The Royal Book of Horsemanship, Jousting & Knightly Combat
A Translation into English of King Dom Duarte's 1438 Treatise
Livro Da Ensinança De Bem Cavalgar Toda Sela
["The Art of Riding in Every Saddle"]

Translated by Antonio Franco Preto (& Luis Preto)
Edited by Steven Muhlberger
Chivalry Bookshelf
ISBN: 1-891448-11-0-5, Hardcover, 180pp, 1st Edition, 2005

Review by J.L. Hull

It was both pleasure and pain to read this book. The pleasure derives from this being a brave and valid English translation from Portuguese of a significant Renaissance mounted combat source by a modest yet accomplished modern horseman. The pain derives from this being a needlessly and wincingly flawed English edition of a significant Renaissance mounted combat source, due to the bungling and/or indifference of an acclaimed modern professor and/or its dubious modern publisher.

I should like to deal with the negative first, get it out of the way, then deal with the positive, which I am happy to say, far outweighs the other. It seems that it is enough for some experts to attach their names to another’s project without care for whether that other person is well-served by such experts. In other words, did the expert actually do what was within his/her power to bring correction and guidance to the project, and thus serve the other? Thus stated, it is quite sad to say that a chivalry & tourney scholar whose own work I respect, Muhlberger, was obviously negligent in his editorship on behalf of Preto. Really, Muhlberger should have secured the correctness of this project with actual editing, instead of allowing it to go to press rife with errors. However, blame also should go to Brian Price who, for all his talent at self-promotion and book design, seems to care little whether some authors are well-served by his publishing, as long as everything looks attractive to the target-market. I write this as someone who has agonised while editing works by both native and foreign speakers of English, due to the heavy responsibility I have felt to help them get things right.

The editorial laxness is readily apparent, as Preto’s English translation suffers from frequent and distracting errors of grammar and syntax throughout the entire body of the work. Some is to be expected, and allowance for author’s “voice” should always be made, but this situation is rampant and perforce the reader constantly must struggle with confusion, because an editor did not do his duty. Moreover, there is the specific issue of a certain word – “wound” (to injure) – for which again, Preto is blameless whereas Muhlberger & Price are not, about which Preto should have been advised, so that he may not have used “wound” as broadly as he did. This seemingly small thing led to misinterpretation via the translation and footnoting. Indeed, Preto does use “wound” correctly to speak of severely injuring in order to kill prey while one hunts. However Preto, as allowed by Muhlberger & Price, applies “wound” to a situation that is basically blunt rebatre-melee at tourney, which lets him imply quite strongly in text and in footnotes that the relevant weaponry were sharpened swords for cutting, wherewith opponents presumably wounded each other in bloody manner at tourneys of the time. This is quite wrong, as confirmed by accounts of 14th-15th Century tourneys, where extra-heavy bloated armour, cage-helms and rebated blunt swords or wooden clubs/maces were utilised, yet it seems that no one responsible (i.e. Muhlberger & Price) had the decency to inform Preto of that. Some editor should have suggested “stun”, “punish” or even “clobber” in that context. Nor did anyone have the decency to inform Preto that “wound” was the wrong term for describing how to spur a horse effectively – someone should have suggested “compel”, “inflict”, “sting”, “harrow”, “goad” or even “pain”, but not “wound”. Presumably, Dom Duarte had great fondness for horses, and Preto surely has great fondness for horses, such that the mistranslation served neither the utility nor the truth of what those two gentlemen mean to convey.

For the positive side, which makes this book quite worth reading and studying, there is so much that Dom Duarte tells us which is revelatory, and I am thankful that Preto did us great service here in the English-speaking world by translating Bem Cavalgar for us to learn. Bravo! Dom Duarte (1391-1438) was a King of Portugal, warrior and horseman who chose to write a treatise about how one should fight on horseback, most of it applicable to tourney but arguably applicable to a great extent in equestrian duel and/or battlefield. To do him honour, the modern Portuguese horseman Antonio Preto obviously went to great lengths to present the lore of Dom Duarte in a manner consistent with the original intent of the 15th Century author even as he lays it out it as methodically as possible for the modern reader. Preto writes with authority and knowledge of Portuguese and of horsemanship, and he engages the reader with his candor and comprehension. It would also have been nice to have a transcription, but just having a translation of the work is better than nothing.

