classical fencing and sport fencing have never entirely escaped this biased
view. Today a “classical fencing” movement has developed that is con-
cerned with the practice of Western fencing prior to the advent of electric
equipment and international competitive rules. The movement represents
an attempt to return to dueling as “A Gentlemen’s Pastime.” Unlike the
study and practice of earlier historical Western swordsmanship, a gentle-
manly art of self-defense as practiced with either épée or the eighteenth-
century small-sword is not the equivalent in either method or conditions to
the historical use of the rapier. Although the members of this movement are
making a beneficial and worthwhile effort to pull sport fencing back to its
pre-electric classical roots, working with épée, foil, and saber is no substi-
tute for understanding earlier weapons and methods.
Serious interest in practicing Renaissance rapier fencing has been
growing for over a decade now, and a variety of methods for doing so
safely have appeared. Among the most common and popular means is to
simply use normal sport épées and associated equipment. Also popular are
the use of wider theatrical épées with historical-style replica hilts, and some
historical-fencing enthusiasts can even be found using sport foils and
sabers. All of these practices are common in recreational and living-history
organizations such as the SCA (Society for Creative Anachronism) or with
Renaissance festival performances. Several fencing clubs also offer forms of
“classical fencing” or historical “swordplay.” This choice of using épées,
whether of the competition or theatrical variety, is very natural and at first
thought makes perfect sense. They are familiar, safe, fairly easy to obtain,
and compared to reproduction weapons, inexpensive. Recently, a better al-
ternative has appeared. Del Tin practice rapiers, whose “flexi-rapier”
blades safely bend and give yet are still rigid and thick enough to simulate
the original, resemble real ones closely in shape (taper and cross-section) as
well as balance and weight.
European swordsmanship of the Renaissance and its practice today
have a distinct character. Their unique martial spirit is neither that of mod-
ern fencing with its sporting conventions and refined etiquette nor that of
Asian fighting arts with their cultural and metaphysical components. As a
Western martial art form, it also differs from its Asian counterparts in
many ways. It is much less structured, involves no ritual and less etiquette,
and has no established hierarchy. It historically focused on utility rather
than philosophical intangibles. However, it maintains the modern human-
istic ideals that are usually associated with the modern practice of popular
Asian martial arts. Indeed, such elements were an intrinsic part of Renais-
sance ideas and the code duello(Italian; code of dueling). Being concerned
with the practical use of archaic weapons, Renaissance swordsmanship ar-
guably has only a small application to modern unarmed self-defense or
Swordsmanship, European Renaissance 587