FROM TH E

PAGE
TO THE
PRACTICE
Fundamentals of
Spanish Swordplay
P uc k Cu r t i s a n d M a r y D i l l Cu r t i s
This work also appears as part of

In The Service of Mars

Proceedings from the
Western Martial Arts Workshop
1999–2009
Volume II
Gregory D. Mele, Editor

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Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix

The Weapon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Stance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

The Right Angle . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Hand Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

The Spanish Circle . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Movements of the Blade . . . . . . . . . . . . . . . . . . . . . . . 17

Measuring Time Through Movements . . . . . . . . . . . . . . . . . . 20

Footwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Offense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Distance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Defense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

The Movement of Conclusion . . . . . . . . . . . . . . . . . . . . . 51

Other Offensive Techniques (Actions on the Blade) . . . . . . . . . . . 57

The General Techniques . . . . . . . . . . . . . . . . . . . . . . . 59

Ettenhard’s Atajo Sequence . . . . . . . . . . . . . . . . . . . . . . 65

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

iii
From the Page
to the Practice:
Fundamentals of Spanish Swordplay
Puck Curtis and Mary Dill Curtis – WMAW 2005–2009

Introduction

I
n the sixteenth century, a new system of fencing appeared in Spain called la verdadera destreza
or “the true art of defense.” The teachers of this style became famous throughout Europe and its
principles survived for 300 years. The art was mostly lost in the 1800s when French literature,
fashions, and influence entered Spain, but it is now enjoying a resurgence in Spain, as hundreds
of Spanish sword enthusiasts gather yearly to train, fence, and share information. These modern
Spanish scholars are working to rebuild this martial tradition and it is with profound humility and
respect for their nation’s heritage that we present this information.

A Word on Interpretation and Academic Dialogue

Any work of this kind is by its nature interpretive. As Puck is a classical fencing master and a his-
torical fencer, and Mary a trained academic and historical fencer, we have tried to keep the biases
inherent in our backgrounds fi rmly in mind and to account for this in the presentation. We are most
interested in recreating and presenting the tradition as described by the original authors. Th is goal
provides us some guidelines for our interpretation:
1. There must be accountability to the source texts. If we make changes or add our own
material, we will try to clearly indicate the changes. If the interpretation changes the
technique in the original books, it is fair to ask why the change has been made.
2. The interpretation must be martially sound because the tradition itself was martially
sound. Historically, the Spanish fencers were respected around the world for their ability,
which derived from their science and system of fencing. If something in an interpreta-
tion looks artificial, choreographed, or martially unsound, it should be closely evaluated.
Likewise, the training weapon and the rules of free bouting should accurately reflect the
tradition as it was practiced historically.
3. We believe in public sharing of information to provide for peer review and critical
feedback.

No English speaker’s examination of this material would be complete without also consider-
ing the work of Maestro Ramón Martínez, whose pioneering presentation of the system has had
a profound influence on the practice within the United States. The current excellent work within

1
2 P uck Cu rt is a n d M a ry Di l l Cu rt is

the Italian and German traditions is partially the byproduct of a vibrant community continually
debating theory and practice. It is with this same spirit that during this article I will occasionally
reference Maestro Martínez’s work to agree with his interpretation or to highlight a difference. I
anticipate future scholars reviewing my own work critically, and through this process we will elevate
the practice of Spain’s martial legacy, la verdadera destreza.

Translation Notes
Unless otherwise stated all translations are the work of Mary Dill Curtis.

The Weapon
Choosing the Correct Sword
The Spanish sword of the sixteenth and seventeenth century was used equally for both cutt ing and
thrusting. The blade should be 41 inches or less, as defi ned by Philip the II in his law proscribing
fi nes, prison and exile for offenders carrying longer blades.

We are informed that in the said cities, villages, and places some swords, verdugos and
estocs1 are carried that are more than six and seven and eight palms in length. From this
cause many inconveniences and deaths of men have resulted and continue to result. Wanting
to provide a remedy to this, through discussion in our council and consultation with us, it
was agreed that we should order this our letter to be issued to you for the stated reason, and
we considered it as good. Because of this, we order and command that now and from here
forward, after fifteen days counted from the day of the publication of this our letter, no one
of whatever quality and condition that he might be should dare to carry nor will carry the
said swords, verdugos nor estocs with blades longer than five fourths of vara, under penalty
that he who carries one falls and incurs for the first time a penalty of ten ducats, ten days in
jail, and loss of that estoc, verdugo, or sword. For the second offense, the penalty is doubled
with one year of exile from the city, village, or place where he is taken and was neighbor….
– Philip II’s 1564 edict on the length of swords and estocs (1566)2

From these and other injuries our King and Lord Philip, second in name and first in reli-
gion and prudence (whose happy memory in these glorious attributes will live in the most
extended posterity of men), wanted to free them by justly and compassionately and with
paternal love prohibiting under precept and force of law that any of his vassals carry a sword,
verdugo or estoc, with a blade longer than five fourths of vara. This edict demonstrated his
superior reason, and if investigating it were as justifiable as the obligation of obeying it, we
would dare to say that knowing that man’s average stature is two varas in length, based on
his organization, symmetry, and composure and leaving aside the high and low extremes.
He also measures this same length from the extreme of one hand to the other with his arms
open, and that in this all natural is in potential, and diff use action the strength of the parts,

1
An estoc is also called a tuck. A verdugo is a long, thin estoc.
2
“Pragmatica de las espadas[,] estoques, y verdugos” ‘Edict about swords, estocs and verdugos’ (1566).
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 3

that constitute him, unless the ones to the others their similar ones, they can communicate
what they receive, and that from the left shoulder to the extremity of the right hand there are
five fourths. Therefore, he wanted, for the universal good, that the swords be of this length,
knowing that if they exceeded this, the vigor used to move them with the necessary speed
would not be powerful, and thus, this very wise prince looked for a proportion so proportion-
ate that one will not find another more so.
– Luis Pacheco de Narváez New Science3 p. 250 (1672 4)

To clarify the two statements above, the vara is a Spanish unit of measurement that is approxi-
mately 0.835 meters. Pacheco de Narváez echoes the sentiments of Philip II in recommending a
sword no longer than 5/4 varas or approximately 1.044 meters long (41.1 inches) in total length
from pommel to tip. The sword must be short and light so that it moves more quickly than a longer
weapon. Likewise, we must be able to deliver att acks with “vigor.”

Kevin Measures to Ensure His Blade Is Less than 5/4 Varas

I personally advocate a shorter weapon for practice because Pacheco de Narváez prefers a shorter,
lighter weapon and routinely mocks the longer ones. I fi nd a blade length of about 37 inches makes
the grappling actions and cutt ing actions more effective.

Some men, guided by a false and unconsidered opinion, have started to bring swords more
of the mark, believing themselves to be safer with them: and they have tried to confirm and
introduce this opinion as good by creating (or bringing to their purpose) an adage that says
a finger of sword and a palm of lance is a great advantage. And they are indeed right that
it is a great advantage, but not for them, for their opponents who carry short ones, because
just like the dagger, the short sword has great strength in every part because it has a small
quantity of length.
– Pacheco de Narváez Greatness of the Sword f. 53r (1600)

3
Nveva ciencia, y filosofia de la destreza de las armas, sv teorica y practica (New Science and Philosophy of
the Art of Arms, Its Theory and Practice).
4
Th is text was written before his death on December 5, 1640, but it was published posthumously in 1672.
4 P uck Cu rt is a n d M a ry Di l l Cu rt is

In this same section, Pacheco de Narváez argues that longer swords are slower in the cutt ing
actions, weaker in thrusts, and harder to liberate from binding actions. The swordsman who re-
sorts to a longer weapon also has litt le valor. By bringing a longer weapon against a shorter one in
a contest of arms he sacrifices his masculinity and compromises the victory with the perception
of an unfair advantage.

Thus, the one with the long sword, even if all his strength were communicated to it with
regard to its length, would be slow in his circular movements (which are the circular cuts
or circular reverses), and if the movements were straight for thrusts, they will be weak, as
has been said. If the one with the short sword closes with the velocity required against the
one with the long sword, he will not be powerful enough to free himself nor to free his longer
sword due to the length. However, if the person with the long weapon wanted to close on the
person with the shorter one, he will not achieve his intention because his adversary will free
his sword and attack with ease—as if in a narrow place we wanted to use a lance, which
would be impossible for us due to its length being so great, but one could use a sword or dag-
ger with ease. Each thing regulated to its quantity. This is enough to understand that, on the
contrary, it is beneficial to carry a short sword, as much for the mentioned advantages as to
not walk as a marked man because it is an outer sign that he carries in which all read that
he is either arrogant, worried or quarrelsome or that he has little spirit since he trusts more
in the length of his sword than in himself. Finally, if only to keep from catching the attention
of all the common people, he should avoid all extremes, and since each one is considered
to be as manly as another, to be as brave and courageous, it is not right that he carry more
advantageous weapons than another. For if he does and beats someone, the loser might justly
say that it had been with known advantage, and the victory will not be esteemed.
– Pacheco de Narváez Greatness of the Sword5 f. 54r (1600)

I should also note that Maestro Ramón Martínez appears to have made a minor error in his
interpretation of Philip II’s edict in his paper “Jeronimo de Carranza’s ‘Philosophy’ of Arms” when
he states:

Whereas some authors of the past have asserted that the Spanish sword was some-
times over five feet in length, King Phillip II issued a law in 1564 that ordered that
the sword’s length was to be determined by placing the pommel of the weapon in line
with the left shoulder and extending the blade across the chest to the end of the middle
fi nger of the laterally extended right arm. Th is length should not exceed five fourths
of a vara. A vara is a unit of measurement that was used in Castile of the time, which
is approximately thirty-three inches. Thus if a rapier is five-fourths of a vara, the total
length of the sword would be approximately 41.25 inches.

5
Las grandezas de la espada, en que se declaran muchos secretos del que compuso el Comendador Geronimo de
Carranca (Greatness of the Sword, in Which Are Explained Many Secrets About Which Commander
Jerónimo de Carranza Wrote). Th is book (in Spanish) is now available through Google Books.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 5

Philip II’s edict and Pacheco de Narváez’s summary of it both state that the blade (cuchilla),
and not the entire weapon, should be no longer than 5/4 varas. Th is is further supported by the
image shown in Ettenhard where the blade is measured from the cross to the tip (373). Again,
this is a minor error, but Martínez’s interpretation has the effect of shortening the maximum
blade length by a distance equal to the length of the pommel to the cross of the weapon, or the
majority of the hilt.
The weapons illustrated in the texts of earlier authors like Carranza and Pacheco de Narváez
appear to be a double-edged sword with a complex hilt. Later authors show a sword with a complete
cup hilt. While I recognize that weapons varied even within a single decade, I personally recom-
mend a balanced weapon having a tapered blade and a well-defi ned cutt ing profi le with enough
mass to accurately simulate the originals pictured in the treatises. For this reason, I tend to avoid
foils, epees, sport sabres, schlagers, and the FISAS rapier blade made by Del Tin. (Although the later
is popular with many modern rapier students, the triangular cross section and rapid taper of the
FISAS blade lacks a proper cutt ing profi le and handles more like a classical epee than the weapon
used in Spain during the seventeenth century.)

Degrees of Strength
The amount of physical power you can exert with a sword varies along the length of the blade. The
part of the blade closest to your sword-hand has the most mechanical advantage, and the further
you move away from your hand the weaker you become. While the Spanish understand this and
often refer to the “strong” and “weak” as did the Italians, Carranza labels these parts as the “near”
(propincuo), the “middle” (medio), and the “remote” (remoto) (f. 167v).

Know that in the angle of the straight line, the sword has three parts. I mean that its numera-
tion starts from the tip (as we will discuss later), and the strength increases as the numbers
are multiplied until stopping in one of the centers. All this graduated quantity is divided
in three equal sections with respect to the length, but they are unequal with respect to each
one’s quality. You should be aware that the part next to the center’s strength is called near
in this Art; the second portion, because it is between the strong and the weak and between
the increase and the decrease, is the middle; and the last part is called remote.
– Carranza Philosophy of Arms6 f. 167v (15827)

Another method of describing the transition between weaker and stronger leverage is by num-
bering the sword into degrees of strength. Th is provides us with more information when describing
engagements.

