Source: http://destreza.us/wiki/index.php?

title=Main_Page

Geometry
Geometry is one of the foundations of La Verdadera Destreza.
The following items are critical to understanding the jargon:

The Point - A single fixed place in space without width or length.

"the Point is the thinnest mark that one can make writing with a quill on paper..."
~Ettenhard's COMPENDIUM OF THE FOUNDATIONS OF THE TRUE ART AND PHILOSOPHY OF
ARMS, (pp. 1-2)

The Line - A line extends from one point to another and has length but no width.
o Straight - A line from one point to along the shortest path without curves
o Curved - A line from one point to another that forms an arc
o Mixed - A combination of straight and curved lines
Angle - An angle is formed when two lines intersect
o Obtuse Angle - The angle between the lines is greater than 90 degrees.
o Right Angle - The angle between the lines is 90 degrees (or squared).
o Acute Angle - The angle between the lines is less than 90 degrees.

Hand Positions
The hand holding the weapon in Destreza uses four positions
Trmino

Term

Italian Fencing

Uas afuera

Fingernails out

First

Uas abajo

Fingernails down Second

Uas adentro Fingernails in

Third

Uas arriba

Fourth

Fingernails up

Hand Position in the Guard

While in the guard the hand is held fingernails in with the sword on edge.
Carranza ranks the hand positions in order of strength in the following order:
1. Fingernails Inside (Strongest)

2. Fingernails Down
3. Fingernails Up (Weakest)
4. Fingernails Out (Carranza doesn't compare this to the others)

In the second dialogue of his book, Carranza suggests that the false fencing master teaches his
students to use fingernails up so that he might easily disarm them.

Movements and Time

Simple Blade Movements
Trmino

Term

Meaning

Movimiento
Accidental

Forward Movement

Blade moves forward

Movimiento Extrao Backward Movement Blade moves backwards

Movimiento Violento Violent Movement

Blade rises

Movimiento Natural Natural Movement

Blade falls

Movimiento Remiso

Offline Lateral
Movement

Blade moves to the side, off the centerline

Movimiento de
Reduccin

Aligning Lateral
Movement

Blade returns to the centerline

Movimiento Mixto

Mixed Movement

A combination of simple movements (Up and to the left

would be an example)

Other Blade Movements

Trmino

Term

Meaning

Movimiento de
Aumento

Movement of
Increase

When the blades are engaged, changing blade engagement

to increase the degrees of strength

Movimiento de
Diminucin

Movement of
Decrease

When the blades are engaged, changing blade engagement

to reduce the degrees of strength

Movimiento Oblicuo

Oblique
Movement

Making a half-circle with the blade without moving the wrist

to change from one side to another

Movimiento Circular

Circular
Movement

A circular blade movement used when executing a cut or

some deflections.

Measuring Time in Destreza

In the Italian fencing tradition a unit of fencing time, or a tempo, is used to measure fencing
actions as they occur in time. The concept comes from the Aristotelian concept of time and, like
music, it is relative rather than discrete. Fencing times are measured by the motions of the fencer
and the adversary rather than in seconds or milliseconds.
In Spanish fencing, movements are used to measure fencing actions and a movement with fewer
simple movements is considered superior in time than a movement with more simple
movements. The Spanish Movements can be used to count time in the same way the Italians
would use tempi. An action with fewer movements beats an action with more movements.

Examples:
These examples show how to count Aristotelian time in the Spanish tradition using movements.
(Mixed movements count as a single movement when counting time.)
Circular Cut
1. Offline Left: Remove the blade from the diameter to the left
2. Violent: Lift the blade to the high center line
3. Mixed Natural & Aligning: Drop the blade and return to the centerline to deliver the
attack
Half Cut
1. Mixed Violent & Offline Right: Lift the blade and remove it to the right to chamber the
attack
2. Mixed Natural & Aligning: Drop the blade and return to the line to deliver the attack
Thrust
1. Forward: Thrust into the adversary

The thrust will usually defeat the cuts because it has fewer simple movements.

