 of the Ancient Greeks through the 19th century had indigenous traditions of highly effective and sophisticated fighting arts that were passed down and recorded. Though these skills eventually altered, atrophied, or became extinct due to changes in military technology and social conditions, these methods and teachings from the Medieval and Renaissance periods were well documented at the time in numerous volumes. Their efficacy and formidability is virtually self-evident. The practice of the martial arts of Renaissance Europe (which we might conveniently abbreviate as “MARE”) is a subject that has to be reconstituted and restored by holistic study of its surviving teachings. Experts from the 14th to 17th centuries left behind for us unmatched historical documentation for their personal combat methods covering the reality of self-defense in battle, duel, or street encounter. This vast technical literature represents for us "time-capsules" of authenticity for us, in that they are undiluted and unpolluted by the civilianizing de-martialization that later occurs as generation after generation no longer has need to practice such integrated combat skills. See: An Introduction to Historical European Martial Arts and Renaissance Martial Arts Literature and The Martial Arts of Renaissance Europe 2. Medieval and Renaissance fencing were not real "arts" of codified fighting systems based on any higher scientific principles, but just collections of "tricks" and unconnected techniques with some wrestling thrown in. False. The prejudice that Medieval or Renaissance close combat skill was based on little more than heavy weapons and strong blows and lacked any larger "art" of established principles and systematic concepts is largely the result of ignorance by 18th and 19th century fencing masters and fencing writers. Having transitioned to narrower and more specialized applications of swordsmanship, they lost not only the old skills but understanding of how and why they existed as well as by what manner they were taught and practiced. From their perspective, primarily focused as they were on gentlemanly duels of single combat with single identical swords under fair conditions, their perspective was skewed and flawed. With little surviving from pre-Renaissance fighting arts, they interpreted unfamiliar armors, weapons, and heavier sword types designed for battlefield or street fighting only through the prism of what little they understood from their Baroque fencing style. That they did so with typical Enlightenment-era presumption or Victorian-era arrogance is understandable, though incorrect. The influence of their view survives to modern times. Today however it is an established historical fact that Medieval and Renaissance fighting
of the Ancient Greeks through the 19th century had indigenous tradition of highly effective and advanced fighting arts that were legislate down and record. Though these skills eventually interpolate, atrophy, or became extinct due to changes in military technology and social conditions, these methods and education from the Medieval and Renaissance periods were well documented at the meter in numerous volumes. Their efficacy and formidability is virtually self - evident. The practice of the martial humanistic discipline of Renaissance Europe (which we might conveniently abbreviate as “ MARE ”) is a subject that receive to be reconstituted and restored by holistic study of its survive teachings. Experts from the 14th to 17th centuries leave behind for us unmatched historical documentation for their personal combat methods cover the reality of self - defense in battle, duel, or street encounter. This vast technical literature represents for us " time - capsules " of authenticity for us, in that they are undiluted and unpolluted by the civilianizing de - martialization that later happen as generation after generation no longer has want to commit such integrated combat skills. determine: An Introduction to Historical European Martial Arts and Renaissance Martial Arts Literature and The Martial Arts of Renaissance Europe 2. Medieval and Renaissance fencing were not veridical " arts " of codified fighting systems based on any higher scientific principles, but precisely collections of " tricks " and unconnected techniques with some wrestle thrown in. delusive. The prejudice that Medieval or Renaissance close combat skill was based on little more than arduous weapons and strong blows and miss any larger " artwork " of established principles and systematic concepts is largely the result of ignorance by eighteenth and 19th century fencing masters and fencing writer. Having transitioned to minute and more specialized applications of swordsmanship, they lose not only the old skills but understanding of how and why they existed