6
La philosophia de las armas, y de su destreza, y de la aggressio[n] y defension christiana (The Philosophy of
Arms and of Its Art and of the Christian Offense and Defense).
7
According to the book’s colophon, Carranza completed The Philosophy of Arms in 1569 but did not publish
the work until 1582 (280v).
6 P uck Cu rt is a n d M a ry Di l l Cu rt is

– Carranza Philosophy of Arms f. 178v (1582)

Carranza’s Degrees of Strength

Notice that the blade is numbered from one, the weakest portion, to gradually higher numbers
that indicate more strength. The effect of the notation is that higher numbers defeat lower numbers
which is intuitive and easy to follow. These graduations of strength in the blade can provide an
instructor with a greater degree of specificity when speaking with the student.

“Engage his 4 with your 6.”

“Shift the engagement from your 3 to your 8.”

Changing the Degrees of Strength

When two blades come into opposition, changing the point of contact can increase or decrease your
strength in the engagement. Within the Spanish system this would be increasing or decreasing the
degree of the sword, which we will examine in more detail when we discuss movements.

Eric and Kevin Are Engaged with Equal Degrees of Strength

 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 7

Stance
The Spanish stance is known for being upright with the arm extended in a straight line. The angle
between the sword and body is approximately ninety degrees and is commonly referred to as the
right angle. We will specifically discuss the right angle in the next section. According to the English
swordsman and author George Silver, in his Paradoxes of Defense (1599):

Th is is the man[n]er of Spanish fight, they stand as brave as they can with their bodies
straight upright, narrow spaced, with their feet continually moving, as if they were in
a dance, holding forth their armes and Rapiers verie straight against the face or bodies
of their enemies: & this is the only lying to accomplish that kind of fight. (512)

More precisely, the weight is initially centered, which provides equal ability to move in either direc-
tion. The head is turned toward the adversary, eyes on the opponent, chin up, shoulders relaxed and
body profi led. The lead arm is extended directly toward the intersection of the opponent’s forward
arm and chest in such a way that the weapon arm is free of tension and not locked at the elbow. The
weapon hand starts with the fi ngernails facing the inside line. While in the guard, the weapon, sword
hand, wrist, and arm will create a single unbroken line to the shoulder with the pommel centered
on the wrist. The rear arm is in line with the torso, pointed down, relaxed but also ready to come
forward for grappling. The front knee is aligned with the lead foot, and both are pointed toward the
adversary. The heel of the rear foot is in line with the axis of the lead foot and turned ninety degrees
from the line of the front foot (also called the diameter) with the rear toes and knee pointing toward
the inside line. The knees are slightly flexed, relaxed, and ready for motion.

– Pacheco de Narváez Greatness of the Sword p. 39 (1600)

Pacheco de Narváez’s Stance
8 P uck Cu rt is a n d M a ry Di l l Cu rt is

An important consideration to remember is that the swordsman’s posture is not static and un-
changing. The weight will naturally shift from foot to foot. The sword arm will occasionally bend at
the wrist or elbow when delivering attacks or defending, and the hand may turn to engage opposing
steel with the true edge. Circular footwork may also prevent a perfect body profi le. Remember that
the guard is not the only posture used in Spanish swordplay.

Kevin in the Spanish Guard Kevin in the Spanish Guard

(Side View) (Front View)

Kevin is relaxed and directs his point toward the adversary along the shortest direct path with
an extended arm. His weight is centered, and his feet are approximately one half foot apart. Kevin’s
fi ngernails are facing the inside line with the cross of the sword in the vertical plane.
Kevin’s body is profi led and his heels are in line. His knees are slightly bent and ready to move
in any direction.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 9

The Right Angle

Carranza’s text contains mathematical demonstrations to prove the worth of his arguments and
to elevate the level of discussion. In fact, he introduces the use of mathematical terminology into
the Spanish system to provide detailed and clear descriptions of fencing concepts. In the following
example, he demonstrates the advantages of the stance in the right angle.

– Carranza Philosophy of Arms f. 186r (1582)

Carranza Uses Euclid to Demonstrate the Advantage of the Right Angle

The line descending from point B to the earth and the line created by the extended arm and sword
(line B–A) form a right angle. Th is represents the angle of the sword arm with respect to the body.
It is for this reason that the stance with the arm extended straight is called the right angle.
• Line B–A (Right Angle): Carranza demonstrates here that the Line from B to A has the
greatest reach. Th is line is called the right angle and provides us with effective offense,
counteroffense, and defense.
• Line B–G (Obtuse Angle): If the blade is lifted from the right angle, as shown in the line
from B to G, we have entered the obtuse angle and our reach has decreased.
• Line B–F (Acute Angle): If the blade is lowered from the right angle, as shown in the line
from B to F, we have entered the acute angle and our reach has decreased again.

Angle As Position
The angle of the weapon (acute, right, or obtuse) is a common way of describing the position of the
weapon in vertical space. You will see the same angular terms used to describe position in destreza
texts for different weapons, such as the single sword and even montante.8

8
For an example, see the translation by maestro Eric Myers of Diogo Gomes de Figueyredo’s 1651 Memo-
rial of the Practice of the Montante (14).
10 P uck Cu rt is a n d M a ry Di l l Cu rt is

Advantage in Reach
As shown in the demonstration, the right angle provides a reach advantage, and the following im-
ages further illustrate this key destreza concept:

Kevin Demonstrates a Reach Advantage Against a Similar Weapon

Kevin Demonstrates a Reach Advantage Against a Longer Weapon

 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 11

Hand Positions
When grasping a sword, we describe the hand positions by the orientation of the fi ngernails. By
using the fi ngernails as a reference, the Spanish system achieves a very simple notation for the posi-
tion of the hand in plain language.

Fingernails Down (uñas abajo): The edges are

in the horizontal plane with the true edge
on the outside line and the fi ngernails fac-
ing downward. Th is is the same as Italian
Second. Carranza considers this position
one of the two possible extremes that will
be weaker than the moderate halfway point
between this position and fi ngernails up.
Fingernails Down
Fingernails Inside or On Edge (uñas adentro
or de filo): The edges are in the vertical plane
with the true edge low and the fi ngernails
facing toward the inside line. Th is is the same
as Italian Th ird. Carranza considers this the
best position, and it is halfway between the
two extremes of fi ngernails up and fi nger-
nails down (155v–156r).
Fingernails Up (uñas arriba): The edges are
in the horizontal plane with the true edge
on the inside line and the fi ngernails facing
upward. Th is is the same as Italian Fourth. Fingernails Inside
Carranza considers this position one of the
two possible extremes that will be weaker
than the moderate halfway point between
this position and fi ngernails down.
Fingernails Outside (uñas afuera): The edges
are in the vertical plane with the true edge
high and the fi ngernails facing toward the
outside line. Th is is the same as Italian First,
Fingernails Up
and even though it is mentioned, using this
hand position is so unusual that Pacheco de
Narváez and Carranza typically speak only
of the other three.

As mentioned previously, the primary

sources indicate fi ngernails inside or sword on
edge is the hand position used when assuming
the stance. In the following quote, Carranza
describes his reasons for preferring the fi nger-
nails inside hand position. Fingernails Outside
12 P uck Cu rt is a n d M a ry Di l l Cu rt is

And the best of all these positions is as the arm originates because in it the nerves are more
relaxed and the action of the muscles—which are (as it is said) the instruments of the
voluntary movement—quicker. In this position the strength endures longer, and since it is
the middle, (according to necessity) one passes easily to the extremes. For these reasons and
others that come from these, the position on edge is stronger and better than the one with
fingernails down or up. Between the extremes there is advantage, like in those extremes that
the virtues have (as we will mention in its place), because the extreme that the fingernails
up arm makes is not as strong as the position of fingernails down. Thus, of these two, fin-
gernails down is the most noble because it strains the nerves less to maintain the strength,
because even though the arm does not move (seemingly) the muscles are working inside that
maintain it in that position….
– Carranza The Philosophy of Arms f. 155v–56r (1582)

We also have descriptions of the position of the sword arm in books by Luis Pacheco de Narváez
and by Francisco Antonio de Ettenhard.

The right angle is seen with the body being straight and over the right angle or over the
parallel lines, and he extends the arm straight as it originates from the body, without
lowering it nor raising it.
– Pacheco de Narváez New Science p. 30 (1672)

The first thing that one should deal with is the way to form the angles, with the application
of the geometric measurements; and beginning with this, I say: That the swordsman forms
the right angle when he stands with the body straight and perpendicular; as he naturally
falls over both feet, leaving a half foot distance between one heel and the other; and then
holding out the arm and sword straightly, as it originates from the body….
– Ettenhard Compendium of the Foundations9 p. 13 (1675)

Over 100 years later, we see that Ettenhard comes very close to quoting Carranza in his de-
scription of how to assume the stance with the arm extended “as it originates from the body.“ If
you compare Ettenhard’s description to the relevant image in treatise 2, chapter 1, you will see the
fencer with the hand fi ngernails inside which further confi rms the interpretation (Compendium 4).10
To explain this passage, hang your sword arm normally at your side and then reach forward as
if shaking hands. A natural extension places the weapon arm as it “originates” with the fi ngernails
facing the inside. If you extend your arm with the fi ngernails inside you are halfway between the
extremes of fi ngernails down and fi ngernails up, which allows you to engage with your true edge
to either side quickly as needed.

9
Compendio de los fundamentos de la verdadera destreza y filosofía de las armas (Compendium of the Foun-
dations of the True Art and Philosophy of Arms).
10
Th is page number refers specifically to the English translation of Ettenhard’s Compendium of the Founda-
tions which is available online: htt p://www.destreza.us/translations/ettenhard.html.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 13

The information from Carranza’s book contradicts Maestro Ramón Martínez’s practice of
presenting the guard with the hand either fi ngernails up or fi ngernails down, as shown in his in-
structional video La Verdadera Destreza: The True Art and Skill of Spanish Swordsmanship. Carranza
provides us with a ranking of the hand positions with fi ngernails inside as the best:
• Best: Fingernails inside or sword on edge
• Fingernails down (better than fi ngernails up)
• Worst: Fingernails up (least strong)

However, Carranza does not discuss fi ngernails outside in this passage, and by its omission we
might assume it would qualify as the least useful position.
The repeated examples in both the texts and original images provides compelling evidence that
assuming the stance with the weapon hand in a position other than fi ngernails inside would be a
significant deviation from the tradition. While the hand position will naturally change in the course
of an encounter, by starting between the two extremes of fi ngernails up and fi ngernails down, the
Spanish fencer is able to quickly change the position of the hand to align the true edge as needed
while fencing.

Lines
Like most other European fighting arts, the lines an at-
tack may travel are codified by the position of the blade.
• High Line (Rectitud Alta): The region of space
above the weapon is described as the high line.
• Low Line (Rectitud Baja): The region of space
below the weapon is described as the low line.
• Inside Line (Parte de Adentro):11 For a right-
handed swordsman the inside line will be the
region of space to the left of the weapon. For a
left-handed swordsman the inside line will be
the region of space to the right of the weapon.
(The inside line is typically on the same side of
the weapon as the swordsman’s chest, abdo-
men, and groin.)
• Outside Line (Parte de Afuera): For a right-
handed swordsman the outside line will be the
region of space to the right of the weapon. For
a left-handed swordsman the outside line will
be the region of space to the left of the weapon.
(The outside line is typically on the same side
Kevin Demonstrates the Lines (Front View)

11
Ettenhard does not include the inside line and outside line in his list of the general lines, but he uses these
terms extensively in the same manner classical and modern fencers use the terms today. For clarity’s sake
I have included them here and preserved the original Spanish.
14 P uck Cu rt is a n d M a ry Di l l Cu rt is

of the weapon as the swordsman’s back, flank, and buttocks.)

In addition the Spanish defi ne lines before and behind the swordsman’s lead shoulder.
• Forward Line (Rectitud de Adelante): The region of space in front of the swordsman’s
weapon shoulder or sometimes anything in front of the swordsman.
• Rear Line (Rectitud de Atrás): The region of space behind the swordsman’s weapon

Kevin Demonstrates the Lines (Side View)

shoulder or sometimes anything behind the swordsman.