Timing in Destreza
Tempo in the Spanish system describes when you act with regard to the opponent's action. There
are three tempos in Destreza:
1. Before - Acting before the adversary forms his attack

2. During - Acting during the adversary's attack in the preparatory (dispositive) actions
3. After - Acting in the final movement (executive) of adversary's attack

Lines
Lines

High Line: Higher than the weapon

Low Line: Lower than the weapon
Inside Line: To one side of the weapon corresponding to the chest (Left of the weapon for a
right-handed fencer)
Outside Line: To one side of the weapon corresponding to the back (Right of the weapon for a
right-handed fencer)
Left Line: To the left with regards of the swordsman
Right Line: To the right with regards of the swordsman
Forward Line: In front of the swordsman
Rear Line: Behind the swordsman

Each fencer has their own Lines and the authors will refer to "the opponent's left Line" or "your
right Line".

Blade Orientation in Space

These angles take their name from the angle that the weapon arm makes with the trunk of the
body.

Right Angle: Blade aligned with the shoulder (Guard Position)

Obtuse Angle: Blade lifted from the right angle
Acute Angle: Blade lowered from the right angle

Simple Attacks
There are 5 attacks used in Destreza and these are:

Thrust (Estocada)
Half Cut (Medio Tajo)
Half Reverse (Medio Reves)
Circular Cut (Tajo)
Circular Reverse (Reves)

Thrust
The Thrust (estocada) is an attack executed with an extension of the sword towards the opponent
to strike with the tip. It is composed of one Forward Movement but may be combined into a
Mixed Movement if the blade is not in the position of the right angle.

Movements of the Thrust

1. Forward Movement (movemiento accidental) to deliver the strike

A Forward Movement is when the blade travels toward the adversary. One example would be a
thrust.

Types of Thrusts
Direct Thrust
The Direct Thrust is an attack with the sword's point that travels in a linear path towards the
target.

It may be executed in Aggregation with continuous opposition as the attacking blade glides
along the adversary's weapon.
It may be executed without Aggregation with the adversary's blade at liberty.

Thrust of the Full Circle

Description
A circular thrust is delivered when the adversary begins to parry the attack. Instead of attacking
directly into the parry, the swordsman perceives movement of the parry and carries the point in a
complete circle around the opposing steel to deliver a thrust into the original target. Ettenhard
indicates that the circular motion is distinct and separate from forward movement of the thrust.

Difference Between Circular Thrusts and Feints

It is a key element of La Verdadera Destreza theory that differentiates this kind of action from a
feint.

A feint is a simulated attack intended to draw the adversary's parry. Feinting attacks are
considered bad practice because their execution depends on the adversary making a mistake.

A thrust of the full circle reacts to the motion of a parry by avoiding the opposing sword. A
thrust of the full circle is triggered by the motion of the adversary and no feinting attack is
implied. In play it could occur when the right angle is presented and the adversary seeks to take
the weapon or parry the weapon. It might also be possible to mutate an attack in response to
the parry.

Example

From atajo on the inside line the swordsman directs the point towards the opponent's chest.
Placing the point on target triggers a parry across the chest from the adversary which the
swordsman eludes by carrying the tip in a full clockwise circle. When the point is back on line,
the thrust is delivered to the chest which was the original target.

Thrust of the Half Circle

Description
A thrust of the half circle is delivered when the adversary begins to parry the attack. Instead of
attacking directly into the parry, the swordsman perceives movement of the parry and carries the
point in a half circle around the opposing steel to deliver a thrust into a new target. Ettenhard
indicates that the circular motion is distinct and separate from forward movement of the thrust.

Difference Between Half Circular Thrusts and Feints

It is a key element of La Verdadera Destreza theory that differentiates this kind of action from a
feint.

A feint is a simulated attack intended to draw the adversary's parry. Feinting attacks are
considered bad practice because their execution depends on the adversary making a mistake.

