Destreza

Destreza

Focus	Rapier;early modern bladed weaponry
Country of origin	Habsburg Spain
Famous practitioners	Jerónimo Sánchez de Carranza,Luis Pacheco de Narváez,Girard Thibault,Anthony De Longis

La Verdadera Destrezais the conventional term for theSpanishtradition offencingof theearly modern period.The worddestrezaliterally translates to 'dexterity' or 'skill, ability', and thusla verdadera destrezato 'the true skill' or 'the true art'.

Whiledestrezais primarily a system of swordsmanship, it is intended to be a universal method of fighting, applicable to all weapons in principle, but in practice dedicated to therapierspecifically, or the rapier combined with a defensive weapon such as a cloak, abuckleror aparrying dagger,besides other weapons such as the late-renaissance two-handedmontante;theflail;and polearms such as thepikeandhalberd.

Its precepts are based on reason,geometry,and tied to intellectual, philosophical, and moral ideals, incorporating various aspects of a well-roundedRenaissance humanist education,with a special focus on the writings of classical authors such as Aristotle, Euclid, and Plato.

The tradition is documented in scores of fencing manuals, but centers on the works of two primary authors,Jerónimo Sánchez de Carranza(Hieronimo de Carança,died c. 1608) and his studentLuis Pacheco de Narváez(1570–1640).

History

Jerónimo Carranza's seminal treatiseDe la Filosofía de las Armas y de su Destreza y la Aggression y Defensa Cristianawas published in 1582 under the sponsorship of DonAlonso de Guzmán El Bueno, 7th Duke of Medina Sidonia,but according to its colophon was compiled as early as 1569.

Carranza's work represents a break from an older tradition of fencing, the so-calledesgrima vulgaroresgrima común('vulgar or common fencing'). That older tradition, with roots in medieval times, was represented by the works of authors such asJaime Pons(1474),Pedro de la Torre(1474) andFrancisco Román(1532). Writers ondestrezatook great care to distinguish their "true art" from the "vulgar" or "common" fencing. The older school continued to exist alongsidela verdadera destreza,but was increasingly influenced by its forms and concepts.

After Carranza laid the groundwork for the school with his seminal work, Pacheco de Narváez continued with a series of other books which expanded upon Carranza's concepts. While Pacheco originally clung closely to Carranza's precepts, he gradually diverged from them in significant respects. This divergence eventually caused a split between followers of Carranza (Carrancistas) and those of Pacheco (Pachequistas), essentially resulting in the existence of three different schools of fence in Iberia.

These new fencing methods quickly spread to the New World. Originally, this was theesgrima común,but eventually includeddestrezaas well. Carranza himself was governor of Honduras for a time.Destrezaauthors and masters can be documented in Mexico, Peru, Ecuador, and the Philippines. Some degree of influence on the Philippine martial arts is highly likely, although this is an area that requires further research.

El Buscón(1626) byFrancisco de Quevedoridicules a student of Pacheco'sLibro de las grandezas de la espada.The chapter ends with amulattofencing master who comments that "the book [...] was good but made more fools than skilled [fencers], since most did not understand it".Quevedo also composed injurious poems against Pacheco.

In the 18th century,destrezabegan a decline in popularity in favour of the dominantFrench school.This resulted in technical changes which become increasingly apparent by the beginning of the 18th century. By the 19th century, fencing texts in the Iberian Peninsula begin to mixdestrezaconcepts with ideas and technique drawn from French and Italian methodology. Whiledestrezaunderwent a kind of revival in the late 19th century,it appears to have largely disappeared by the beginning of the 20th century.

Technical characteristics

Technical hallmarks of the system are the following:

• Visualization of an imaginary circle between the opponents to conceptualize distance and movement
• Use of off-line footwork to obtain a favorable angle of attack
• Avoidance of movement directly toward the opponent
• Extension of the sword arm in a straight line from the shoulder to obtain maximum reach
• Profiling of the body to increase reach and reduce target area
• Use of an initial distance that is as close as possible, while remaining out of reach (medio de proporción)
• A conservative approach, using theatajo(bind) to control the opposing weapon
• Preference for downwards motion (movimiento natural) in all fencing actions
• Use of both cut (tajo, revés) and thrust (estocada)
• Use of a particular type of closing movement (movimiento de conclusión) to disarm the opponent

Perhaps the most important distinction betweendestrezaand other contemporary schools of fencing is its approach to footwork. Over centuries, fencing throughout Europe generally moved towards linear footwork, similar to modern fencing. In contrast,destrezadoctrine taught that moving directly toward the opponent was dangerous, and specialized in off-line footwork to either the right or left side to gain a more favorable angle of attack.