The authors may also refer to the left or right lines which will be specific to each swordsman.
These lines often describe target areas on the body. The adversary may attack my flank on my right
line while I could attack his chest on his left line.
• Left Line (Rectitud del Lado Izquierdo): The left side of the swordsman with respect to his
body. For example the chest, left cheek, and abdomen all exist in the adversary’s left line
assuming he is right-handed.
• Right Line (Rectitud del Lado Derecho): The right side of the swordsman with respect to
his body. For example the back, right cheek, and flank all exist on the adversary’s right line
assuming he is right-handed.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 15

The Spanish Circle

In the Italian tradition there is an imaginary line of direction that describes the shortest path to the
adversary. The Spanish tradition also uses a similar line but expands on the concept to create a 2D
planar map of possible footwork laid out in a circle. The Spanish Circle is one of the defi ning elements
of the science, and various authors have presented it differently while preserving the core concept.
In his article “The Demystification of the Spanish School: Part I,” Martínez addresses a common
academic mistake concerning the Spanish circle when he states:

It is ridiculous to imagine that Spanish swordsmen stopped an armed confrontation,

carefully measured a circle on the ground and then began the fight! Equally absurd
would be the idea that a swordsman in those circumstances would ponder if he was
properly stepping from point A on the circle to point B across chord AB of the circle.

Martínez correctly asserts that, like the Italian line of direction, the circle is a mental construct
used to discuss theory and train. No serious scholar would suggest that the Italians would pause
to draw a line of direction on the earth before fencing, and the Spanish tradition should be given
the same consideration.
The fi rst extant circle presented in the Spanish tradition is illustrated in Carranza’s text. It includes
a number of innovations and incorporates geometry to describe the relationship between the fencers.

– Carranza Philosophy of Arms f. 183r (1582)

Carranza’s Circle
16 P uck Cu rt is a n d M a ry Di l l Cu rt is

• The Diameter (Diametro): The imaginary line separating the two fencers is called the di-
ameter. It represents the shortest path to the target. The diameter (the dotted line in Car-
ranza’s image) starts at the lead toe of the swordsman and continues until it meets the lead
toe of the adversary. The correct length of the diameter should be the distance at which the
fencer can observe the adversary’s offensive actions and still respond in time.
• The Major Circle or Greater Circle (Círculo Mayor): The central circle shown between
the two fencers is called the major circle, or sometimes just the circle. A swordsman can
close distance gradually by taking curved steps along the circumference.
• The Lines of Infinity (Línea Infinita):12 The two parallel lines shown perpendicular to the
diameter are called the lines of infinity or infi nite lines. In the same manner as the diameter,
the distance between these lines is defi ned by your ability to observe and react to the ad-
versary’s offense. “Crossing the line of infi nity” means closing distance into the adversary’s
offensive measure.
• The Minor Circle (Círculo Menor): The smaller circles on either side of the major circle are
called the minor circles. The fencer and the adversary each stand in the center of a minor
circle which is defi ned by the positions of the feet.

The circle represents a spatial map within the time of a fencing action. According to Martínez
in “The Demystification of the Spanish School: Part I,” the circle moves with the combatant:

Another erroneous assumption propagated by many fencing historians that needs

to be corrected is their assertion that the circle is in a fi xed location. The imaginary
circle moves with the swordsmen as they engage in combat. La Destreza is fought in
dynamic movement within the circle.

While we agree that there is not a fi xed circle throughout a continuous antagonistic assault,
because the circle describes the distance and possible steps within a specific fencing action, the
original circle is continuously referenced as a fencer moves through the action. At the same time,
a new, distinct circle may be created when the fencers change position. If an adversary has broken
your defense and closed measure, the text may advise you to step onto a new diameter or circle, and
this represents the need to reestablish correct distance in a different direction. Nor need an armed
confrontation occur solely within the confi nes of the circle. Two opponents may repeatedly move
forward into the circle to strike and recover out of the circle to break distance.
Later, Pacheco de Narváez illustrates this circle. Note that the origin point for the fencer is at
one end of the diameter (bottom of the circle) while the adversary stands on the opposite side (top
of the circle).

12
Although Carranza demonstrates these lines in his figure, Pacheco later names them as the lines of infi n-
ity in his book Greatness of the Sword (36r).
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 17

– Pacheco de Narváez Greatness of the Sword f. 36r (1600)

The Redefi nition of the Circle

The primary addition to the circle is the square or diagonals which like the angular lines above
in Carranza’s circle provide us with another indicator for describing the footwork. Steps along the
square can close distance more aggressively than steps along the circumference.

Movements of the Blade

In the Italian fencing tradition, fighting is broken up into pieces of time called tempi or “fencing
times” in English. It is a useful tool for teaching timing to a student and an action with fewer tempi
is generally considered more desirable. The Spanish fencing science takes the idea of tempi even
farther by using a vector-based system of notating actions through movements.
Aristotelian physics tells us that time is the measure of movement, and we can reexamine tempi
as the summation of different, simple motions. In the Spanish science all fencing actions are de-
scribed as combinations of “movements.” There are movements of the blade, and footwork to move
the body. By using the two together, we can not only understand fencing time, we can also create
a shorthand notation for describing complex actions and their counters.
• Natural Movement (Movimiento Natural): A natural motion is one in which the blade
falls toward the earth. More specifically, the blade is lowered. One example would be a
vertical cut downwards.
• Violent Movement (Movimiento Violento): A violent motion is one in which the blade
rises. One example might be the chambering of a vertical cut.
• Forward Movement (Movimiento Accidental): A forward motion is when the blade travels
toward the adversary along the diameter (line of direction). One example would be a
thrust.
18 P uck Cu rt is a n d M a ry Di l l Cu rt is

• Backward Movement (Movimiento Extraño): A backward motion is when the sword is

withdrawn away from the adversary along the diameter (line of direction). One example
might be pumping the arm back to execute a jabbing attack.13
• Offl ine Lateral Movement (Movimiento Remiso): An offl ine lateral motion is when the
point of the weapon is carried away from the diameter (center line) either to the left or
right. Notice that the Spanish create a special case for movements that bring the point
away from the target. It might be tempting to merely use lateral movements as descriptors,
but the Spanish notation relates specifically to removing the threat from the adversary.
Th is might be a parry or the chambering of a horizontal cut.
• Aligning Lateral Movement (Movimiento de Reducción): An aligning lateral motion is
when the blade is returned from either the left or right back to the diameter (center line).
It is interesting to note that bringing the weapon across the diameter is counted as two
distinct movements. If the point is offl ine, bringing it toward the diameter is an aligning
lateral movement, but when it crosses the diameter and continues traveling in the lateral
plane without stopping this becomes an offl ine lateral movement. Th is is very useful for
indicating the different tactical situations that are possible when a blade is leaving or enter-
ing presence. An aligning lateral movement might be the delivery of a horizontal cut, or
bring the weapon back into line after the adversary has executed a beat.
• Mixed Movement (Movimiento Mixto): A mixed movement is a single motion that is a
combination of two other simple blade movements that do not confl ict. For example, an
offl ine lateral movement can be mixed with a violent movement in a single motion to form
a mixed movement which carries the weapon up and to one side in a diagonal direction.

Changing the Degree of Strength in an Engagement

Movement of Increase (Movimiento de Aumento): In the German longsword tradition, the practice
of lift ing the weapon to change a weak engagement to a stronger one is called “Winding.”14 The
Spanish have a similar concept called a movement of increase. If both fencers start with equal
engagement, Ettenhard tells us that by lift ing the weapon and carrying it into the line of offense
we can strengthen our engagement.

…the movement of increase, which is made in order to graduate the sword. Since for this
reason more strength is acquired and increased, it is appropriately given this name but not
because it is of a different type from the ones mentioned in the principles that have been
defined, since this action falls (with more certainty than to any other) to the mixed move-
ment aligning lateral and violent.
– Ettenhard Compendium of the Foundations p. 119 (1675)

13
Th is is not a recommended action, and Pacheco de Narváez describes how to defeat and adversary pump-
ing the weapon arm in an adversary New Science (583–584).
14
Christian Tobler translates Johannes Liechtenauer’s verse, in allen winden hew stich schnitt lern finden, as,
“In all winding learn to fi nd strikes, thrusts, and cuts” (3).
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 19

Eric Lift s His Point to Increase His Degree of Strength

You can see that Eric now has superior engagement to Kevin with his strong against Kevin’s weak.

Movement of Decrease (Movimiento de Diminución): In contrast, moving from a strong engagement

to a weaker one is called a movement of decrease. If both fencers start with equal engagement, then
by lowering the weapon and moving away from the line of offense we weaken our engagement.

The movement of decrease is the one that is made in order to reduce the strength, disgradu-
ating the sword, whose action belongs legitimately to the mixed movement of offline lateral
and natural…
– Ettenhard Compendium of the Foundations p. 119 (1675)

Eric Lowers His Point to Decrease His Degree of Strength

You can see that Eric now has inferior engagement to Kevin with his weak against Kevin’s strong.
20 P uck Cu rt is a n d M a ry Di l l Cu rt is

Measuring Time Through Movements

Like the Italian system, we can count time using the Spanish notation. An action with fewer move-
ments is more desirable than an action with a greater number of movements in part because it
requires less time to complete it. Now, we will examine some common fencing actions:

The Movements of a Thrust

1. Forward movement along the diameter to deliver the thrust.

Made with a single movement, the thrust is considered the fastest attack possible. We can only
counter the thrust during the movement used to deliver the strike.

The Movements of a Diagonal Half Reverse

(Riverso Squalembrato in the Italian tradition)
1. Mixed movement combining an offl ine lateral movement to the left and a violent movement
in order to chamber the cut over the left shoulder.
2. Mixed movement combining an aligning lateral movement and a natural movement to
deliver the cut.

The diagonal half reverse requires two movements to execute, and we may counteratt ack safely
with the thrust during the fi rst movement. We can also counter during the second movement with
a defensive fencing action.

The Movements of a Beat Followed by a Th rust

1. Offline lateral movement to chamber the beat by taking the sword off the line of the diameter.
2. Aligning lateral movement to deliver the beat to the adversary’s weapon.
3. Forward movement to strike with a thrust.

With three distinct movements, each presents us with an opportunity to counter the adversary’s
action. Like the diagonal half reverse, we might thrust when the adversary removes his point from
the line of the diameter to chamber the beat. During the second movement, we might elude the beat
with a small semicircle of the wrist (disengagement) and counter-thrust. During the fi nal movement
we can counter the thrust with a defensive fencing action.15

15
In Maestro William Gaugler’s The Science of Fencing he describes the two common defensive fencing
actions as the defense of steel in which the opposing steel is deviated from the line of offense and the
defense of measure which is footwork that removes the body from the range of the att ack (33).
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 21

The Spanish movement notation can be applied to any weapon or tradition of fencing. In Spain,
authors used this notated system of movements to describe the actions of the single-handed sword
and the two-handed sword, called the montante. Similarly, this notation could be used to describe
fencing actions from non-Spanish traditions like Fiore’s longsword or even modern sport fencing.

When Opposition Occurs Between Two Weapons

Natural Defeats Violent
In a natural movement, the blade falls, while in a violent movement it rises. According to the
Spanish, when two blades are in contact with equal degrees of strength, the swordsman pushing
downwards has the advantage over the opponent attempting to lift his weapon. The swordsman
pushing downwards can bring the weight of his upper body to bear in the engagement while his
adversary resisting from below must rely solely on his arm muscles. In New Science, Pacheco de
Narváez argues that the natural movement “cannot be defeated by another due to its noble nature,”
(365) and Ettenhard echoes him.

…and it is very clearly shown that he [don Luis Pacheco de Narvaez] said it because of the
natural movement, since to it alone belongs the subjection, and in conclusion, it alone is
superior to all, due to being the noblest, quickest and strongest.
– Ettenhard Compendium of the Foundations p. 89 (1675)

Footwork
The Spanish usually treat a “step” as a motion that starts in stance and ends in stance, which re-
quires a motion of each foot. When the fencer moves only one foot, this is usually specified in the
description of the footwork. To use Italian fencing as an analogy, we know that an advance starts
in the guard and requires a movement from the lead foot followed by the rear foot returning to the
guard. Likewise, a retreat starts in the guard and requires a movement from the rear foot followed
by the lead foot returning to the guard. In contrast to the pair of steps used in advances and retreats,
when an Italian fencer executes a lunge, he starts in the guard and moves only the lead foot. The
fi nal position of the lunge is not the guard. The Spanish tradition also has both types of footwork.