A thrust of the half circle reacts to the motion of a parry by avoiding the opposing sword. A
thrust of the half circle is triggered by the motion of the adversary and no feinting attack is
implied. In play it could occur when the right angle is presented and the adversary seeks to take
the weapon or parry the weapon. It might also be possible to mutate an attack in response to
the parry.

Example

From atajo on the inside line the swordsman directs the point towards the opponent's chest.
Placing the point on target triggers a parry from the adversary which the swordsman eludes by
carrying the tip clockwise in a half circle. When the point is back on line, the thrust is delivered
to the flank on the outside low line.

Thrust of the Quarter Circle

Description
A thrust of the quarter circle is delivered when the adversary begins to parry the attack. Instead
of attacking directly into the parry, the swordsman perceives movement of the parry and carries
the point in a quarter circle around the opposing steel to deliver a thrust into a new target.
Ettenhard indicates that the circular motion is distinct and separate from forward movement of
the thrust.

Difference Between Half Circular Thrusts and Feints

It is a key element of La Verdadera Destreza theory that differentiates this kind of action from a
feint.

A feint is a simulated attack intended to draw the adversary's parry. Feinting attacks are
considered bad practice because their execution depends on the adversary making a mistake.

A thrust of the half circle reacts to the motion of a parry by avoiding the opposing sword. A
thrust of the quarter circle is triggered by the motion of the adversary and no feinting attack is
implied. In play it could occur when the right angle is presented and the adversary seeks to take
the weapon or parry the weapon. It might also be possible to mutate an attack in response to
the parry.

Examples

From atajo on the inside line the swordsman directs the point towards the opponent's chest.
Placing the point on target triggers a parry from the adversary which the swordsman eludes by
carrying the tip in a half circle. When the point is back on line, the thrust is delivered to the
abdomen.
From atajo on the inside line the swordsman directs the point towards the opponent's face.
Placing the point on target causes the adversary to lift his guard which the swordsman eludes by
carrying the tip in a counterclockwise half circle. When the point is back on line, the thrust is
delivered to the armpit on the outside line.

Half Cut
The Half Cut (Medio Tajo) is an attack with the edge delivered from the right side which is
composed of two simple movements that are linear rather than circular. The first motion is
Dispositive to chamber the attack to the right and the second motion is Executive to deliver the
cut.

Movements of the Horizontal Half Cut

1. Offline Lateral Movement to the Right (movemiento remiso) to chamber the attack

An Offline Lateral Movement is when the point of the weapon is carried away from the Diameter
(Line of Direction) 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. This might be a parry or the chambering of a cut.

2. Aligning Lateral Movement (Movimiento de Reduccin) to deliver the attack with the
edge
An Aligning Lateral Movement is when the blade is returned from either the left or right back to
the Diameter (Line of Direction). It is interesting to note that bringing the weapon across the
Diameter is counted as two distinct movements. If the point is offline, bringing it towards 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 Offline Lateral Movement. This is
very useful for indicating the different tactical situations that are possible when a blade is leaving
or entering 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.

Movements of the Descending Half Cut

1. Violent Movement (movemiento violento) to chamber the attack
A Violent Movement is one in which the blade rises. One example might be the chambering of a
vertical cut.
2. Natural Movement (movemiento natural) to deliver the attack with the edge
A Natural Movement is one in which the blade falls to the earth. More specifically, the blade is
lowered. One example would be a vertical cut downwards.

Half Reverse
The Half Reverse (Medio Reves) is an attack with the edge delivered from the left side which is
composed of two simple movements that are linear rather than circular. The first motion is
Dispositive to chamber the attack to the right and the second motion is Executive to deliver the
cut.

