things in common with the preceding one as well as one conspicuous difference. Common with the previous guard are the placement of the feet (with the option of being right-foot or left-foot forward) and the height of the hands. The big difference is that in the previous guard the sword was held sideways, whereas in this one the sword is pointing directly towards the opponent’s face. The buckler-hand is held above the sword-hand. “

One frames this guard with the palm up and the arm extended out towards your opponent and the hand at shoulder height. The body is upright, with the weight shifted slightly forward. This is a very imposing and offensive guard. With the point directed at the opponent’s face and the arm extended, you heavily threaten your adversary. This guard is also one of the guards specifically used for parrying.

Guardia d’intrare

Dall’Agocchie:

“This is made counter to the aforementioned, that is, with the arm extended towards the face of the enemy but with the palm down and the true edge of the sword looking to the outside, that is, towards the right. The right side of the body is turned a little towards the adversary. This is so called because it is strong for entering.”

Marozzo:

“Being in this guard you must be forcefully patiente, because if memory serves me I have demonstrated that in this guard are born few attacks when wanting to be agente rather than patiente. I exhort you to wait on the enemy to throw and parry as you would…”

Even though Marozzo indicates there are few attacks that one may make from this guard, it functions as an end position of a counterattack resulting in a thrust to the face with an oblique step to the left, as shown in the illustration. The body is upright, with the weight more balanced between the legs. Like the guardia di faccia, it is a guard used for parrying.

Guardia d’alicorno or Becca Cesa/Possa

Dall’Agocchie:

“One knows this when the impugnatura (grip) is turned up and the arm is extended with the point a little lowered and looks to the face or the chest of the enemy in the similitude of a unicorn: which assaulting fights in that way with the horn.”

Marozzo - Becca Cesa:

“And the sword arm is held high and extended, turning the wrist outside and placing the point of the sword towards his face and the fist well extended; this is the becca cesa.”

Marozzo - Becca Possa:

“Having examined your scholar in every guard, I am of the opinion that on him being in this guard of becca possa, that you advise your student go in this guard when the enemy goes into a porta di ferro larga, or stretta, or alta, and to follow him step by step, and from guard to guard. That is, if the adversary goes in coda lunga e distesa he must go into becca cesa…”

The guardia d’alicorno is one of the primary guards used by dall’Agocchie in his instruction on what is necessary to learn if a person has only a month to prepare for a duel. Dall’Agocchie does not differentiate between a left foot and right foot forward stance in this guard. However, Marozzo does also name the guard differently as is shown above.

This guard when made with the right foot forward is similar to the later broadsword hanging guard used to protect the fencer from downward strokes. It is also similar to Fabris’ guard of 1st although with Fabris’ style the arm is much more extended and with Marozzo the point of the sword is pointed more at the lower extremities of the opponent or the ground. Marozzo shows this guard in use when describing his circular combat in chapter 144:

This is the sign, where you will make your students walk, stepping, sometimes forward and sometimes back, with their weapons in hand, turning around, putting their feet on the lines that cut the circle.

The Low Guards

The Coda Lunga

Dall’Agocchie:

“The coda lunga is when one holds the sword to the outside of the right side. This is divided into two alternate guards called the coda lunga stretta and the coda lunga alta. The coda lunga stretta is that which is made with the right foot forward and the coda lunga alta with the left foot [forward], always keeping the sword to the outside of the right side and the arm well extended, outside the vicinity of the knee and with the point looking to the enemy.”

Coda Lunga e Stretta

Manciolino:

“The tenth guard, called coda lunga e stretta, is performed with the right foot forward in a wide step. The knee should be slightly bent sideways, and the arms are held in the exact same position as in the previous guard [coda lunga e alta]; except that the sword-arm is a little lower.”

Marozzo:

“Make your scholar settle with the right leg forward, with the sword and the buckler or target well extended to the right of the enemy, and the sword accompanied together [with it], and make it that his right hand be well outside his right knee with the thumb turned downwards as may be seen in the figure. This is called the coda lunga e stretta, and is meant for striking and parrying. The scholar being in this guard, you will show him how many attacks he can make being agent, and how many parries he can perform as patient, from above and from below, and likewise their variations one from the other. You will also show him the parries against his own attacks.”