Forward Step (Compás Accidental): The fencer advances along the line of the diameter.

Forward Step (Advance)

22 P uck Cu rt is a n d M a ry Di l l Cu rt is

Backward Step (Compás Extraño): The fencer retreats in line with the diameter.

Backward Step (Retreat)

Lateral Step (Compás de Trepidación): The fencer steps along the line of infi nity either to the left or
right. When stepping toward a direction, unless directed otherwise, the fencer will avoid cross-
ing the feet. For example, when stepping to the right, the fencer will lead with the right foot.
When stepping to the left, the fencer will lead with the left foot. In an upright body posture we
must be cautious when using lateral steps at speed. It’s easy to overbalance and stumble when
the steps are not well practiced.

Lateral Step (Sidestep)

 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 23

Curved Step (Compás Curvo): The fencer steps along the circle either to the left or right. When
stepping toward a direction, unless directed otherwise, the fencer will avoid crossing the feet.
For example, when taking a curved step to the right, the fencer will lead with the right foot.
When taking a curved step to the left, the fencer will lead with the left foot. At the completion
of the curved step, the fencer should be in profi le facing the adversary.

Curved Step

A curved step along the circle is a common method of gaining ground gradually and is often
used in response to an offensive action from the adversary. For example, if the adversary executes
a cut, we may intercept the att ack with the blade and then step forward along the circle to deliver
a riposte. Because the adversary has moved forward already, our step moves only slightly forward
and takes us off the center line. After we have delivered a riposte, we might back away safely past
the line of infi nity.
When stepping along a curve, you move closer to the adversary, and their profi led posture opens,
providing your attacks a better path to the target through the chest or back. Taking curved steps to
better expose your adversary’s target is called gaining the degrees of profi le. The curved step also
deserves some special discussion to address common misconceptions and some of the difficulty in
maintaining good balance with an upright posture.

Curved Step Left (Maintaining the Stance)

You can step carefully to the left or right maintaining body profi le during the curved step. You might
use this footwork to open the adversary’s profi le while moving cautiously forward or stepping onto
a new circle. In the example presented below, we only present the curved step to the left. As with
the lateral steps, caution should be used when moving quickly to preserve your balance.
24 P uck Cu rt is a n d M a ry Di l l Cu rt is

From the Guard Kevin Takes a Curved Step Left with the Left Foot

In this example, Kevin cautiously takes a curved step toward Eric by bringing his left foot forward
in a circular step left. He holds his body upright and maintains the narrow distance between his feet.

Kevin Finishes the Curved Step Left in Stance

Here, Kevin completes his curved step by bringing his right foot into line with his left. His new
position opens a clear line to Eric’s back while maintaining his own profi le and closing distance
slightly.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 25

Curved Step Right (Counteroffensive Example)

When an opponent attempts to strike, you can use curved steps to counterattack while simulta-
neously leaving the line of the assault. The following sequence demonstrates how this might be
accomplished.

Kevin in the Guard Facing Eric Kevin Takes a Curved Step to the Right
with the Right Foot

Kevin’s curved step has taken him closer to the adversary and gained the degrees of profi le.
Placing his weight on the ball of his right foot, he has withdrawn his hip slightly, and his torso leans
marginally forward as if striking an opponent moving toward him.16 Even while taking the step off
the line, he attempts to maintain a linear profi le toward Eric.

Kevin Finishes the Curved Step by Stepping with His Left Foot

16
It would be fair to indicate that while the original Spanish authors discuss leaning the torso forward or
backward, this is an interpretive choice on my part and should not be considered canonical.
26 P uck Cu rt is a n d M a ry Di l l Cu rt is

Kevin’s next step completely profi les his body, and he widens the distance between his feet
slightly as he aligns his body to deliver a counteroffensive strike.17 His heels are once again in line,
and he is careful not to cross his back foot behind his front like an Italian fencer would when per-
forming an inquartata.
IMPORTANT NOTE: There is a misconception that stepping along the circle does not close
distance. Th is is demonstrably incorrect as shown with this triangle overlaid on the circle.

A Triangle Demonstrating a Shorter Path

The vertical arm of the triangle (the diameter of the circle) represents the longest path on the
circle to the adversary. The curved step creates a new line or chord,18 which is the shorter arm of
the triangle shown above.
If you step along the circle, you should be aware that you have entered the adversary’s range.
For this reason, I disagree with Martínez’s presentation of the practice of “walking the circle” in
his instructional video La Verdadera Destreza: The True Art and Skill of Spanish Swordsmanship.
Walking along the circle without reason provides your adversary with one unit of fencing time for
every step, and I do not recommend it as sound tactics.
As a common practice, walking the circle during an antagonistic engagement would require not
only two identical opponents with identical weapons, but also a consensual plan in which neither
fencer took advantage of the shorter distance gained when the adversary steps along the circle.
Instead, the opponent would need to continually step away from the adversary to artificially pre-
serve the ideal distance of the circle. Walking the circumference of a circle while within the striking
distance of a non-cooperative adversary would be very dangerous.
In order to close distance by stepping along the circle, the action should either control the ad-
versary’s weapon as you move forward or take advantage of a movement provided by the adversary.
Alternatively, you could step onto a new circle to preserve the original distance to the adversary.

17
Th is again is interpretive choice. I have found in practice that placing the weight on the ball of the front
foot, inclining the torso, and delivering a counterattack with a slightly wider stance allows the footwork
to be executed quickly and with good balance.
18
Th is is sometimes referred to as a new and particular diameter, and it represents the creation of a new
circle.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 27

Transverse Step (Compás Transversal): The transverse step is a type of angular advance either to
the left or right along the square shown inside the circle. The transverse always starts with the
lead foot independent of whether you step to the left or right. It may be followed by the rear
foot or could be combined with another type of step. At the completion of the transverse step,
the fencer should be in profi le facing the adversary. Combining the transverse with other steps
allows the swordsman to pass or to strike and quickly withdraw.

Transverse Step (Angular Advance)

The transverse step closes distance more aggressively than the curved step shown above and is
typical of offensive actions or attacks into the adversary’s preparation.

Kevin Faces Eric in the Guard Kevin Takes a Transverse Step Left

Taking a step along the square inside the circle, Kevin pre-turns his foot back toward the adver-
sary and profi les his shoulders.
28 P uck Cu rt is a n d M a ry Di l l Cu rt is

Kevin Finishes the Transverse Step by Returning to Guard

Note that Kevin has covered much more ground than he would have with a curved step.

Mixed Step (Compás Mixto): A mixed step is a combination of two other types of steps, and it is
often an angular retreat either to the left or right, away from the circle.
Angular retreats are two common examples of mixed steps. These might be mixed backward
and lateral to the left or mixed backward and lateral to the right. In this case, the mixed step
starts with the rear foot and is followed by the lead foot. At the completion of the mixed step,
the fencer should be in profi le facing the adversary.

Mixed Step Backward and Lateral (Angular Retreat)

Another common mixed step is the transverse step to the left using the right foot, followed by
a curved passing step with the left foot.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 29

Mixed Step Transverse Left and Curved Left (Angular Advance with Passing Step)

Th is image is a recreation of a circle from Ettenhard which describes this footwork (57).19
1. The lead foot takes a transverse step left along the square pre-turning the front foot to
point back to the adversary. (The weight rests on the ball of the lead foot.)
1. Pivoting on the ball of the front foot, the rear foot moves in an arc landing on the adver-
sary’s line of infi nity.
3. The lead foot passes behind the left with a curved step executing another pivot and placing
the fencer in profi le with respect to the adversary on his line of infinity in a reversed stance.

The Spanish Gaining Step

In classical Italian fencing, a gaining step would be described as bringing the rear foot forward close to
the heel of the right foot. In the Spanish tradition, the rear foot is often brought even further forward
so that the heel of the rear foot is even with the big toe of the front foot. Th is allows the swordsman
to cover greater distance with his next step without committ ing his body further forward.

From the Guard Kevin Takes a Spanish Gaining Step

19
Plate 4.
30 P uck Cu rt is a n d M a ry Di l l Cu rt is

The Curved Step Right with a Gaining Step

Kevin carefully places his rear foot onto the line of infi nity, even with the toes of his right foot.
Initially you may wish to verify placement of the step as shown here, but with practice this step
should be executed naturally without taking your eyes off the adversary. The gaining step sacrifices
some stability in the stance for additional reach.

Kevin Takes a Curved Step to the Right Striking Eric

The additional measure provided by the gaining step has allowed Kevin’s curved step to strike
the adversary.

Kevin Finishes the Curved Step to the Right

As before, Kevin profi les his body on the new line.

 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 31

The Transverse Step Left with a Gaining Step

From the Guard Kevin Takes a Spanish Gaining Step Kevin Takes a Transverse Step Left Striking Eric

Note again that Kevin has profi led his body with respect to Eric. Th is new diagonal line provides him
with an exit path when the attack is completed. Consider this new line the diameter of a new circle.

Kevin Reaches Back with His Rear Foot Along Kevin Recovers Backward on the New Diameter
the New Diameter

Th is might appear to be an Italian lunge, but Kevin is actually preparing his retreat along a new
diameter by reaching backward with his rear foot in the same plane as his profi le.
Pushing off of his front foot, Kevin shift s his weight back to retreat to a new circle. His new posi-
tion, offset from the original circle, defi nes the new mental map for his footwork in the next sequence.

Having Struck and Retreated from Distance, Kevin Presents the Guard Again

Kevin has retreated along a new diameter, stands in guard and has a clear line of attack to Eric’s back.
32 P uck Cu rt is a n d M a ry Di l l Cu rt is

Recovering from a Spanish Gaining Step

Eric Takes a Gaining Step Toward Kevin

Having subjected Kevin’s sword with his own, Eric takes a gaining step forward with the intention
of delivering an attack.

Kevin Eludes the Subjection with a Small Semi-Circle Kevin Attempts to Subject Eric’s Sword on the
of the Wrist (Disengagement) Outside Line

Finding Himself in Danger, Eric Recovers Backward from the Gaining Step

Eric’s step with the rear foot back into the guard removes him from danger. If at any point dur-
ing the gaining step the situation changes, you can always withdraw the rear foot to recover to the
guard or even step further back to start a backward step.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 33

Footwork in Opposition
Ettenhard describes the footwork in opposition (111–13):
• The forward step is superior to the backward step. An opponent advancing forward has the
advantage over an opponent retreating in a straight line.
• The forward step is defeated by the transverse, curved, lateral, and mixed backward and
lateral steps. Stepping off the center line will provide an advantage over an advancing
opponent.
• The transverse and curved steps can be defeated with the transverse and curved steps.
When an adversary circles toward you, either moving into them or circling away can defeat
their action.

Offense
The Spanish defi ne five types of attacks.

A technique is a disposition that the swordsman constructs as an idea so that when realized
in action he is able to wound the opponent while assuring his own defense. In the judgment
of the majority of authors of this science, the techniques form a class containing infinite
possibilities but with only five techniques that are preeminent, based upon their ability to
wound. These are the circular cut, the circular reverse, the half-cut, the half reverse, and the
thrust. It is necessary to know these techniques and their types.
– Ettenhard Compendium of the Foundations pp. 31–32 (1675)

The Th rust (Estocada): The weapon travels forward in a single movement, piercing the flesh of
the adversary with the sword’s point. In addition to the direct thrust there are three types of
circular thrusts:
• Th rust of the Quarter Circle (Estocada de Cuarto Círculo): To elude the adversary’s
defense of steel, the point is carried in a quarter circle to an open target. Th is would
be comparable to dropping the tip from the chest to strike in the abdomen while
eluding the parry during the strike.
• Th rust of the Half Circle (Estocada de Medio Círculo): To elude the adversary’s
defense of steel, the point is carried in a half circle to an open target. Th is would be
comparable to circling the tip from the abdomen to strike in the flank while eluding
the parry during the strike with a small semicircle of the wrist (disengagement).
• Th rust of the Full Circle (Estocada de Círculo): To elude the adversary’s defense of
steel, the point is carried in a complete circle back to the original target. Th is would
be comparable to dropping the tip from the chest and creating a complete circle to
strike in the chest while eluding the parry during the strike (deceive or possibly a
counter-disengagement).
34 P uck Cu rt is a n d M a ry Di l l Cu rt is

Kevin Faces Puck from the Guard With a Transverse Step Left Kevin Delivers a Th rust

The Half-cut (Medio Tajo): A cut delivered from the right in two movements. The fi rst movement
is an offl ine lateral to remove the weapon from the diameter. The second movement is an align-
ing lateral to deliver the cut. Half-cuts may be delivered horizontally to the head or vertically to
the head. Ettenhard recommends carrying the weapon back into the rear line to deliver more
powerful half-cuts (44–46).