Movements of the Horizontal Half Reverse

1. Offline Lateral Movement to the Left (movemiento remiso) to chamber the attack
2. Aligning Lateral Movement (movemiento reducto) to deliver the attack with the edge

Movements of the Descending Half Reverse

1. Violent Movement (movemiento violento) to chamber the attack
2. Natural Movement (movemiento natural) to deliver the attack with the edge

Circular Cut
The Circular Cut (Tajo) is an attack with the edge delivered from the right side which is
composed of three simple movements that form a circle. The first two motions are Dispositive to
chamber the attack and the final motion is Executive to deliver the cut.

Movements of the Descending Circular Cut

1. Offline Lateral Movement to the left (movemiento remiso) to chamber the attack
2. Violent Movement (movemiento violento) to lift the weapon into the high line
3. Natural Movement (movemiento natural) to deliver the attack with the edge

Movements of the Diagonal Circular Cut

1. Offline Lateral Movement to the l,eft (movemiento remiso) to chamber the attack
2. Violent Movement (movemiento violento) to lift the weapon into the high line
3. Mixed Movement (movemiento mixto) consisting of a Natural Movement (movemiento natural)
and an Aligning Movement (movemiento reducto) to deliver the attack with the edge

Movements of the Horizontal Circular Cut

1. Offline Lateral Movement to the left (movemiento remiso) to chamber the attack

2. Violent Movement (movemiento violento) to lift the weapon into the high line
3. Mixed Movement (movemiento mixto) consisting of a Natural Movement (movemiento natural)
and an Aligning Movement (movemiento reducto) to deliver the attack with the edge

Circular Reverse
The Circular Reverse (Reves) is an attack with the edge delivered from the left side which is
composed of three simple movements that form a circle. The first two motions are Dispositive to
chamber the attack and the final motion is Executive to deliver the cut.

Footwork
Linear Footwork
Trmino

Term

Accidental Forward

Extrao

Backward

Trepidante Lateral

Definition

Execution

A step toward your opponent along

the diameter or centerline.

The right foot advances and the left

follows. When you complete the
movement, you are in stance again.

A step away from your opponent.

The left foot moves backwards,

followed by the right. When you
complete the movement, you are in
stance again.

A step to one side or the other,

away from the opponent along the
line of infinity (a 90-degree angle to
the diameter or centerline).

When stepping to the left, move the

left foot first, followed by the right.
When stepping to the right, move the
right foot first, followed by the left.

A diagonal step in two directions at

Transversal Transversal once with the forward foot. (Often
used offensively to strike.)

Mixto

Mixed

A type of footwork that combines

two movements - backward and
lateral in this case.

Curved Footwork
Trmino Term

Definition

Execution

Take a step along an angle. Your feet

may sometimes cross. When you
complete the movement, you are in
stance again.
This step may either be an angular
retreat or angular cross-step back.

Curvo

A curved step to one side or

Curved the other away from the
opponent along the circle.

When stepping to the left, move the left foot first,

followed by the right. When stepping to the right,
move the right foot first, followed by the left. Do not
cross your feet. When you complete the movement,
you are in stance again.

Mixto

A type of footwork that

combines two movements - a
Mixed
transverse left followed by a
curved left in this case.

Take a transverse step left with the front foot, pivot

on the ball of the front foot, pass the rear foot
forward with a curved step left to end in a reversed
stance.

Other Footwork
Trmino Term
Gaining
Step

--

Definition

Execution

Bring the rear foot close to the front.

(Used to gain distance for offensive
footwork.)

Bring the rear heel forward to the line

of infinity near the toes of the front
foot.

The Sword
In the Verdadera Destreza the dueling sword is no longer than than five fourths of a Vara (41.1
inches) from the crossbar to point.

The blade is divided into degrees of strength with the point labeled as 1 to represent the weak
degree of leverage. The labeled value increases as we move along the blade closer to the hilt to
represent the increased strength in Engagement.
The part of the blade closest to the point is called the weak or the remote.
The part of the blade closest to the hand is strong or the center.
"Moving over the center" is a reference to moving your own blade over the adversary's to take it
with the strong

Distance
Distance in the Verdadera Destreza is broken into two types:

Proportionate Measure (Medio Proporcionado) Offensive Distance

Measure of Proportion (Medio de Proporcion) Defensive Distance

The Diameter of the Common Circle is defined by the Measure of Proportion.