Another distinction is their approach to the relative value of cut versus thrust. The general lengthening of rapiers in Europe showed a clear preference for the thrust, relegating the cut to a distant second place.Destreza,on the other hand, refused to make such a distinction, maintaining that the cut could be as useful as the thrust depending on the situation, adapting their weapons accordingly. Although fencers from the Iberian Peninsula developed a reputation for using very long weapons, the weapons used indestrezawere generally shorter than the rapiers used elsewhere.

Gradually, bladework in Europe was influenced by the works ofCamillo Agrippaand successors, focusing on the use of four primary hand and blade positions (prima,seconda,terza,quarta), with an emphasis on the latter two.Destreza,on the other hand, focused almost exclusively on a hand position similar toterza(thumb at 12 o'clock).

Throughout Europe, masters generally taught a much wider variety of guards thandestrezamasters, who focused on the so-called "right angle", a position with the arm extended directly from the shoulder, forming a straight line from the point of the sword to the left shoulder.

Generally,destrezauses a finer graduation on the degrees of strength on the blade. Where other traditions generally recognized two degrees of strength (forteanddebole), eventually expanding this to three or four parts,Destrezaauthors wrote about 9, 10, or even 12 "degrees" or segments on the sword.

Destrezamasters paid close attention to the methods of their contemporary counterparts, both within the Iberian Peninsula and outside. Pacheco specifically argues against the works of many Italian authors in his textNueva Sciencia(The New Science). Likewise,Thibault's work includes a section aimed at countering the techniques ofSalvator Fabris.Francisco Lórenz de Rada's work also contains substantial coverage of how adiestroshould oppose an Italian opponent when using sword and dagger.

Académie de l'EspéebyGirard Thibault,fig. xiii, 1628

Primary sources

Further information:Martial arts manual § Iberian manuals

Early modern

• Jerónimo Sánchez de Carranza,Philosophia de las armas y de su destreza(1582)
• Luis Pacheco de Narváez,Libro de las grandezas de la espada(1600)
• Diogo Gomes de Figueiredo,Oplosophia(1628)
• Gerard Thibault,Académie de l'Espée(1630); trans. John Michael GreerAcademy of the Sword,The Chivalry Bookshelf (2006)
• Luis Méndez de Carmona Tamariz (ca. 1639)
• Diogo Gomes de Figueiredo,Memorial Da Prattica do Montante(1651).
• Miguel Pérez de Mendoza y Quijada (1672, 1675)
• Francisco Antonio de Ettenhard (Tenarde) y Abarca
• Alvaro Guerra de la Vega (1681)
• Thomaz Luiz,Tratado das Liçoens de Espada Preta(1685)
• Francisco Lórenz de Rada (1695)
• Nicolás Tamariz,Cartilla y Luz en la Verdadera Destreza(1696)
• Manuel Cruzado y Peralta (1702)
• Francisco Lórenz de Rada (1705)

19th century

• Manuel Antonio de Brea,Destreza del Espadin(1805)
• Simon de Frias,Tratado Elemental de la Destreza del Sable(1809)
• Jaime Merelo y Casademunt,Esgrima del Sable Español(1862)

Popular culture

• El Buscón(1626) byFrancisco de Quevedoridiculesa student of Pacheco'sLas grandezas de la espada.The chapter ends with amulattofencing master who comments that "the book [...] was good but made more fools than skilled [fencers], since most did not understand it". Quevedo also composed injurious poems against Pacheco.
• The filmThe Mask of Zorro(1998) featured Don Diego, the original Zorro, teachingAlejandro Murrieta,the new Zorro in thedestrezastyle.
• The television seriesQueen of Swordsfeatures the use of the rapier in themysterious circledestrezastyle favoured by the first swordmaster of the seriesAnthony De Longiswho studied the Spanish sword fighting technique and wanted a unique style for the heroine.He had previously used it in the episode "Duende"of theHighlanderTV series where he co-choreographed his fight scenes with series swordmaster, F. Braun McAsh.
• The filmAlatriste,based on the novels byArturo Pérez-Reverte,features various characters fencing in thedestrezastyle, including the protagonist Diego Alatriste portrayed byViggo Mortensen.
• The 2007 Russian historical fantasy film1612also shows this style of fencing as an important element of the movie's plot.

See also

• Swordsmanship

References

• José María Hermoso Rivero,"Jerónimo Sánchez de Carranza (¿1539-1608?),creador de la Verdadera Destreza y gobernador de Honduras ",Boletín del Centro de Estudios de la Costa Noroeste de Cádiz(CECONOCA) Cartare nº 5. (2015), 65-98.
• Sébastien Romagnan,Destreza, manuel d'escrime(2013), English translationDestreza, historical fencing(2015)
• Anthony De Longis

External links

• Asociación Española de Esgrima Antigua (A.E.E.A.)
• The Destreza Translation and Research Project (DTRP)
• The Martinez Academy of Arms
• Academia da Espada
• London Longsword Academy
• Destreza Nova