From the Guard Kevin Uses an Offl ine Lateral Kevin Delivers the Att ack with an Aligning
to Prepare the Half-cut Movement and a Transverse Step Left

The Half Reverse (Medio Revés): A direct cut delivered from the left in two movements. The fi rst
movement is an offl ine lateral to remove the weapon from the diameter. The second movement
is an aligning lateral to deliver the cut. Half reverses may be delivered horizontally and vertically
to the head. Ettenhard recommends carrying the weapon back into the rear line to deliver more
powerful half reverses (44–46).

From the Guard Kevin Uses an Offl ine Lateral Kevin Delivers the Att ack with an Aligning
to Prepare the Half Reverse Movement and a Transverse Step Right
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 35

The Circular Cut (Tajo): A circular cut travels around the opposing steel and is delivered from
the right in three movements. The fi rst movement is an offl ine lateral to remove the weapon
from the diameter. The second movement is violent to lift the blade into the high line. The
third movement is natural to deliver the cut. Circular cuts may be delivered diagonally and
vertically to the head. Rarely, the circular cut may also be delivered horizontally to the body.
Horizontal cuts to the body are risky because they yield the high line to the adversary, leaving
his blade at liberty.

From the Guard Kevin Uses an Offl ine Lateral Kevin Lift s the Blade with a Violent Movement
to Prepare the Circular Cut

Circling the Blade Kevin Begins a Mixed Natural Kevin Completes the Att ack by Finishing the Mixed
and Aligning Movement to Deliver the Att ack Movement with a Transverse Step Left

The Circular Reverse (Revés): A circular reverse travels around the opposing steel and is deliv-
ered from the left in three movements. The fi rst movement is an offl ine lateral to remove the
weapon from the diameter. The second movement is violent to lift the blade into the high line.
The third movement is natural to deliver the cut. Circular reverses may be delivered diagonally
and vertically to the head. Rarely, the circular reverse may be delivered horizontally to the body.
Horizontal reverses to the body are risky because they yield the high line to the adversary, leav-
ing his blade at liberty.
36 P uck Cu rt is a n d M a ry Di l l Cu rt is

From the Guard Kevin Uses an Offl ine Lateral Kevin Lift s the Blade with a Violent Movement
to Prepare the Circular Reverse

Circling the Blade Kevin Begins a Mixed Natural and Kevin Completes the Att ack by Finishing the Mixed
Aligning Movement to Deliver the Att ack Movement with a Transverse Step Right

Distance
The Spanish break distance down into two separate categories using both the concepts of defensive
distance and offensive distance. The measure of primary concern to a Spanish fencer will be the
defensive distance, because it defi nes the diameter of the circle, and because this tradition stresses
defense over offense. One of the most commonly stated fencing maxims, “to strike without being
struck,” would be restated within the Spanish tradition with a more defensive emphasis as, “to
defend and strike with defense.” Merely knowing how to perform the att acks is insufficient; the
Spanish swordsman must know the possible attacks, anticipate which actions his adversary could
use, and be ready with the correct defense.

Thus, since the purpose of this science is for the swordsman to secure his own defense and to
execute his offense against the opponent (in a way that supports his defense), it is certain
that only these five techniques constitute the offense, and the swordsman will only have to
prepare to defend against them. Thus, even though the possible dispositions precede the ac-
tion, we need only consider the defense for the five techniques which can wound, and there
is no need to prepare a defense against the others which cannot cause injury.
– Ettenhard Compendium of the Foundations p. 32 (1675)
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 37

The Measure of Proportion (Defensive Place or Distance)

(Medio de Proporción)
Th is is the closest distance to the adversary in which you may still effectively observe and react
to possible threats. The measure of proportion should consider the weapon being used by the
adversary and their physical stature. It is very unlikely that two opponents will have exactly the
same measure of proportion. When Pacheco de Narváez defi nes the measure of proportion, he
uses the relationship between the two weapons as his guide. He advocates sett ing the distance so
that when the adversary extends his arm at full reach, the point of his weapon reaches no further
than the cross of your own weapon.

Swords of Equal Length

If two opponents have equal bodies and equal swords, they will share the same measure of
proportion.

Eric and Kevin Set the Measure of Proportion Equally

Adversary with Greater Reach

If the opponent has a longer weapon, how you set your own distance should change, and your goal
becomes to prevent the adversary from closing the distance so that their threat passes the cross of
your weapon. The physical size of the adversary is also considered when sett ing the distance. For
example, an opponent with long legs will have a long lunge, and the measure of proportion will
change to compensate.
38 P uck Cu rt is a n d M a ry Di l l Cu rt is

Kevin Keeps Eric’s Longer Blade Before His Cross

Adversary with Shorter Reach

When your weapon is longer than the adversary’s, your goal in sett ing distance is to close measure
enough to maintain your own measure of proportion, while violating the defensive distance of your
adversary and continually keeping them threatened.

Eric Keeps Kevin’s Shorter Blade Before His Cross While Pushing His Own Weapon Closer
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 39

Ettenhard, who studied Pacheco de Narváez’s system and texts as the canonical tradition, later
provides a more nuanced description of this distance. While Narváez defi nes the correct place-
ment of defensive measure based on the cross of the sword, Ettenhard considers this measure more
subjectively, considering a range of criteria.

To choose the measure of proportion is to determine a proportionate and convenient distance

from which the swordsman can recognize the movements of his opponent, because when the
adversary decides to act he must move his body, arm, and sword. He moves the body by
means of footwork, and the sword by means of the formation of the att ack.
– Ettenhard Compendium of the Foundations p. 70 (1675)

Restated, the measure of proportion must be chosen so that the fencer can recognize and react
to a threat from the adversary. You can anticipate the adversary’s actions if you provide yourself
enough distance (and therefore time) to recognize motions of the sword and body. While setting
measure based on the cross of the sword sounds much simpler, it is not applicable to all situations.
Ettenhard’s explanation directly addresses the purpose of the measure of proportion, which is to
provide enough distance and time to respond to a threat. The fencer must learn to recognize and
weigh multiple factors, such as the lengths of the weapons and the heights of the fencers.

Estimating the Measure of Proportion

When facing any adversary you must estimate your measure of proportion so that you have time to
react to the adversary’s offense. You might consider the length of the weapons, the different heights
of the combatants, the changes that a refused stance or bent arm might cause in the apparent dis-
tance, and the relative skill levels of each swordsman.

Eric Attempts to Set His Measure of Proportion Against Kevin’s Longer Italian Rapier

Here Eric must consider Kevin’s longer blade, his bent arm, a refused Italian stance, the length
of Kevin’s lunge, and how skilled Kevin is with the rapier.
40 P uck Cu rt is a n d M a ry Di l l Cu rt is

Kevin Stands Up and Extends His Arm to Allow Eric to Check the Measure of Proportion

When learning to set your distance, it can be helpful to set the distance without your opponent’s
blade extended and then check your distance by having the opponent assume a Spanish stance
without moving his front foot. Another option is to have the opponent commit to an att ack to test
whether you have correctly judged your distance.

The Measure of Proportion and the Circle

It is important to remember that all the aspects of the Spanish circle are defi ned by sett ing the
measure of proportion. The measure of proportion defi nes the length of the diameter.

The Proportionate Measure (Offensive Place or Distance)

(Medio Proporcionado)
Th is is the distance that must be covered to deliver a specific att ack. For example, the proportionate
measure of thrusts will be different when using a pike, a sword, or a dagger. Also, the proportionate
measure for Eric’s attacks will be different from Kevin’s, because their bodies are different.
The Th rust: The thrust typically has the most reach and will have the most favorable proportion-
ate measure. In order to reach the correct distance to execute the thrust, you may need to gain
control of the adversary’s weapon and step along the square (transverse step) or along the circle
(curved step) counter-offensively.20 If the adversary prepares a cut, you can strike with a thrust
into his preparation, and then quickly retreat along a new diameter. By fencing with an extended
arm, the Spanish fencer enjoys an advantage in the number of movements (and therefore time)
necessary to strike his opponent when working against an adversary that cuts.

20
Ettenhard demonstrates thrusts executed in time which strike as the adversary prepares a circular cut or
circular reverse. These actions are safely executed with the blade at liberty because of the advantage of
the thrust’s single movement over the three movements required for the circular cut and circular reverse
(92–106).
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 41

Cuts: The Spanish cuts (both full circular cuts and half-cuts) are usually actions that occur when
the blade has already moved from the diameter because of a defensive action, or because the
adversary has deviated your weapon from the line. These typically have less reach than a thrust
but can be very powerful when correctly executed. Ettenhard indicates that cuts to the head
are more common, and that horizontal cuts to the body are dangerous and unusual in practice.
Because the proportionate measure of a cut is larger than that of a thrust, you should never use
a cut as your initial action, or when your adversary has subjected your weapon. The greater
number of movements in the cut exposes you to counterattack by the thrust. (Remember that
an advantage in the count of movements is also an advantage in time.)
Disarming or Grappling Actions: Grappling in the Spanish school (called a movement of conclusion)
requires you to be close enough to seize the adversary’s hilt with your left hand. Th is typically
requires passing forward with your rear foot, and the distance you must travel to successfully
execute a disarm can actually carry you to the opponent’s line of infi nity. Because the propor-
tionate measure is greater, there is a greater degree of danger involved for a fencer executing a
disarmament.

Defense
The Advantage of the Right Angle
If the opponent removes the point from the line, the fencer can strike or threaten using the advan-
tage of the right angle. Th is is defense by threatening with the blade (or point) in line. The threat
of a counterattack, using footwork to achieve safe position, may be enough to force the adversary
to cease the attack and commit a defensive action.21

Eric Directs His Weapon Toward Kevin’s Chest

21
You can liken this to the Italian concept of obedience described by Salvator Fabris. Forcing an adversary’s
parry creates an offensive opportunity for the swordsman (12).
42 P uck Cu rt is a n d M a ry Di l l Cu rt is

If Kevin continues with his cutt ing action, he will be struck by the weapon presented in the right
angle. Kevin might opt to defend with his weapon or break distance.

Stepping Forward to Deliver His Att ack, Kevin Is Struck

Eric has rotated his hand fi ngernails up, which turns his true edge into the cutt ing attack and
closes the line. Th is is the principle of creating a defense by counter-offensively placing the point on
the opponent. Eric’s weapon is at liberty (unengaged), but he closes the line of the attack by rotating
his hand. He might also create an additional advantage with his footwork by taking a curved step
to the left, which will bring his body behind his weapon with respect to Kevin’s cut.

Atajo22
Before examining the defi nitions from Destreza texts, it will be helpful to review another key
concept. If I extend my arm out toward you with the palm up and you press down while I resist,
you will probably be able to lower my arm. The Spanish call this the superior nature of the natural
(descending) movement versus the violent (rising) movement. Th is contrast between a lift ing action
and a downward opposition provides us one of the principles behind the Spanish defense called
atajo. As the following defi nitions will demonstrate, atajo is subjection of the adversary’s weapon
from above with equal or greater degrees of strength.