The Radius of the Maximum Orb is defined by the Measure of Proportion.

The Proportionate Measure (Medio Proporcionado) is the distance or place required for a specific
attack. For example, the Proportionate Measure for a thrust will be different than that of a cut.

The Measure of Proportion (Medio de Proporcion) is the defensive measure or place. Ettenhard
defines it as the distance at which you can safely react to the adversary's offense.
The Measure of Proportion defines the Diameter of the Common Circle and the Radius of the
Maximum Orb.

Defense
There are three universal defenses in the Verdadera Destreza:
1. The Advantage of the Right Angle Also shortened to "The Right Angle". If the opponent
removes the point so that it is not pointed towards the adversary, the swordsman can strike or
threaten using the Advantage of the Right Angle. This is defense by threatening with the blade
(or point) in line or a conversion (counterattack) that changes the adversary's movement into an
attack typically using footwork to achieve a safe position.
2. The Atajo
Definition
Atajo is domination of the opponent's blade from above using the edge with the strong against
the weak giving precedence to the point in such a way that the blade is not out of the moderate
position. It should also prevent the adversary from striking you with a single movement. By
forcing the adversary to use more than two or more movements to attack you can prevent the
attack by placing another atajo over it or by striking in their Dispositive movement.
Th atajo may accompanied by footwork to remove the fencer from the line of attack and gain an
advantageous angle for an offensive response. the atajo can be used if the opponent attacks on
either the inside or outside line. (I haven't seen any evidence of Atajo being used from beneath
the adversary's weapon like an Italian parry in 2nd or in 1st.)
Atajo can be considered defense of steel but may also be used to take the opposing blade as a
preparation for an offensive action.

Definitions: New Science... by Don Luis Pacheco de Narvez

Atajo es cuando una de las armas se pone sobre la otra (no en alguno de sus estremos) y con
mayores o iguales grados de fuerza la sujeta y hace que cualquiera treta que formare sea con
ms movimientos y participacin de ms angulos de los que pidiere la simple naturaleza suya.

Atajo is when one of the weapons is placed over the other (not in any of its extremes) and with
greater or equal degrees of force subjects it and makes it so that whatever technique that it
forms will be with more movements and the participation of more angles than those that its
simple nature requires.

Dictionary: Academia Autoridades (A-B), 1726

Atajo. En la esgrima es la postra de la espda, de modo que unida libre corte la lnea del
dimetro, para que la espda del contrario no pueda passar herir sin encontrar con ella. Y
tambien poner el atjo es poner la espda sobre la otra cortndola. Lat. Compendiaria quadam
enfis adversarii interceptio in arte Gladiatoria. Pachec. Destreza, part.5.fol.288. Aunque tambien
teniendo atajo en la espda contrria, se hiere por encma de ella, haciendo extrmo con el
brazo. Quev. Mal.5.Xac.10 Mafcarque es angulma, / Cientifico y Archimdes, / y mas amgo
de atjos / que las mula de alquilres.
Atajo. In fencing it is the positioning of the sword in such a way that united or free it cuts the
line of the diameter so that the adversary's sword cannot pass to strike without encountering it.
And also, placing the atajo is placing the sword over the other, crossing it. Lat. Compendiaria
quadam enfis adversarii interceptio in arte Gladiatoria. Pachec. Destreza, part.5.fol.288. Even
though also having atajo on the opposing sword, one strikes above it, making an extreme
[extension] with the arm. Quev. Mal.5.Xac.10 Mafcarque is angulma, / Scientific and
Archimdes, / and more friend of atajos / than the mule of alquilres.