Dom Duarte presents his advice about horsemanship combined with observations about qualities such as will, power, strength, fearlessness, safety, quietness and ease of both rider and steed, also relating such to proper social behavior and duty. Perhaps some readers would weary of all this throughout the book as preachy, but I found it sincere and even uplifting. He states why knights and squires should be equestrians, how one should care for one’s wealth and health in order to do this, and how one needs to have proper bearing to carry it all out.

Dom Duarte describes and distinguishes between the five typical riding styles of his Portugal, the first style bravante as most typical, the second a related style favoured in England & Italy, the third a related archaic style, the fourth style gineta from the Moors, and the fifth style bareback. He advocates that a rider should know how to do all these styles of riding, whatever one’s preferred saddlery. He goes into great detail about all these, and the rigging of the stirrups and strapping, and their proper tacking. He tells how to stay mounted by proper carrying and moving of one’s body, how to ride steady and relaxed, ready to strike correctly in the action of a fight, and the use of one’s whole body in cueing one’s steed.

Moreover, he offers instruction on hunting and on wrestling on foot translation of that short section was done by Preto’s son Luis), but curiously not on horse. Although the specifics of tourney and battlefield certainly differed, it is laudable that he seems to advise vigor at tourney and in one’s training, presumably to make one effective at both duel and battle. Dom Duarte also offers philosophical and moral advice which he argues is inseparable from proper success at marital arts.

Dom Duarte describes the three main ways to bear the spear on horseback, with variations thereof. Such directly contradicts some of the simplistic and denigrating analysis by some modern historians that European knights were technically monotone equestrians. Dom Duarte tells of how to move the spear efficiently and strongly to stay ahorse and to deliver the best strike one can, especially at the moment of impact with the foe. He goes into detail on the sensible ways to pursue game from horseback, so as to make the kill yet prevent injury to the horse (and thus the rider), plus how to properly throw spears from horseback. Preto’s translation of all this really makes it come alive.

Dom Duarte speaks of “wounding” with sword while ahorse. Despite the previous critique of vocabulary vis-à-vis context, the translation by Preto conveys the sound kinetic sense of those moves, how if properly done, one then transfers the force of both the self and the horse through any of the defined four main strikes into the foe. Such a matter of use of force certainly applies to both a blunt rebatre and to a sharpened sword.

One interesting thing sociologically is how often Dom Duarte tells you how one does or should appear to court and/or spectators when doing a given move. Such advice may be cynically ascribed to some sort of vanity, although there seems more to it. What seems unspoken by him is that it is important for a leader to maintain a certain bearing, thus leading to extraordinary ability, in order to keep his followers in high morale and consequently in willingness to be led. However, Dom Duarte shows he realises the complexities of life as he admits sometimes folks are not what they seem, as someone who seems uncouth or weak to conventional appearance may actually prove himself a talented and powerful man when called to action, and of course vice-versa. Although his work was actually unfinished at the time of his death, Dom Duarte does give a summary of his main points as are relevant to the most common dangers and disasters which face rider and steed, and how they may overcome them.

All said, this book was a great pleasure to read. I think that Dom Duarte via Preto has done us great service by writing down such a good deal of the equestrian lore for we later generations who hopefully may gain a better understanding of how much of fighting ahorse was conducted in late Medieval and early Renaissance Europe. So, I do indeed highly recommend the Royal Rook of Horsemanship (Bem Cavalgar) by Dom Duarte as translated by Antonio Preto on its merits of content, and can honestly say it is worth reading.

"Dueling with Sword and Pistol: 400 Years of One-on-One Combat"
By Paul Kirchner
Paladin Press. November 2004
Reviewed by Jason Vail

Even modern men cannot escape the allure of single combat. There is something visceral about it, something that appeals to a primal potential for violence. Despite the stultifying effects of political correctness, the attraction cannot be denied. Single combat, where a man is measured in the clash of weapons and skill, remains fatally fascinating. How else to explain the popularity of boxing, the UFC, and the Octagon? Single combat -- and more specifically the duel of honor -- is the subject of Paul Kirchner's new work, Dueling with Sword and Pistol: 400 Years of One-on-One Combat.

Dueling, of course, is age old. The Iliad celebrates single combat. In 222 B.C., the Roman consul Marcus Claudius Marcellus, nearing 50, took up the challenge of the younger Celtic chieftain Viridomarus, and the two fought to the death between the their two armies at Casteggio in Italy, with Marcellus emerging the victor. Scandinavian sagas from the Viking age are filled with stories of single combats and formal duels.