Atajo, according to our definition, is when one of the weapons is placed over the other (not
in any of its extremes nor with any of its extremes) and with equal or some degree more of
strength subjects it and makes it so that the technique that can be formed by the opponent
must be done with more movements and the participation of more angles than those that
its simple nature requires.
– Pacheco de Narváez New Science p. 365 (1672)

22
We have preserved the word atajo in Spanish. For a discussion of other possible translations and our
reasoning for this choice, reference the later section titled “Atajo Is Not Classical Engagement.”
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 43

Arriving, then, to the perfect formation of the atajo, it should necessarily consist of three
movements: violent, offline lateral and natural. With the first, the sword that should subject
is placed on a superior plane to the other; with the second, it is placed transversal over it;
and with the last, it subjects it.
– Pacheco de Narváez New Science p. 368 (1672)

I am very safely confident that one will have recognized with enough satisfaction that the
atajo causes its effects by means of a superior graduation and of the superior power of the
natural movement and also that one will concede to me that if it were possible to beat and
destroy these two causes, we would see dispelled the end of such superior effects….
– Ettenhard Compendium of the Foundations pp. 154–55 (1675)

The Definition of an Atajo

Between Pacheco de Narváez and Ettenhard this indicates three key elements that define the
atajo:
• Subjection with equal or greater degrees of strength.
• The subjection is placed from above.
• The subjected line is closed so that an adversary cannot strike with a single movement.

In his instructional videos, Maestro Martínez teaches that an atajo can be placed underneath
the adversary’s weapon with the hand fi ngernails up or fi ngernails down. In this interpretation,
the atajo is formed by pressing with the flat of the weapon, and it neglects the vital role that the
true edge plays in controlling and dominating the opposing steel. Th is reflects a classical fenc-
ing understanding of atajo as equivalent to blade engagement. While in classical Italian fencing,
engagements of First and Second both occur under the opposing steel, this practice is anathema
to Pacheco de Narváez’s and Ettenhard’s defi nition of the atajo. While both Pacheco de Narváez
and Ettenhard provide examples of contact with the adversary’s weapon from below, these are not
referred to as atajo. Ettenhard even goes so far as to state that if the atajo is not placed from above
with superior degrees of strength, “we would see dispelled the end of such superior effects” (p.
155). Therefore, according to these destreza authors even a strong classical fencing engagement
from below is not an atajo.
In the following series of images, we will demonstrate the execution of the atajo. Particular
attention should be paid to pointing the weapon into the opposing steel. The angle will create a
sloping ramp that not only closes the line, but also guides opposing force into the strong of the
weapon.
44 P uck Cu rt is a n d M a ry Di l l Cu rt is

Eric Places an Atajo on the Inside Line

Note that Eric’s weapon is lifted over the Kevin’s and points into the opposing steel past Kevin’s
right shoulder.

Eric Places an Atajo on the Inside Line Eric Places an Atajo on the Inside Line (Th ird Angle)
(Another Angle)

Note again that Eric’s blade is pointed into Kevin’s weapon, his engagement has greater degrees
of strength, and he has engaged from above.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 45

Eric Places an Atajo on the Inside Line (Side View)

Eric’s arm is extended, and his point is relatively low continuing to threaten Kevin’s face. He has
turned his true edge slightly into the opposing steel. The Spanish swordsman seeks to control the
adversary’s weapon in a similar fashion to the fencers of Italy who seek to fi nd or gain the sword.23
As with the Italian’s gaining action, the atajo limits the enemy’s offensive options and forces him
into attacks which require more movements while simultaneously providing the Spanish swords-
man a direct path to the opponent’s body and head.

Placing an Atajo Against a Rapier Used in the Italian Style

A truly effective martial art can uses it theory to adapt to combatants who do not fight in the same
style. We see this when showing how the atajo is used to counter an Italian-trained opponent, who
fights in a lower rapier guard. The Spanish swordsman who, obsessed with form, dogmatically
persists in the right angle posture exposes his flank and abdomen to a quick lunging action. Th is
insistence on a perfect ninety degree angle between the body and the arm sacrifices both the ideal
line to the target and defense from an adversary who presents a threat in the low line. By instead
understanding the theory underlying the Spanish style, he places his weapon in stronger engage-
ment over the adversary’s. Now, the Spaniard’s atajo provides superior reach while simultaneously
controlling the line. Carranza’s earlier Euclidian demonstration guides us to maximize our own
reach while reducing the reach of our enemy by assuming the more linear path to the target and
forcing the adversary onto a longer path. The underlying principle is maintained instead of a rigid
adherence to the idea of the right angle.

23
The ‘fi nding of the sword’ as described by Salvator Fabris is a similar concept to atajo as both seek to
control the adversary’s weapon (15–17). The atajo is different in that it seeks to make contact with the
opposing steel.
46 P uck Cu rt is a n d M a ry Di l l Cu rt is

Eric Places an Atajo with an Extended Arm Bending at the Wrist

In the examples we have illustrated, Eric is careful to maintain a good measure of proportion
(defensive distance), by using a straight arm with a bent wrist to place an atajo against the rapier.
He again points into the adversary’s weapon while trying to force a longer path for any possible
disengagements. By lowering his arm, he better covers his low line while seeking to control the
opposing steel.

Kevin Lunges into Eric’s Atajo Eric Deflects the Th rust Downward to Close the
Inside Line (Both Low and High)
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 47

Eric Places an Atajo on the Outside Line

Note that Eric’s weapon is lifted over Kevin’s and points into the opposing steel past Kevin’s
left shoulder.

Eric Places an Atajo on the Outside Line (Another Angle)

Eric Places an Atajo on the Outside Line (Side View)

Eric’s arm is extended, and his point is relatively low continuing to threaten Kevin’s face. He has
turned his true edge slightly into the opposing steel.
48 P uck Cu rt is a n d M a ry Di l l Cu rt is

Eric Places an Atajo to Protect His Low Line

By bending his arm at the wrist, Eric places an atajo that will force a larger disengagement from
Kevin if Kevin wishes to change lines.

Eric Deflects the Th rust Downward to Close the Outside Line (Both Low and High)

Notice here that the outward angle of Eric’s weapon not only closes the line, but also guides
Kevin’s weapon into the strongest part of his blade. Kevin’s lateral pressure into the opposing
weapon helps push the weak of his own blade toward Eric’s strong.

Atajo Is Not Classical Engagement

The term atajo eludes an easy and accurate translation into English, and authors and translators
writing about Spanish fencing have handled this term differently. Miguel Gomez uses the phrase
“short cut” for atajo in his translation of Alvaro Guerra de la Vega’s 1681 Comprehension of Destreza.
His translation does not assist the reader in understanding sentences such as, “Every stance you
master, must be good to ‘short cut’ your opponent’s.” While in modern Spanish-English dictionaries
atajo means “short cut,” this translation provides litt le information to the reader about the execu-
tion of an atajo, and it might mislead the reader by not making it clear that atajo refers to a specific
sequence of actions.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 49

In his articles and videos, Ramón Martínez has equated atajo with the modern fencing concepts
of engagement or opposition. In his article “The Demystification of the Spanish School: Part I,”
he states that “In all of the Spanish treatises it is constantly emphasized that the control of the
opposing weapon must be maintained by ‘atajo’ (the taking control of the adversary’s blade with
one’s own, an engagement or opposition).” In his paper “Jeronimo de Carranza’s ‘Philosophy’
of Arms,” Martínez also reinforces this modern understanding, “From his experience and ob-
servation of the common methods of swordsmanship of his time and by applying his education
in science and philosophy, Carranza distilled universal techniques, such as the atajo, or contact
with the opposing blade, which he incorporated into la destreza.” While it might be tempting
to translate “atajo” as “engagement of the weapon,” “opposition,” or even “good engagement”
because of the similarities between these actions, these translations can mislead the reader by
not taking into account the differences between the atajo and engagement or opposition. Th is
can lead to introducing modern concepts of engagement and opposition into the defi nition of the
atajo, such as engagement from below, which ignore the rules outlined by the destreza authors.
Additionally, the Spanish word for engagement is agregación or “aggregation” which literally
means “to bring two items together.”
Not having found an adequate translation, we have chosen to preserve atajo in the original Span-
ish as a technical term. While this does not immediately clarify for the reader what an atajo is, by
providing clear descriptions of the action, we can establish it as a borrowed term used in English
similar to the word inquartata, taken from Italian to describe a specific counteroffensive void. The
advantage is that the reader will easily identify atajo as an action unique from an engagement and
more precise than a simple short cut.

Lorenz de Rada’s Atajo

In the late seventeenth and early eighteenth centuries, the Marquis of las Torres de Rada in New
Spain, Francisco Lorenz de Rada, a well-respected destreza author and practitioner, introduced
innovations into the concept of the atajo, and slightly changing its defi nition.

Atajo is an action in the art of defense that impedes the opponent’s sword, with or without
contact. The atajo of greater potential impedes the opponent’s sword more. The atajo of
lesser potential impedes the opponent’s sword less.
Lorenz de Rada Nobility of the Sword,24 Book 2 pp.41–42 (1705)

Th is appears to be a significant change from previous authors, taking what was once defi ned
as a discreet sequence of actions and replacing the original defi nition with a looser concept. The
difference could be compared to replacing the defi nition of an individual Italian parry with the
concept of closing a line with either engagement, fi nding the sword, or a parry. Later, in the third
book of Nobility of the Sword, Lorenz de Rada describes eight methods of placing an atajo. His fi rst
four methods follow the traditional model, but the remaining four methods deal with what to do
when attempting to place the atajo fails.

24
Nobleza de la espada, cuyo esplendor se expresa en tres libros, según ciencia, arte y experiencia (Nobility of
the Sword, Whose Splendor Is Expressed in Th ree Books According to Science, Art and Experience).
50 P uck Cu rt is a n d M a ry Di l l Cu rt is

Lorenz de Rada’s Eight Ways to Place an Atajo (172–224)

1. First Atajo: Subject the adversary’s weapon with greater degrees of strength on the inside
line and from above, taking a curved step left toward the adversary’s steel.
2. Second Atajo: Subject the adversary’s weapon with greater degrees of strength on the out-
side line and from above, taking a curved step left, away from the adversary’s steel.
3. Th ird Atajo: Subject the adversary’s weapon with greater degrees of strength on the inside
line and from above, taking a curved step right, away from the adversary’s steel.
4. Fourth Atajo: Subject the adversary’s weapon with greater degrees of strength on the out-
side line and from above, taking a curved step right, toward the adversary’s steel.
5. Fift h Atajo: Attempt the First Atajo. Then, failing to make contact, lift the guard while
dropping the point and transport the adversary’s weapon from the inside line to the outside
line, ending with greater degrees of strength, but below the adversary’s weapon.
6. Sixth Atajo: Attempt the Second Atajo. Then, failing to make contact, lift the guard while
dropping the point and transport the adversary’s weapon from the outside line to the inside
line, ending with greater degrees of strength, but below the adversary’s weapon.
7. Seventh Atajo: Attempt the Th ird Atajo. Then, failing to make contact, lift the guard while
dropping the point and transport the adversary’s weapon from the inside line to the outside
line, ending with greater degrees of strength, but below the adversary’s weapon.
8. Eighth Atajo: Attempt the Fourth Atajo. Then, failing to make contact, lift the guard while
dropping the point and transport the adversary’s weapon from the outside line to the inside
line, ending with greater degrees of strength, but below the adversary’s weapon.

Lorenz de Rada’s examination of atajo provides a useful series of spiraling actions that react to
a change in the adversary’s placement of the weapon by seeking the opposing steel and carrying
(or transporting) it to another line when the initial atajo is misplaced. However, even with Lorenz
de Rada’s changes, his fi rst choice is to always seek atajo from above, and the action changes if the
atajo is misplaced or the adversary eludes the subjection. In this instance, a casual inspection of
the atajo illustrations in Lorenz de Rada’s third book might lead a practitioner to initially seek an
engagement from below when this is clearly not the case when compared to the author’s instruc-
tions.25 Th is tells us that for a modern practitioner all atajos should start by seeking the superior
line with greater degrees of strength in the weapon.