Dictionary: Minsheu 1599 (Spanish-English)

Atjo = a cut, a slice, in a iourney or voy age the cut or shortest way, a turne pike in a way: a
weare in a riuer: a stile in a hedge, a gate. A flocke or heard of cattle.Atajr = to discouer, to
forrage or spoile, to cut off or stop of his purpose, to make short, to make a weare in a riuer.
Atajdo [m.] = cut off, shut off from his purpose.
Atajadr = one that cutteth off or stoppeth the way, a skoute, a spie, a boot-haler or stealer of
cattle.
Atajr camno = to stop the way. Also to goe the shortest way or cut.
Atajr enemgos = to cut off enemies by getting betweene them and their home.
Atajasolzes = a cutting or cutter off of pleasure or mirth.

Dictionary: Minsheu 1599 (Spanish-English) From The Guide into Tongues

to Cut = Tajr
a Cut = Tajda

Dictionary: Minsheu 1599 (Spanish-English) From A Most Copious Spanish Dictionary

(1617)

Atjo = A. a short cut, a by-way, to come sooner to the iourneyes end, vid. Atajr. (unnumbered
page)

Atajr = A. To cut off the way, to goe the shortest cutte, per allusionem de omnibus rebus
dicitur, vt Atajr raznes, Atajr inconuenintes, Atajr los enemgos, to cut off the reasons, to
cut off the inconueniences, to cut off the enemies, &c. vid: Tajr.

Glossary: Compendio de la Filosofa y Destreza de las armas de Geronimo de Carranza

por Don Luis Pacheco de Narvaez

11. Atajo en la deftreza, es quando una de las armas fe pone fobre la otra, que la que est
fugora, tiene menos partes por do falir.
11. Atajo in the destreza is when one of the weapons is placed over the other so that the one
that is apt to move away has fewer places by which to escape.

3. The Movement of Conclusion (movemiento de conclusion) A Movement of Conclusion is the

act of seizing the adversary's hilt with your off-hand.
If the opponent attacks on the outside line, the fencer can use Atajo to the outside or the
Movement of Conclusion. From committed engagement on the outside line, the Movement of
Conclusion is a passing step forward with the rear foot while simultaneously seizing the hilt of
the adversary's weapon. You can also transition from Atajo on the inside to a Movement of
Conclusion by reaching over the adversary's weapon to seize the hilt.

The Verdadera Destreza also recognizes two non-universal defenses which are part of false
swordplay:
1. The Deflection (desvio)
The deflection (Desvio) is a false defensive technique which laterally deviates the weapon from the line
of attack.

2. The Engagement (agregacion)

The Engagement (Agregacion) is contact between the two swords regardless of the quality of the
contact. This is one of the two false defenses. It is not enough merely to contact the adversary's
weapon to defend yourself because it does not fulfill the requirements of Atajo.

The General Techniques

The General Techniques (or Generals) are spiraling actions on the blade. There are two executed
from the inside line and two executed from the outside line.

1. The General Technique of Narrowing (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 and striking to the outside low line. (This is like a classical Italian transport from 4th to 2nd
but with an extended arm.)
2. The Line in Cross From the outside line take the adversary's blade from above engaging with the true
edge from above. Carry your tip over the adversary's weapon to strike on the outside high line. (Similar
to a thrust by glide from engagement in classical Italian 3rd.)

3. The Weak over the Strong From engagement on the outside high line, spiral clockwise
leading with the tip to carry your adversary's weapon to your inside line and strike in the flank.
Pacheco describes this as if it were an explusing action that ends with the adversary's blade flung
to the swordsman's left. (If this is the case it may be similar to a classical Italian spiral
disarmement in 3rd.)
Ettenhard does not specifically mention the expulsion which may provide some basis for treating
this as a change in line and glide. (This interpretation is like a classical Italian transport from 3rd
to 1st and strike the inside low line.)
4. The Weak under the Strong From engagement on the inside high line, create a circle with the
blade that envelops the opposing steel to carry it back to 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.
Pacheco describes this as an expulsing action which carries the opposing weapon to the
swordman's left. (This is like a classical Italian envelopment of 4th which leads into an expulsion
of 4th.)