This discipline is art, and is not science, taking, however, the word “science” in its strictest sense, because it does not deal with things eternal, and divine, and that surpass the powers of human judgment, but rather it is art, not wrought, nor manual, but rather active, and serves very closely the civil science; because its effects pass together with its operation, in the manner of virtue, and having passed, they do not leave behind any kind of labor or of manufacture, as is common in the performance of the plebian and mechanical arts, all of which, although some of them are celebrated with the name of nobility, it surpasses and exceeds at great length. — Ridolfo CapoFerro
From the instructor’s engagement in third, disengagement (hand in fourth position) from the guard
From the instructor’s engagement in third, disengagement with a lunge
From the student’s engagement in third, simple parry of fourth, riposte by glide without a lunge
From the instructor’s engagement in third, feint by disengagement and disengagement, ending in the outside high line
From the instructor’s engagement in third, disengagement. Instructor parries and ripostes by glide to the high line. Student uses their off hand to parry the incoming riposte above and to the outside of their sword arm while freeing their weapon with a disengagement, passing forward and hitting in the body with the hand in second position.
From the instructor’s engagement in third, disengagement. Instructor parries while closing distance and putting strong pressure against the student’s blade. Student raise their pommel while dropping their tip so that it points to the ground. Grabs the opponent’s wrist, and passes forward while bringing their sword around for a cut, thrust, or pommel strike.
One fencer attacks with either a straight thrust or a feint direct and disengagement. The second fencer is allowed to make one parry to defend the attack.