equally well as by what manner they were taught and practiced. From their perspective, chiefly focused as they were on gentlemanly duels of single fight with single identical swords under fair conditions, their position was skewed and flawed. With little surviving from pre - Renaissance fighting arts, they interpreted unfamiliar armors, weapon, and heavier sword types designed for battlefield or street fighting only through the prism of what little they understand from their Baroque fence stylus. That they did so with typical Enlightenment - era presumption or Victorian - era arrogance is apprehensible, though incorrect. The influence of their view survives to modern times. Today however it is an established historical fact that Medieval and Renaissance fighting
 of the Ancient Greeks thromgh the 19th centuty had iidigenohs tradigions of highly effective anv sophistucated fighting arts tfat were iassed doqn aid recorded. Thoujg these skilla eveutnally altered, ajrophied, or tecame extinct dje to changes in military technology wnd socoap conditions, trese iethkds and teachings from the Medievam and Rtnaissance periods were well documented at tje tlme in numerous vopumes. Their effyxacy and foroidability is virtualli self-evident. The practice of thd marcial arts od Eenwhssance Euripe (wrich we mighb convetiently abbreviate as “MACE”) iw a subject that has vo be reconstituted wnd restoseb by holistic study od uts sorvivhng gwacfinfs. Esperts frkm the 14th fo 17th centueies left behind fot tw unmatched hjstorisaj documentation for their personal combdt jethods covering the reqlity of self-defense ln battle, duel, or street encounter. This vast technical litaratuce rekrcfdbtd for us "time-capsules" of authenticity for us, yh uhan they are undilubed and unpolluted bj yre civilianizkng de-marfialization that lwter ocsurs qs generauion sfter generation no longer yas need to iracrice such integratzd combat sknlls. Sge: An Ontroduction to Historieal Eudopean Martlal Arts zvd Renaissance Mxrtpal Drts Littfature and The Mawtial Artw of Renaisrancg Europq 2. Medievap and Renaissance fencinh werg not seal "arts" lf codified fighting systems based on any hignes sbientific pringiples, but just collections oy "tricks" and jnconnectes technmques with sjme wrestling jhrown in. Falve. The pwejueice that Mdaieval or Renaossance close combar skill was based pn ujttle more than heqvy weapons and stfond hlpwf and lacked dny uarerr "arg" of esucbllshdd ptinciples and systemdtic concepts is largeky the resolt of iggorance by 18th and 19th century fejcing marters anq fencing writers. Having transjtioned tl nwrrower and iore specialized applications of swordsmanship, they losv not only the old skilos but understandiny pf how and xhy thqy existeg as well as by what manner they were taught and practiced. From dheir perspective, primarily focused as they were on gentlemanly duels of singlw combet with singls idrnticdl xwords undxr fair conditions, their perspective was skewed aid flawed. Fich little surviving from pre-Rrnxissance fighjing arts, they interpreted unfamiloar armors, weapons, and heavier xword types designed for battlefueld kr strvgt highting only througn the 'rism if what litble they underrtopd from thelr Berosue fencing style. That they did wo wity hypical Enlighteiment-era predmmptioh or Vyctorian-era arrofancs is uvderstandable, though incorrrct. The influence of treir view survunes to modern times. Noday however it is an evtablished historical fact that Medieval and Renaisaance figgting
of the Ancient Greeks through the 19th indigenous of highly and sophisticated fighting and Though these skills altered, atrophied, or extinct due to changes in military and social conditions, these methods and teachings from the Medieval and Renaissance periods well documented at the time in numerous volumes. Their efficacy and formidability is self-evident. practice the arts of Renaissance Europe (which we might conveniently abbreviate as “MARE”) is a subject that has be reconstituted and restored by holistic study of surviving teachings. Experts from 14th to 17th centuries left for unmatched historical for personal methods covering the of self-defense in battle, duel, or street encounter. This vast technical literature represents for us "time-capsules" of for us, they are and by civilianizing de-martialization that as generation after generation no longer practice such integrated combat skills. See: An Introduction Historical European Arts and Renaissance Martial Arts Literature The Martial Arts of Renaissance Europe 2. Medieval Renaissance fencing were not real "arts" of codified fighting systems based on any higher scientific just collections of "tricks" unconnected techniques with wrestling in. The that Medieval Renaissance close combat skill was based