There was a significant but subtle difference between the handling and
action of wider, flatter, parallel-edged medieval swords and the narrower,
thicker, tapering kinds, although each type of long-sword followed the
same basic mechanics of use. The earlier form could make a greater variety
of strikes and deliver more effective cuts, but the later was more agile and
easier to guard and parry with. It could also more easily employ its versa-
tile cross-guard in binding, trapping, and striking. The later, tapered, more
rigid, diamond-shaped or hexagonal blade did not cut as strongly as the
earlier type, but it could thrust superbly and was more agile on the transi-
tion from offense to defense. This sharply pointed blade was a versatile
weapon that could be used as a short staff, club, or spear, and could hook
and trap with its guard.
Methods for skillfully using these weapons were practiced for cen-
turies and have survived in the illustrated fighting manuals produced by
medieval Masters of Defence. Much of this material comes from German
and Italian teachers of the early 1300s to early 1500s. Some, however, sur-
vives from English, Spanish, French, Dutch, and other sources.
The German masters had a rich store of terminology to describe the
techniques, actions, and concepts of their fighting systems. Kunst des
Fechtens,the German Art of Fighting, consisted of the arts of the Langen-
schwert (long-sword), the Messer(a sort of large cleaver), and Ringenkunst
(wrestling). Unarmored combat was known as Blossfechten.Combat in
heavy armor was known as harnisch Fechten (harness fighting). Fighting
on foot also was distinguished from Rossfechten(mounted combat). Ital-
ian sword masters made similar distinctions.
Medieval masters worked out numerous guards and fighting postures
best suited to their weapons in offense or defense. For the medieval long-
sword there were fourteen fighting postures overall (Legerin German).
They are all guards or wards from which to launch an attack or parry. Not
all the masters taught set stances or guards, just obvious positions for strik-
ing. These fighting postures consisted of such positions as the middle posi-
tion of Kron(crown guard), known also as Pflug (plow guard); Oberhut
(Hawk), the high guard; the low guard, called Alber(fool’s guard); the tail
guard (also called serpentinoand leopardo); the hanging-point or Ochs(ox
guard); the finestra(the window guard); and others such as the boar’s
tooth, the iron door, and many more.
Virtually innumerable combinations of basic cuts, thrusts, parries,
beats, binds, and feints applied with stepping and closing actions were
taught within the many styles and schools, which constantly refined their
techniques as the weapons and armor changed around them over the gen-
erations. Techniques were closely guarded by masters and not readily dis-
closed. In general, however, the German schools of swordsmanship taught576 Swordsmanship, European Medieval