In this guard, the hand is outside the right knee with the hand held almost in pronation, the Italian second-in-third hand position, and the right leg is forward. The upper body is upright or canted up to 10 degrees forward, with the weight more centered between the legs. Place the feet flat on the ground or with the back foot weighted on the ball of the foot. This guard is a defensive posture that also allows for the throwing of a number of cuts or thrusts.

I must stress that for this guard, the hand must be just outside the right knee. Dall’Agocchie and Marozzo used this guard as an opening guard in many of their plays.

Coda Lunga e Alta

Marozzo:

“I want you to know that when remaining patiente, this is a good and useful guard and for this I say to you that you should tell your student that he had better assume this guard on the defensive against the enemy, and make him understand all that can be done on it, pro and contra in every manner that is possible…”

Manciolino:

“The ninth guard is called coda lunga alta and is performed with the left foot forward and the knee slightly bent, with the toes pointing towards the opponent. The step is wide. The right arm should be well extended towards the opponent, with the sword tightly gripped and held sideways, [but in such a manner that] that the tip covers the opponent. The buckler arm should also be extended towards the opponent’s face. This guard, as well as the following one, originates from a guard called coda lunga alta in which the feet are positioned in the same manner as in this, but the sword-arm is extended backwards. This name was given to it by paraphrasing the old proverb that “one should never mess with great masters because they have a long tail”; meaning that they have the power to harm you with their numerous followers. So, that guard had the same name as our ninth and the next (tenth), as it is very capable to wound your partner and has therefore the name of coda lunga e alta.”

This guard is made left leg is forward, weight centered between the legs and the body held upright. As seen in the illustration, the feet are flat on the ground. This is a defensive guard, especially when using a defensive device such as a buckler as it places the buckler extended out in front of your body.

Coda Lunga e larga

Marozzo

“Note that in this guard you can be both agente and patiente, for it is possible to throw the falso, and riverso and to cut tramazone with both right or false edge, or tramazone roverso, or falso filo tondo, or roverso sgualembrato, by turning the sword to its proper place. Also you can throw an imbrocata from the right or left, with or without feints, and all the roversi that belong to them, &c…”

Form this guard with the right leg forward and the sword low, with the hand held outside and behind the right knee. The weight is more forward and the feet will be typically flat on the ground. The position of the point of the sword is lower than that of the guard and trained in the general direction of your opponent. It is a good position to defend as well as attack. This is also the ending position if one makes a descending cut from the left side.

Coda Lunga e Distesa

Marozzo:

“Being on this guard you will cause him to be agente, especially with dritti falsi, or with the point, with roversi, and such other attacks, as can be derived from the said guard. Thou must also teach him the parries thereto, since the art of striking is but little in comparison with a knowledge of the parries, which a fine and more useful thing.”

This guard was taught as early as the beginning of the 15th Century by Fiore de’ Liberi in his treatise on the two-handed sword. The guard is an offensive guard in that you are set like a spring ready to strike. Form the stance with the right (or left) leg forward and the weapon trailing behind, as shown in the illustration. The weight is more on the front leg and you will be on the ball of the foot on the trailing foot. The front foot will be flat on the ground.

The Porta di Ferro

Dall’Agocchie:

“The second is the porta di ferro which is in the similitude of an iron door, that if one wants to bring down, takes much work and art. Wanting to attack one in this guard needs art and knowledge. This is similarly divided into two natures: the said porta di ferro and the cinghiale The porta di ferro is first known when it is with the right foot forward and the sword hand at the inside of the knee and the point of the sword looking to the enemy.”

Dall’Agocchie describes this guard as an iron door – it is very hard to smash down. This base guard is one that Marozzo advises to use as a starting position. One forms the basic porta di ferro with the right foot forward and the right hand held over the right knee. The palm of the hand faces left. There are four variants to the porta di ferro: porta di ferro e stretta, porta di ferro larga, porta di ferro alta and cinghiara porta di ferro.

Porta di Ferro e Stretta

Manciolino:

“The sixth guard is called porta di ferro stretta. The posture of the body is sideways in such a way that the right shoulder faces the opponent, as described above. The arms should also be stretched towards the opponent, but in such a manner that the sword-arm is extended downward in defense of the right knee. The right fist should be close and in the center of the right knee. The buckler-arm should be stretched towards the opponent, pointing neither up nor down, in defense of the head. The right foot should be [forward] in wide step, with the knee facing the opponent, defended as described above and quite bent. The left foot should be placed sideways, with the left knee also bent. This guard is called porta di ferro stretta because it is safer than the others, and as strong as iron. It is different from the wide guard (coming next) in the fact that it places the sword close to the opponent while keeping a tight defense of the knee.”