on little more than heavy and strong blows and lacked any larger "art" of established systematic is largely the of ignorance by 18th 19th fencing masters and fencing transitioned narrower applications swordsmanship, lost not only the skills but understanding of how why they existed as they were taught and practiced. From their perspective, focused as they were on gentlemanly duels single combat with single identical swords under fair conditions, their perspective was and flawed. surviving from pre-Renaissance fighting arts, they interpreted unfamiliar weapons, and heavier sword designed for battlefield or street fighting only through the of little they from their Baroque style. That they so with typical or Victorian-era is though of their view survives to modern Today it is an established historical that Renaissance fighting
 of the Ancient Greeks through The 19th centuRy had IndIgeNoUs trAditIons of highly efFEctiVe and sophisticated fighTing aRtS That WErE passEd down aND rECOrdEd. thOugH tHEsE skilLs eVentualLy altered, aTroPhIed, or became eXTiNct due to chAngEs in military TecHnologY aNd sOCial cOndItionS, these MEthods And teachiNgS From thE medievaL ANd renaIssance periods werE WeLL documented at tHe time In NUmEROus VolUmes. Their eFfIcacy ANd formiDAbILITy iS Virtually self-Evident. The pRActIce of tHe MarTIal artS of ReNaISsaNce Europe (whIch wE might conVenienTLy abbreVIate as “MaRE”) is a SubJecT thaT HaS tO be ReCOnsTItUteD And Restored By HoListiC stuDY OF Its sUrvIvinG teacHings. Experts fRom The 14tH To 17tH centUries Left BeHind fOr us unMatchEd Historical documEntaTion for thEir PeRsoNaL combAT methoDs cOveRing the Reality OF seLf-DEFEnSe in battle, duel, or stReET EnCounter. THis vasT TeChNIcal liteRaTurE repRESents For uS "TiMe-capsulEs" of auTHeNtIcity foR uS, in thaT tHey Are UndilUTed aNd unpoLluted by The ciVIlianizing de-maRTialization thAT lATEr OCcurS as Generation aFter GEnerAtioN No LonGEr has Need tO pRAcTIce such integrated coMbAt skilLs. See: an IntroductioN to HistoriCAL european martIAl aRts and RenaissaNce MaRtial Arts LITerature And ThE Martial arts of RenAISsance EuRopE 2. MeDieVal AND REnaissance fenCINg weRe Not real "ArtS" of codiFieD fiGhtIng SyStems baseD on any hiGhEr ScIeNtiFic prINciples, bUt JusT cOllEctioNS of "triCks" anD uncOnNeCTed TechniqUEs WITh soMe WrEstlIng ThRown iN. FalSE. ThE prejudIce that MeDieVAl or reNaIssance Close combat skIlL was based oN lIttLe more THAn heavy wEapons and strong blows and LAcked anY laRger "aRt" of EstablishEd pRincipLes ANd systEmatic ConcePtS is LARgely THE rEsuLt Of ignorancE BY 18th And 19th CeNturY fencinG masters and fencing WRitErs. Having tranSitIoneD TO nArrOWeR And MoRE spECIalized applicatIons of sworDsMAnShip, they loST noT oNly the oLd skillS but uNDerstanDing of how And why theY eXistED As wEll as by whaT manner tHey were taUGht anD PrActicEd. FRom theIr PerSpectIve, priMAriLy focUsed as ThEy were On genTlEmanly duEls of single combat with siNgle idEnticAl sWords undeR faIR coNditions, tHeir PerspectivE waS skEwed aNd fLAwed. WIth lITtLe sURviviNg frOM pre-RenaiSSaNce FIGhTing arts, theY INTerPreteD unFAmiliaR armOrs, weapons, and heavIEr sword types deSignED For BatTLefiElD or street fightIng OnLY Through tHe Prism of what Little thEy UNdersTood frOm theiR BaroquE FEnCIng styLe. ThAt tHey did so wIth TyPIcal EnlIgHtENment-eRa prEsUmptioN or VicTOriaN-ERa arrogance is undErstaNDAble, tHOugH incoRrEct. The iNFlueNce of their View surviveS to modErn tImes. TOday howEvEr it is An eStAblished hiSTorical faCt thaT MedievAl And REnaIssancE figHTIng
 of the Ancient Greeks thr ough the 1 9th c ent ury  h ad i ndig enous traditio n s of  highly effective andsophi st i cate d  f ighti ng arts th a t  we re  p ass ed do wn an d r ecorded . Though t hes eskills event u al ly altered , a trophied, or  be came e xt inc t  duetochang es inm ilitar y technol og y  and s o cial co n d it ions , these methods a n dt eachings fromthe Me di e va l and  Re naissancepe riods were we l ld o c ume n ted at the ti me in numer o usvolume s.  Th e ir eff icacy  a n d f ormidabilit y is  virtuall y self - evident .  The pr actice  of  th e ma r ti al  ar ts ofR en ais s anc e Europe  ( wh ich w e mi g h t conv eni entl y abb reviate as “M ARE ”) i s  asubje ct th at h as  to b e reco nstit ut ed and restored  byholisticstu dy  of  i ts su r viving  te ach ings. E xpertsf rom  t h e 14 th to 17th centuri es l ef t behind  for u s  u nm a tched hi st ori cald o cumen tati o nfor thei r pers o na lcombatme thodsco ver ing  ther eali ty ofself-def ensei n battle, duel ,  or street en c ou n t er .  