But Kirchner's focus is on the last four centuries of dueling, when it had become rigidly formalized in the code duello. The book is a refreshingly realistic and unromantic look at these combats -- how they began, growing out of real or imagined slights; how they were organized and the men brought together; and how they were fought.

Kirchner has done an exemplary job of new research presenting not the regurgitated accounts from taken from existing standard works but adding considerable new material to the subject. For that alone he is to be thoroughly complemented. This review focuses exclusively on Part I of the book dealing with sword combats.

It's possible to mine the book on many levels. You can simply take it as an exciting series of stories about personal combat. For it is that, some of the tales, particularly those from 19th century sources, reading like something out of Burrough's John Carter series: one period account gushed, "Well-tempered steel, striking its like, gives forth a gallant, ringing tone." There is also a gritty account of dueling in Napoleon's army, which you may find interesting especially if you've seen the movie "The Duelists." You can also take it as a source of fascinating tidbits of historical information. For instance, you'll learn that in the years before the Civil War, New Orleans was America's fencing capital, where fencing schools lined Exchange Street and at least three of the fencing masters were freed blacks. And the schools held regular competitions. These salon bouts often escalated into deadly fights with sharps. You'll learn that it was wise to clean blood from the blade immediately to prevent corrosion. Or, like me, you can mine the book for what it has to teach about the reality of sword combat. For it has a lot to say on that score, even if we cannot reconstruct combats blow by blow What emerges is a picture that gives more than enough for any student of historical martial arts to think hard about -- and could settle some arguments current in Asian fighting arts circles.

One primary impression is that these combats were vicious, all-in affairs. The combatants did everything they could to win. By this period, what constituted acceptable combat had been rigidly fixed and ritualized. Wrestling, for example, was frowned upon. But in battle conventions often were ignored. Trips and grapples were commonplace, even with the rapier and smallsword, and struggles often continued on the ground. Men's swords broke and they continued to fight with the shard, stabbing their opponents with the broken blade. Pommeling was frequent. Men fell on uneven ground and their opponents tried to stab them where they lay.  Blade grabbing was common. It was not unusual for both fighters to grab each other's blades even when fencing with smallswords -- not unlike the longsword illustrations in Talhoffer -- to prevent being skewered.

Today there is great concern about the differences between dojo martial arts and street martial arts. Many of the combatants in Kirchner's study were well aware of the difference between salon fencing and "fencing of the field." If nothing else, the book drives home the point that what one learns in the play/practice fighting of the salon may not work with live blades. This implies that great care must be taken when reconstructing techniques from the historical fight books. Altogether, this is a good read, and I recommend it to all students of swordsmanship. I only wish that Kirchner's scope had been broader and he had investigated earlier periods. There are plenty of accounts of duels in Medieval Scandinavian literature that deserve inclusion. Also, I would have welcomed an informed analysis of these fights, but the analysis is up the reader.

In the end, though, I do not lament the passing of the age of the duel, if the period covered can be called that. Thousands of good men died over trivialities, and the dueling field was often the playground for bullies and sadists.

The Codex Wallerstein - A Medieval Fighting Book from the Fifteenth Century on the
Longsword, Falchion, Dagger, and Wrestling.
by Grzegorz Zabinski with Bartlomiej Walczak
Paladin Press, 2002. 392 pp. ISBN: 1-158160-339-8. $54.95

The Codex Wallerstein is one of the best known of the late medieval fencing treatises still in existence. Now with the publication of this large size book, the text and drawings are available to scholars and martial artists in the original Middle High German, as well as in Modern German and English translations. For martial artists, medievalists, historians or anyone with an interest in historical arms or self-defense, Codex Wallerstein is sure to become an invaluable reference.

Secrets of German Medieval Swordsmanship - Sigmund Ringeck's Commentary on Liechtenauer's Verses.
Sigmund Ringeck & Johannes Liechtenauer. Translated and interpreted by Christian Henry Tobler. 416 pages. ISBN: 1 89144 807 2. First published: 2002. Chivalry Bookshelf.

