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We welcomed a new fencer, Jon, so while I went through a quick introduction to Meyer rapier, David and Nicola worked on some more sophisticated maneouvers.

Later, Nicola and I took turns playing "fencing chess" with David.  The idea is to fence slowly, so it comes down to a game of: I do this, you do that, so I want to go here etc.  I found it a nice way to analyse my fencing - identifying mistakes I repeatedly make - and I think it will be a useful way to intoduce new plays that I've had trouble making work at speed.

Mistress Katherina Weyssin made this:

for her Pelican ceremony, at the Royal Visit on the 30th of April, 2011.

We only had time for a little dancing at the Royal Visit (30th April, 2011), but we made the most of what we had.

After the Royal Court in the afternoon, while our new Baron and Baroness accustomed themselves to their role and regalia, and before the feast, we took the opportunity to use the space in the feasting hall for the purpose for which it was surely created!

First, Mistress Katherina Weyssin and Master William de Cameron danced Pungente Dardo, a delightful balletto recorded by Maestro Caroso in Il Ballarino (published in Venice in 1580).

For the rapier tourney at the Royal Visit we had playing:

King Gabriel, Don William, Don Emrys, Baron Benedict, Lord Ludwig

Lesson Plan: Basics from Meyer.  Attack and defence against high, middle and low line.  Identifying attacks and presenting the right defence from limited options.  Recovering and blade feel.

Warm-up: Footwork

Review:  Attack (lunge) and defence (parry) to lower, middle and upper body.

Written in honour of the admission of Mistress Katherina to the Order of the Pelican by Ludwig von Regensburg, proudest of husbands.

On the Service of Dancing

Terpsichore has hold over all men,

for there are no people so crude and

unrefined they are not greatly moved

by sweet melody.

Dancing would captivate Cato,

make Diana bow to her followers,

and make Scipio quit his noble enterprise.

The virtuous dance is an Art and a Science,

both natural and arteficial.

During the training on Wednesday, Nicola and Patrick practised against each other with every combination of weapons to hand (except a Case of daggers - they ran out of time for that).

Patrick showed how bad he is with Case and that he needs to void with his back foot when parrying.  He also discovered that when he gets frustrated he forgets to gather the back foot before lunging, which does nothing to ease his frustration.

More Manciolino.  Working from the Leoni translation and introduction, we worked on the first five attacks and responses from Guardia di Testa.

Warm-up: Lunge practice.

Review: Guardia di Testa, di Faccia (both high guards), Porta di Ferro Stretta and Coda Lunga e Alta (both low guards).  Parries can be accomplished by transitions between these guards.  Cuts in this style tend to be "incomplete" or Colpo Imperfetto rather than Colpo Finito.  Reviewed Mandritto, Riverso, Stramazzone.

A somewhat constrained session, because Katherina forgot a piece of equipment, so we had only the music William had on him.

As only the advanced dance group was present, we didn't distinguish the sessions especially.

We warmed up with Amoroso, and lacking any newer dances, La Figlia de Guglielmino. Then worked through mk.II of Anna's class on Cesarina, as practice for Festival.

We practiced galliards a little more, to the Volta music on Celeste Giglio - fun, pretty, but not the easiest.

A first look at Manciolino.  Working from the Leoni translation and introduction, we tried the first four attacks and responses from Guardia di Testa.

Problem: There is little footwork specified.  Instances where footwork is specified are passes, except one instruction to step with the right foot at the opponent to make sure you get close enough to strike with a cut.  Inspection of the rest of the chapter shows this is the approach throughout.  I note one instruction to step towards an attack.