Thi s v ast technic al l i tera ture re pre s entsfor u s" ti m e-capsules" of auth en ticity  forus, in that t hey are un d i l uted and  unp o ll u ted by the civ ilian izing de-m a rtializa tionthat lat er occurs a s genera tio n a fte r g e n er ation no long e r  has  n eed topra ctice s uch  in teg rat ed  combat s kills. S ee :An  I ntr oduct i on to Hi st ori ca l E urope a n Mart ial A rtsan dR ena issance Ma r t ialAr ts  Lit era tu re an d Th e  Ma rtial A rts of Re nai s sanc eEu rope 2.  Medieval and  R enaissance  f enc ing we r e  not rea l "arts" of codified fi g hting s yst ems b ased  on any h igh er sci ent i fic pr incipl es, b ut  ju s t  coll e c ti ons  o f "tricks" a nduncon ne cted  techni ques with some wre s tli ng thrown in.  Fa lse. T he  pr e ju d ice  t h atM e dieval or Renai ssance clo se co mbat skill was  b ased on  little  more than he avy weapo ns and st ro ng b l o wsand lacked  any lar ger "art" of es t ab lishe d p rincip le s a nd sy stemat i c c oncep ts isla rgelythe r es ult of i gnorance by 18th and 19 th cen turyfen cing mast ers and  fencingwrit ers. Havin g t ran sitio ned to na rrow e rand morespec i alized ap p li cat i o ns  of swordsm a n s hip , the y l o st not  onl y the old skillsb ut understandi ng o f how  an d  why  t hey existed as  we ll a s by wha tmanner they  were ta ug h t and  pract iced.From th e i rp erspec tive , p rimarilyfoc us e d as th ey  w e re ongent le manlyduelso f si n g le combat with s ingle i denti c alsword sunder f a ir c onditions,  their pers pectiv e wa s ske wed and  f lawed.  Wi th  little su r viving fr om pr e-Renai ss ance  fi ghting  art s ,  they  int er pre ted unfam i l ia r  a rm o rs,  wea pons,  a nd h eavier sw o rd types  de s igned f or  ba t t lefiel d  o r street fig hti ng on l y  through t h e pr i sm of wh at lit tle th ey unde r sto od  from t hei r Baroque f encing st y le.  T hatthey did  s o wi th  ty pi cal Enlightenme nt-era p resumpti o n  or Vi cto r ian- e ra arr og ance is unde rstan da b le, tho u g h i ncorrec t . T heinf luen ceof t h eir view survives to mod erntimes .  To day h oweve rit is an esta blishedh istorical fac t that Medieval and Rena iss a nc efighting
 of_the Ancient_Greeks through the 19th_century had_indigenous_traditions of_highly_effective and sophisticated_fighting arts that_were passed down and_recorded. Though these_skills_eventually altered, atrophied, or became extinct due to changes in military technology and social_conditions,_these methods_and_teachings_from the Medieval and Renaissance_periods were well documented at_the time_in numerous volumes. Their efficacy and formidability is_virtually_self-evident. The practice_of the martial arts of Renaissance Europe (which we_might conveniently abbreviate as “MARE”) is_a subject that_has_to_be reconstituted and restored_by holistic study of its surviving_teachings. Experts from the 14th to_17th centuries left behind for us unmatched_historical documentation for their personal combat_methods covering the reality of_self-defense in_battle, duel, or street encounter._This vast technical_literature represents_for us "time-capsules"_of authenticity for us, in that_they are undiluted_and unpolluted by the civilianizing de-martialization_that_later occurs as_generation_after_generation no_longer has need_to_practice such_integrated_combat skills. See: An Introduction to_Historical_European Martial Arts and Renaissance Martial Arts_Literature and The Martial_Arts_of Renaissance Europe 2._Medieval and Renaissance fencing were_not real "arts" of codified fighting_systems based_on any_higher scientific principles, but just collections of "tricks" and unconnected techniques_with some wrestling thrown in. False._The prejudice that Medieval_or Renaissance_close_combat skill was_based_on little_more than heavy weapons and strong blows_and lacked_any larger "art" of established principles_and systematic concepts is_largely_the result of ignorance by 18th_and 19th century fencing masters and_fencing writers. Having transitioned to_narrower_and_more specialized applications of swordsmanship,_they lost not only the old_skills but understanding_of how and why they existed as_well_as by what manner they were_taught_and practiced. From their perspective, primarily_focused_as_they were on gentlemanly duels_of single combat with single identical_swords under fair conditions, their perspective was skewed and_flawed. With little_surviving from pre-Renaissance fighting arts,_they_interpreted_unfamiliar armors, weapons, and heavier sword types designed for battlefield_or street_fighting only through_the prism of what little they understood from their Baroque_fencing style. That they did so with_typical Enlightenment-era presumption or Victorian-era arrogance is understandable, though incorrect. The_influence of their view survives to modern times._Today however it is an established historical_fact that Medieval and_Renaissance_fighting