25
Specifically, book 3 plate 39 in Nobility of the Sword labeled as “Para mediante el Atajo 1° pasar al 5° Atajo,
desde el medio de proporción al proporcional de la postura de la espada,” which shows the fi nal part of the
longer sequence. You will see the same type of engagement below the weapon in plates 40, 41, and 42
(212–24). The third book, Experiencia del instrumento armigero espada, with the images I refer to here
can be viewed on Google books.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 51

The Movement of Conclusion

A movement of conclusion is the act of seizing the adversary’s hilt with your left hand. Grappling the
opponent’s hilt is a very powerful defense made dangerous by the need to pass forward and reach
with the rear hand.

A Conclusion from Committed Opposition from the Outside

When the adversary provides committed pressure into an atajo on the outside line a swordsman
can pass forward with the rear foot to seize the adversary’s hilt.

Eric Has Placed an Atajo on His Outside Line Eric Passes with a Curved Step Left to
Seize Kevin’s Hilt

With his atajo placed on the outside line, Eric maintains greater degrees of strength from above and
keeps the point of his weapon directed into the opposing steel as he passes forward with his rear foot.

Eric Completes the Curved Step Left and Can Deliver a Th rust

Taking another step with his right foot Eric now faces Kevin with a profiled body in a reversed stance.
His atajo is well placed, and he can easily strike Kevin in the chest or face. If he were concerned about
Kevin attempting to disengage, he might straighten his sword arm bending it at the wrist to make any
sort of circular action around his hilt more difficult. You can also transition from atajo on the inside to
a movement of conclusion by reaching over your own weapon to seize the opponent’s hilt.
52 P uck Cu rt is a n d M a ry Di l l Cu rt is

A Conclusion Executed in Response to a Pressure

on the Inside Line
An adversary with a heavy hand on the weapon may seek to press your weapon from the line of
the diameter. In response to these pressures, the swordsman may yield into the pressure and pass
forward to execute the movement of conclusion.

Eric Places an Atajo with Pressure

Eric’s pressure in the atajo provides Kevin with an opportunity to yield into the pressure.

Kevin Yields to Eric’s Pressure by Lift ing His Hilt Seeking to Close Distance, Kevin Uses a
and Dropping His Tip Spanish Gaining Step

Reacting quickly to Eric’s pressure, Kevin drops his tip and lifts his hilt. If he were concerned
about a disengagement from Eric, he might lower the weapon’s point to hang lower, providing cover
to his entire body.
Preparing for a rapid transverse step forward, Kevin uses a Spanish gaining step to preload
his next step. If Eric were to disengage over the hilt, Kevin could react by immediately stepping
backward.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 53

Kevin Takes a Transverse Step Left and Having Seized Eric’s Hilt, Kevin Prepares
Reaches for Eric’s Hilt a Circular Reverse

Kevin maintains defensive contact with Eric’s blade as he reaches for the movement of
conclusion.
With the conclusion successfully executed, Kevin passes forward with a curved step of the left
foot and begins a circular reverse.

The Circular Reverse Is Delivered

With his stance reversed Kevin’s foot is on Eric’s line of infi nity (even with Eric’s lead toe), Eric’s
hilt is gripped in Kevin’s left hand, and the circular reverse is delivered to Eric’s head or neck.
54 P uck Cu rt is a n d M a ry Di l l Cu rt is

A Conclusion Executed in Response to a Pressure

on the Outside Line
Like the movement of conclusion executed against the pressure to the inside line, we can execute
a similar response to pressure on the outside line. (For additional clarity this action is presented
from two camera angles.)

From an Atajo on the Outside Line, Eric Presses Eric’s Pressure into Kevin’s Blade (Side View)
into Kevin’s Blade

Note here that Eric’s pressure has deviated Kevin’s weapon from the line of the diameter.

Kevin Yields to the Pressure by Lift ing His Hilt Kevin Yields to the Pressure (Side View)
and Lowering His Tip

By lift ing his hilt and lowering his tip, Kevin quickly closes the line against attack. Kevin’s true
edge is facing into Eric’s weapon with his hand fi ngernails outside.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 55

Reaching Forward, Kevin Prepares to Pass Kevin Prepares to Pass Under the Angle (Side View)
Under the Angle

The angle of the sword with respect to the body while in the guard is called the right angle. Kevin
is preparing to pass under the angle by yielding to the pressure on the outside line and reaching
forward with his rear hand to execute a movement of conclusion. He shifts his weight to his front
foot and prepares to quickly pass forward with a curved step left .

Passing Under the Angle with a Curved Step Left , Kevin Successfully Executes a Movement
Kevin Seeks the Conclusion of Conclusion

Notice that as he seeks the adversary’s hilt by passing under his own weapon with a pivot forward,
Kevin maintains defensive contact with Eric’s blade.
Having taken a curved step left to pass forward with his left foot, Kevin’s conclusion is success-
ful. He can now shift his weight to the ball of his forward foot.
56 P uck Cu rt is a n d M a ry Di l l Cu rt is

With Eric’s Hilt Grappled, Kevin Prepares a Circular Cut

Having seized the hilt, Kevin takes a curved step to the right maintaining enough distance to
prevent Eric from attempting a movement of conclusion of his own. By stepping to the right and
away from Eric, he ensures his weapon will strike near the top third of the weapon rather than in
the middle or strong of the blade. Any object whether it be a sword, club, or simple stick will deliver
more power in a strike when delivered with the end of the weapon.

Kevin Delivers a Circular Cut

Kevin takes another curved step to bring his feet back into the Spanish stance. (Ideally his heels
would also be in line.) His step pulls Eric’s weapon slightly forward unbalancing his adversary and
pulling Eric’s shoulders forward and down making the circular cut more effective. From this posi-
tion Kevin can strike and quickly retreat. Eric’s best response at this moment might be to release
his weapon and quickly break distance.

A Note on Pressures: Here I have demonstrated the conclusions against simple blade pressure, but
with a sufficient understanding of tempo a talented swordsman could perform very similar actions
against attacks, parries, or any other sufficiently committed opposition of steel.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 57

Other Offensive Techniques

(Actions on the Blade)
Spirals
In order to execute many of the actions within the Spanish tradition the swordsman must not only
engage with the strong of the weapon but also lead with the tip. When seeking to dominate or carry
the opponent’s weapon from one line to another, the fencer must use spiraling actions that maintain
engagement with the strong and lead with the tip. With this in mind, I present this example which
we will develop more in the following actions.

Puck Places an Atajo on the Inside Line Puck Lowers the Tip, Th reatening Kevin’s Flank

It is very important to note that the point is directed into the opposing weapon, slightly past
Kevin’s lead shoulder. The point is kept low to ensure a tight spiraling action.
Leading with the tip and maintaining the strong against the weak, Puck transitions his engage-
ment from the inside high line to the outside low line.

Puck Directs the Tip Toward Kevin’s Abdomen Having Spiraled Around Kevin’s Weapon,
Puck Delivers a Th rust

Puck then directs the point toward Kevin’s abdomen leading with the tip. Note that Puck has
spiraled with his hand fingernails inside to transition from the true edge to the false edge during the
action. He might also choose to turn his hand to maintain engagement with the true edge, but this may
not always be practical if spiraling completely around the weapon. I recommend that you practice both.
The spiraling action could be executed completely counterclockwise around the weapon return-
ing to an atajo on the inside high line. It could also be executed from an atajo on the outside line
in a clockwise direction.
58 P uck Cu rt is a n d M a ry Di l l Cu rt is

Attack of the Quarter Circle

An att ack of the quarter circle to the armpit crosses the adversary’s sword to deliver a thrust with
continuous opposition. The initial threat is presented to the face and the point is then carried
counterclockwise to the armpit across the opposing sword.
Note here that Puck has set the distance
of the measure of proportion (defensive
distance) for his shorter weapon. While
Puck could strike Kevin with a gliding
thrust in opposition to the face or chest,
these actions are often easily parried.
Anticipating the opportunity to thrust,
Puck takes a Spanish gaining step to gain
additional distance for his next step.
If Kevin were to elude his atajo, Puck
would merely step back and might retreat
From the Measure of Proportion, Puck Places an Atajo
if necessary.
on the Inside Line
Taking a transverse step to the left ,
Puck drops his tip using a spiraling ac-
tion with his hand held fi ngernails inside
to avoid fouling the att ack by changing
the orientation of his cross. He profi les
his body on the new line and could escape
by stepping backward along the new di-
ameter. Kevin’s weapon is deviated from
the line and is effectively trapped by the
intersection of Puck’s cross with his blade.
If Puck were concerned about Kevin lib-
erating his weapon, he might lower his Puck Places an Atajo and Takes a Spanish Gaining Step
hand, bending at the wrist while keep-
ing his arm straight. Th is position would
make a disengagement in time even more
difficult, but will reduce the reach of the
fi nal att ack. Th is att ack works well against
a heavy-handed adversary who pushes into
your steel. You may also fi nd this useful
when an opponent attempts a thrust and
persists in the att ack when he encounters
the opposing steel, insisting on counter-
pressure with a stiff arm.
The Final Th rust
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 59

The General Techniques

The general techniques are four offensive actions used to dominate or deviate the opposing steel in
order to initiate attacks. With these techniques the swordsman can control the adversary’s blade
while moving forward. In contrast to a defensive action on the blade, such as a deflection or parry,
these are performed with the intention of striking.

After the three universal methods, in which consists a man’s defense, the general techniques
rank highest. They enjoy three so singular advantages that not even the art could add more to
them, and to be worthy the name of generals it would not be advisable for them to be any less.
The first, that they only recognize the atajo as superior, and only it can deprive them of their
fundamental nature and their formation. The second, that all the particular techniques of the
true or false destreza that are made by means of the contact of the swords—and some of those
that are formed without this requirement, such as the hilt thrust and goring—should fall pre-
cisely under its jurisdiction…. And the other, that they have control over the lines in which the
opponent can assume his stance, inside of the area to strike and to defend. The names that we
imposed on them (without obliging ourselves to defend their correctness, since it is not necessary
for them) are the line in cross, narrowing, weak under the strong, and weak over the strong.
– Pacheco de Narváez New Science p. 442 (1672)

The General Technique of the Line in the Cross

(General de Línea de Cruz)
The spiraling attack along the diametric to Kevin’s outside line isn’t the only possible attack across
the adversary’s blade. If we place an atajo on the outside line, we can easily attack along the diametric
to the other side with the general technique known as the line in cross.

Puck Seeks an Atajo on the Outside Line Having Placed an Atajo, Puck Takes a
Spanish Gaining Step

With weapons in equal aspects, Puck moves his blade laterally into Kevin’s weapon seeking an
atajo on the outside high line.
Having placed the atajo on the outside high line Puck takes a Spanish gaining step. If Kevin were
to liberate his weapon, Puck could quickly recover backward or retreat.
60 P uck Cu rt is a n d M a ry Di l l Cu rt is

Puck Executes the Line in Cross Puck Reaches Back Along the New Diameter
with His Rear Foot

Taking a curved step to the right, Puck executes the line in cross by delivering a thrust along
the diametric (crossing the opposing weapon along the diameter) to Kevin’s chest. He has lowered
his hand slightly while keeping his lead arm straight, which sacrifices some reach to better prevent
a disengagement in time from Kevin. He attempts to profi le his body along the new line created by
his curved step. Puck’s curved step has gained the degrees of profi le on Kevin, exposing his face,
chest, and abdomen to attack, and marginalizing Kevin’s profi led posture.
Having created a new line (“a new and particular diameter”), Puck places his rear foot on the
line while completely profi ling his body.

Puck Retreats Along the New Diameter Having Retreated, Puck Returns to the Guard

Pushing with his lead foot, Puck retreats along the new diameter while keeping his point on
the opponent.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 61

The General Technique of Narrowing

(General del Estrechar)
From the inside line, carry your point over the adversary’s weapon, and leading with the tip,
spiral counterclockwise carrying the adversary’s blade to the outside line and striking to the
outside low line.

Puck Places an Atajo on the Inside High Line Puck Uses His Superior Engagement to
Spiral Counterclockwise

Like the previous attack along the diametric to the flank, Puck spirals his weapon, leading with
the tip counterclockwise to threaten Kevin’s flank with the point. If Puck instead leads with the
strong, Kevin would easily overpower his engagement, and might thrust in opposition.