In this guard, the right foot leadings and the right hand is above the right knee. I use this guard as a base ward for novice fencers as it possible to launch a number of different cuts and thrusts from the guard. The upper body is upright or canted slightly forward, with the weight centered between the legs. The feet will be flat on the ground in this guard as shown in the illustration.

Porta di Ferro Alta

Dall'Agocchie:

Being in the porta di ferro larga if you raise the fist of the sword a little, this makes the porta di ferro alta (as it is higher than the other two).

To form the Alta variant, raise the hand slightly. This guard is an apt ending position resulting from a thrust delivered from the right. The body is upright with the right leg forward as shown in the photo.

Cinghiara Porta di Ferro

Dall’Agocchie:

“But the cinghiale porta di ferro is made when the left foot is forward and crossing, that is towards his left side and the sword hand is close by the inside of the left knee and the right shoulder looks towards the enemy. This asks for a comparison of the Cinghiale or as it is called the Porco Selvatico. This is when in the assault he goes in a traverse with the teeth to attack and this is a low guard.”

Manciolino:

“The eighth guard is called cinghiara porta di ferro. The left foot is placed sideways and the left knee is slightly bent; the right leg, though, should be straight. The sword-arm should be held with the fist forward of the left knee (in a similar manner to the porta di ferro, hence the part of the name); the left arm should be extended with the buckler defending the head, as said before [in the sixth guard]. This guard is named after the boar because it is believed that this animal, when attacked, places the head and the teeth sideways (as in this guard) in order to wound his enemy.”

The cinghiara or cinghiale (wild boar) porta di ferro is made with the left foot forward and the right hand inside, near the left knee. Center the weight between the legs or slightly forward with the body held erect. The feet will be flat on the ground. This guard derives its name from the fact that the wild boar does not attack in a straight line with its tusks. The punta roversa (reverse thrust, that is, a thrust from the left side) may be made easily from this guard.

Other Guards Used by Marozzo dall’Agocchie and Manciolino

Guardia Alta

Marozzo

“Having your scholar in said guardia alta, you will show him how many cuts are possible to turn, carefully remarking that this guard is meant chiefly for the attack.”

Manciolino

“The first guard is called alta because it necessitates a graceful posture of the body and requires holding the sword with the arm as high as possible. In this manner, the sword is pointing backwards. The buckler-arm has to be well extended against the opponent, stretched out as much as possible. The right foot should be placed about three or four inches in front of the left, with the heel slightly off the ground. Both knees should be straight and not bent.

The guardia alta is a very offensive guard in that you stand ready to strike if your opponent approaches. From this guard you may make strong cuts in a downward direction. You may also easily counterattack your opponent’s arm in conjunction with a backwards step if they thrust at your body. By the time of dall’Agocchie, this guard was falling out of favor. Position yourself in this guard with either the right or the left foot forward and the sword arm raised high above the head, as seen in the illustration. Your weight will be more on the front leg (60 to 70% weight forward) and the legs will be almost straight with the feet flat on the ground or with the trailing foot more on the ball of the foot. If you have your arm right above your shoulder, you will be able to hold this position for an extended time. This is possible if you are truly in the neutral position where holding the arm up requires little muscle.

This guard is called alta after the manner in which the sword is positioned and not by the placement of the feet.

Guardia di Fianco

Marozzo mentions this guard, and an illustration exists, but he does not describe the guard in detail. The guard is similar to a low guard in fourth where the point dips below the hand. One enters this guard when making a cut with a mandritto sgualimbrato and keeping the point trained to the front instead of moving the point off line behind you. Body positioning will be similar to the porta di ferro e stretta except for the positioning of the arm.

Guardia di Sopra Braccio

This guard is most useful when using a buckler or dagger. The sword arm crosses the body and the hilt is near the left shoulder with the point pointing back behind the body. Body positioning should be most like the guardia alta except for the positioning of the arm. The feet should be flat on the ground.

Guardia di Sotto Braccio

This guard is similar to the previous except that the hilt is held near the left hip. Body positioning will be the same as with the previous guard.

The following chart shows the guards along with their order of description in the various texts.