More Feints in Capoferro
Given his earlier words on the vulnerability of the feint to the counterattack, it comes as no surprise that the majority of feints in his book are intended to draw, and defeat the opponent’s counterattack. In plate 7, Capoferro describes what would now be referred to as the first form of countertime. Plates 9, 18, and 17 demonstrate the second form of countertime with an inquartata in countertime, and a scannatura in countertime. Only in plate 11, does he describe the opponent parrying rather than counterattacking, and he directs the final thrust to the flank with a pass. Each of the feints that Capoferro describes is initiated with a disengagement, and like Giganti, Capoferro recommends that the feint be executed while keeping the body somewhat held back.
Plate 11
| Figure marked C | Figured Marked D |
| Engages on the inside or outside | |
| Feint by disengagement (hand in 4th) to the face | |
| Attempts to parry | |
| disengages to the low line, while passing forward and lowing the body |
Plate 7
| Figure Marked C | Figured Marked D |
| Engages on the inside | |
| Feints a disengagement to the chest | |
| Attempts to strike with a thrust to the left eye | |
| Parries to the outside with the false edge and ripostes with a mandritto to the face or Parries to the outside with the true edge ad ripostes with an imbroccata# to the chest |
|
| Recovers to a low 4th. |
Plate 9
| Figure Marked C | Figure Marked D |
| Engages on the inside | |
| Feints a disengagement to the face | |
| Attempts to counterattack with a thrust to the face (hand in 2nd) with a pass forward | |
| Disengages underneath the opponent’s sword and executes an inquartata, hitting in the chest |
Plate 18
| Figure Marked B | Figure Marked C |
| Engages on the outside | |
| feints a disengagement to the face | |
| attempts to pass with a thrust (hand in 4th) to the face or throat | |
| executes an inquartata and strikes the chest |
Plate 17
| Figure Marked B | Figure Marked C |
| Engages on the outside | |
| feints a disengagement | |
| Attempts to counterattack by stepping with the right foot to the outside and voiding the body | |
| Parries to the outside with the off hand, lowers the sword to second, and passes forward hitting the flank, while gripping the opponent’s sword hand |
Nice post on CF. Though a quick note: Giganti recommends disengaging and going forward, knowing the true way of disengaging the sword, with a turn of the wrist.
(trans. G. Chelak)
“But I wish, that you at that time you disengage the Sword under the furnishings of
that of the enemy, turning the wrist with speed, and throwing a point in the same time, whence you meet him again uncovered, that this is the true, & sure way of knowing how to disengage the Sword, & wound in one time. That if you extracted your Sword without turning the wrist, you give time, & occasion to the enemy for wounding you; as in your
excercise, & your proving you see very well.”
Giganti advocates turning the disengage at the wrist and sending the forte forwards in the disengage, thus creating an immediate strong-on-weak situation against the opponent’s blade and cutting the tempo your opponent has to react in half. Also, by making this action, you move your sword in essentially an hourglass figure, your point travels wide and forward, avoiding the enemy’s strong and hilt as you secure their weapon. Otherwise, yes, by disengaging and going forwards you are vulnerable to the counter thrust as he teaches in the the previous section and refers to in this.
Hi Jeff,
Thank you for your comment. Giganti does indeed recommend that you move forward with your disengagement though I don’t think that Capoferro would necessarily disagree with him. Capoferro seems to use the term a little more broadly than Giganti does. Where Giganti seems to be using disengagements primarily to initiate an attack, Capoferro has three (at least) different uses for them.
1. My adversary has gained my weapon and advanced into distance, and I’m not comfortable with it. I can disengage with a retreat in order to regain his weapon and open up the distance. (Chapter XI, on the way of seeking measure, 111)
2. The disengage can be used as a means to acquire measure and gain the adversary’s weapon, in which case it is accompanied by a small step forward (Explanation of some terms of fencing, 14)
3. Finally, the disengage can be used as an attack, in which case I expect the execution would be similar to both Giganti and Fabris, and that he would move forward with a lunge. In plate 6, he gives a little bit of detail about how to do this, and he advises that you place your strong against your opponent’s weak as you disengage (ie, attacking with closure)