Having Directed His Tip to Kevin’s Abdomen, Puck Puck Completes the Narrowing with a Th rust
Takes a Spanish Gaining Step

Puck only prepares the Spanish Gaining step when his point arrives at his intended target.
Taking a curved step to the right, Puck delivers a thrust in opposition to Kevin’s low line, com-
pleting the general technique of narrowing. If Kevin were to parry or push downwards on Puck’s
sword, Puck might immediately execute a circular cut from the right in response to Kevin’s oppos-
ing pressure on the weapon.
62 P uck Cu rt is a n d M a ry Di l l Cu rt is

Reaching with His Back Foot, Puck Seeks Puck Faces Kevin in the Guard from
a New Diameter the New Diameter

Having struck, Puck takes a curved step right with his rear foot and retreats along the new
diameter.
After executing the narrowing and retreating, Puck might now lift his point to the right angle
to again threaten Kevin’s face or chest.

The Technique of the Weak Under the Strong

(General Flaqueza Debajo de la Fuerza)
From an atajo on the outside high line, spiral clockwise, leading with the tip to carry your adver-
sary’s weapon to your inside line and strike the flank. Th is technique may be executed as a thrust
in opposition or having carried the adversary’s blade to a new line, you might strike by liberating
your weapon from the enemy’s steel to strike the abdomen, chest, or head.

Puck Places an Atajo on the Outside High Line Puck Spirals Clockwise to the Inside Low Line

Leading with the tip and maintaining greater degrees of strength in the engagement, Puck spi-
rals his point so that the weak of his weapon is under the strong of Kevin’s sword. His tip threatens
Kevin’s flank, but he might also attack the abdomen, chest, or head.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 63

With His Point on Target, Puck Takes Puck Strikes with the Weak Under the Strong
a Spanish Gaining Step

Having chosen to strike the flank, Puck turns his edge into the adversary’s weapon to facilitate
the thrust in opposition.
Taking a transverse step left, Puck completes the weak under the strong, and he has profi led his
body along the new diameter.

Puck Retreats Along a New Diameter Puck Faces Kevin in the Guard from
the New Diameter

Reaching along the new diameter with his rear foot, Puck retreats by pushing off of his front foot.

The General Technique of the Weak over the Strong

(General Flaqueza Encima de la Fuerza)
From an atajo on the inside high line, spiral counterclockwise in a complete circle back to the inside
high line. From the inside line, carry your point over the adversary’s weapon, and leading with the
tip, spiral counterclockwise, carrying the adversary’s blade to the outside as you did in the general
technique of narrowing. Without interrupting the flow of motion, continue the spiral in the same
direction, so that you return to the original position on the inside high line.
Th is enveloping action is very useful when seeking the weapon of an adversary who continually
avoids engagement with disengages. You may choose to perform the thrust in opposition to the
chest or face. With the adversary’s weapon deviated from the line you may also choose to liberate
your steel to direct an attack to the head, chest, or abdomen.
64 P uck Cu rt is a n d M a ry Di l l Cu rt is

Puck Places an Atajo on the Inside High Line Puck Leads with His Tip in a Counterclockwise Spiral

Just As in the Narrowing, Puck Continues His Puck’s Weapon Spirals to the Inside High Line
Spiral Counterclockwise

Having Placed His Point on Target, Puck Takes

a Gaining Step

The weak of Puck’s sword has been carried over the strong of Kevin’s weapon. Turning his true
edge into the opposing steel, Puck takes a Spanish gaining step to gain additional distance for his
attack. If Kevin liberated his weapon, Puck could quickly recover or retreat. He might also take
advantage of Kevin’s movement to the outside to place an atajo on the outside line and execute the
line in cross without recovering from the gaining step by taking a curved step to the right.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 65

Puck Completes the Weak Over the Strong

with a Th rust

Taking a transverse step left, Puck completes the weak over the strong with a thrust in opposition.
He has profi led his body along the new diameter and might retreat along this line. He could also
attack with a curved step right by liberating his weapon and directing the attack to the head, chest,
or abdomen. If Kevin were to parry the attack shown above by applying pressure and opposition
on the inside line, Puck might yield and pass forward with the rear foot to execute the movement
of conclusion with a circular reverse, as shown previously.

Ettenhard’s Atajo Sequence

In his text Compendium of the Foundations of the True Art and Philosophy of Arms (1675), don Fran-
cisco Antonio de Ettenhard walks the reader step-by-step through an atajo to the inside (135–55).
One possible ending to the sequence is a movement of conclusion which provides us with a useful
fi nal action for this article. It synthesizes many of the techniques presented here into a single action.
We again reference Ettenhard’s circle, demonstrating the mixed step (transverse and curved) from
the footwork section of this article to see the steps mapped on the circle.

Mixed Step Transverse Left and Curved Left (Angular Advance with Passing Step)
66 P uck Cu rt is a n d M a ry Di l l Cu rt is

Eric Places an Atajo on the Inside High Line

Eric Takes a Spanish Gaining Step Spiraling Counterclockwise with His Point, Eric
Takes a Transverse Step Left

On our recreation of Ettenhard’s circle this transverse step left is labeled as “1.”

As If He Were Narrowing, Eric Directs His Sword Eric Passes Forward, Executes a Conclusion,
to Kevin’s Abdomen in a Spiral and May Strike with a Th rust

On our recreation of Ettenhard’s circle this pass with a curved step left of the left foot is la-
beled as “2.”
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 67

Eric Reaches Kevin’s Line of Infi nity and Steps Backward

On our recreation of Ettenhard’s circle this pass with a curved step left of the right foot is
labeled as “3.”
Pivoting on the ball of his left foot, Eric places his rear foot on Kevin’s line of infi nity and steps
back, pulling Kevin off balance. He is profi led in a reversed stance and can easily drive his weapon
deep into Kevin’s flank.

Conclusion
It has been our goal to clearly present for the reader the building blocks of the Spanish tradition.
These techniques must go hand in hand with an understanding of tactics, strategy, timing, and
above all training, training, and more training. Good fencing is brought from the written page to
the living world through sweat spent on your feet in the training hall. Even the great Spanish fenc-
ing master, don Luis Pacheco de Narváez, claims in an introductory letter to Greatness of the Sword
that he spent ten years studying Carranza’s fencing theory and applying it to his own work in the
practice and science of swordplay.
It would be a mistake to assume “that whoever reads this book will kill anyone he pleases”
(Quevedo, p. 172). A reader of the original texts will realize how much of the theory and practice
we have omitted in an attempt to simplify our own presentation of the material, and we claim the
sole responsibility for any errors or omissions. It would be our hope that if an error presents itself,
another scholar will publish a critique of this work that expands on what we have presented.
We can personally vouch for the effectiveness of the Spanish martial art, and students that
practice the techniques regularly produce these carefully notated actions effortlessly. With practice,
any fencer can respond with a devastating movement of conclusion at a moment’s notice when the
correct pressure is detected on the blade. We have watched swordsmen in the fencing schools of
Spain spontaneously recreate the fencing described in the texts by applying the principles of the art
rather than practicing techniques by rote. These modern diestros (skilled swordsmen) and scholars
of Spain enthusiastically encouraged us to research and teach their unique martial art and science
in English. Their pride in their national tradition asks only that we all appreciate, debate, and share
la verdadera destreza together so that this art of defense is preserved forever.
68 P uck Cu rt is a n d M a ry Di l l Cu rt is

Acknowledgments
Many people have contributed to our study and the presentation of this work. Special thanks go to
Dr. Manuel Valle for his tireless research and generous hospitality in not only sharing his research
and considerable talent with us, but also his home. Valle, Steve Hick, and Matt Galas have become
the three godfathers of the Western martial arts movement, as they scour the archives to bring
swordplay from the stacks back into the eager hands of our growing community.
My colleagues, the steadfast and intelligent Maestro Eric Myers and the ever-patient Provost
at Arms Kevin Murakoshi, assisted in the interpretation and documentation of the technique. (It
seems only fitt ing that Kevin, so often struck and abused during seminars and classes should in
return have the opportunity for a small portion of well-deserved vengeance.) Both of these men
not only provide me with highly-skilled training partners, but they also have keen minds able to
visualize and analyze complex fencing actions.
Maestro Myers, Provost Murakoshi, and I have all had the benefit of the Fencing Master’s Pro-
gram founded by the late Maestro William Gaugler. Working with Maestro John Sullins, Maestro
Ralph Sahm, Maestra Janine Sahm, Maestro Sean Hayes, and the other maestri of the program has
provided me with essential tools for teaching and analyzing swordplay.
Finally, thanks must also be given to the dedicated fencers of the Asociación Española de Es-
grima Antigua (A.E.E.A).26 These excellent, Spanish martial artists enthusiastically welcomed us
into their sala and as long as these men and women continue to train, the Carrancine spirit will
flourish in the land of its birth.27

Glossary of Terms
Hand Positions
Término Term Classical Fencing
Uñas afuera Fingernails out First
Uñas abajo Fingernails down Second
Uñas adentro Fingernails in Th ird
Uñas arriba Fingernails up Fourth

26
A.E.E.A. may be translated as the Spanish Association of Historical Fencing.
27
In his 1599 Libro de descripción de verdaderos retratos, de ilustres y memorables varones (Book Describ-
ing True Portraits of Illustrious and Memorable Men), the painter and intellectual Francisco Pacheco
describes Pedro de Mesa as embodying the “Carrancine spirit” due to his mastery of Jerónimo Sánchez
de Carranza’s true art of defense.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 69

Blade Movements
Término Term Meaning
Movimiento Accidental Forward Movement Blade moves forward
Movimiento Extraño Backward Movement Blade moves backwards
Movimiento Violento Upward Movement Blade rises
Movimiento Natural Downward Movement Blade falls
Movimiento Remiso Offl ine Lateral Blade moves to a side
Movement
Movimiento de Reducción Aligning Lateral Blade returns to the centerline
Movement
Movimiento Mixto Mixed Movement A combination of movements
Movimiento de Aumento Movement of Increase Movement strengthening engagement
Movimiento de Diminución Movement of Decrease Movement weakening engagement

Footwork
Término Term Meaning
Compás Recto (Accidental) Forward Step A step toward your opponent along
the diameter or centerline.
Compás Extraño Backward Step A step away from your opponent.
Compás Trepidante Lateral Step A sidestep along the line of infi nity.
Compás Mixto Mixed Step A combination of two types of steps.
Compás Transversal Transversal Step A diagonal movement forward along
the square starting with the lead
foot.
Compás Curvo Curved Step A curved step to one side or the other
away.

Attacks
Término Term Meaning
Estocada Th rust To penetrate the body by pushing forward with the point
of the weapon
Medio Tajo Half-cut A direct forehand cut delivered in two movements
Medio Revés Half Reverse A direct backhand cut delivered in two movements
Tajo Circular Cut A forehand cut delivered in three movements circling
around the adversary’s weapon
Revés Circular Reverse A backhand cut delivered in three movements circling
around the adversary’s weapon
70 P uck Cu rt is a n d M a ry Di l l Cu rt is

Distance
Término Term Meaning
Medio de Proporción Measure of Proportion Defensive distance set by the ability to
react to a threat
Medio Proporcionado Proportionate Measure Offensive distance set as the distance
required to deliver a specific attack

The Th ree Universal Methods of Defense

Término Term Meaning
Ángulo Recto Right Angle Defense by threatening with the blade
(or point) in line
Atajo Atajo Defense by subjection with greater
strength from above
Movimiento de Conclusión Movement of Defense by seizing the adversary’s hilt
Conclusion with your left hand

The General Techniques

Término Term Meaning
Línea de Cruz Line in Cross A thrust in opposition spiraling clock-
wise along the outside high line
Estrechar Narrowing A thrust in opposition spiraling coun-
terclockwise from the inside high
line to the abdomen
Flaqueza Debajo de la Weak Under Strong An action on the blade, spiraling
Fuerza clockwise from the outside high
line to the inside low line, followed
by attack
Flaqueza Encima de la Weak over Strong An action on the blade, spiraling in a
Fuerza complete circle counterclockwise
from the inside high line back to
the inside high line, followed by
attack.
 F r o m t h e Pa g e t o t h e P r a c t ic e : F u n da m e n t a l s of S pa n i s h S w or dp l a y 71

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