In the late 14th century, Master Johannes Liechtenauer developed a deadly form of martial art that fully integrated sword, spear, dagger and grappling, in and out of armour, on foot and on horseback. Founding a school of swordsmanship that would dominate Germany for centuries, he recorded his teachings in cryptic mnemonic verses and swore his students to secrecy. In the 15th century, Sigmund Ringeck, a master of the 'Liechtenauer school,' broke the secrecy and explained the verses in detailed instructions. This is an extrnely well-rendered work which will be a valuable addition to any library on the subject. Though the interpretation suffers in some areas, and the photos are stiffly rendered and display no real sense of motion or energy in the techniques presented, this is a useable study guide resource for any serious student. Unfortunately, the interpretation of several key techniques and concepts, however are far from definitive and in many areas bio-mechanically unsound and tactically suicidal. The influence of these mistakes on some students of the subject will no doubt take significant effort and time to shake off. It is nonetheless a welcome addition to available literature.

Companion to Medieval Arms and Armor
Edited by David Nicolle. Boydel & Brewer, 2002. $60.

This new work, edited by David Nicolle, one of ARMA's advisors, presents several articles by leading researchers and authorities. It has some very interesting material, particularly on early swordmaking in Europe and new information on Middle Eastern & Islamic swordmaking from historical sources.
Plus one of the last articlse by the late Ewart Oakeshott.

Sword Fighting – A Manual for Actors and Directors
Keith Ducklin & John Waller. Illustrated by Keith Ducklin & Adam des Forges.
Robert Hale Ltd, 2001. ISBN 0 7090 6703 8
Reviewed by Jeff Basham. 

This brilliant work is a guidebook for actors, directors, living history enthusiast, and martial artists who have a keen interest in learning and recreating authentic European swordsmanship styles from the past and incorporating and safely adapting them for viable modern fight arrangements/choreography.    

This strait forward and keep it simple approach is the product of a combined years of experiences between both John Waller and Keith Ducklin.  John Waller, having more than 30 years of as an action arranger and historical consultant for the stage and screen, is the Head of Interpretation at the Royal Armouries in Leeds, U.K. and founder of the European Historical Combat Guild.   Keith Ducklin has over 15 years of experience as a practitioner of period fighting arts and has trained students’ abroad as well as holding the position of Senior Fight Interpreter at the Royal Armouries.      

Written in two parts they consist of the following:  Part One:  Philosophy, by John Waller, discusses such topics as ‘Reality First’, being “…that all techniques taught should have their basis in those realistic options available to the combatants with the weapons at their disposal.”(Pg 15).  The author then continues on to aspects of Body Mechanics (Eye Contact, Balance, and Intent) and covers issues in regards to Clothing and Protection and Character and Motivation. 

Part Two: Training, by Keith Ducklin, brings analysis and descriptions of techniques.  Aided with over 130 superb illustrations by Keith and Adam des Forges, the author gives a straight forward step by step instruction in which you can learn special techniques to a particular weapon type.  Keith starts off by establishing the crafts terminology, addresses types and methods of attack and defense and footwork.  From there come five arrangements that consists of the following: Late Medieval Two-handed Sword, Late Medieval Hand-and-a-half, 16^th century Single-handed Sword and Buckler, 16^th & 17^th century Rapier and Dagger, and late 17^th century Transition Rapier and 18^th century Small sword.   

In addition to the above, you will also find within its 192 pages gems of information including how to use character, costume, period and setting in the staging of arranged performances or fight scenes.  Add to this John Waller’s method of Fight Notation, which includes some of his past works including Monty Python and the Holy Grail. 

This work is a must read for any aspiring actor, director looking to improve upon historical accuracy rise above the status quo, living history enthusiasts (actors in their own right) and even martial artist who may gleam aspects that can be used in a training curriculum or get the chance to one day be part of a theatrical arrangement. 

Sword in Hand – A Brief Survey of the Knightly Sword
Ewart Oakeshott, Arms and Armor Inc., Minneapolis, MN, 2001.
Reviewed by J. Clements

This remarkable little book, long in the making, is a compilation of more than 13 articles written in the 1980’s by noted European sword authority Ewart Oakeshott.  Put together into book form by Craig Johnson and Chris Poor of Arms & Armor and directors of the new Oakeshott Institute for the study of European swords and conservators oh his collection. The chapters originally appeared separately during the 1980’s as little known articles in “Gun Report Magazine”.  For the vast number of readers unfamiliar with those valuable articles valuable the book is a welcome addition to the source literature. Johnson and Poor worked long to bring this material top a wider audience and even a cursory glance will give the reader reason to understand why.  In his writings Oakeshott updated material presented in his many famous books from the 1960’s.  In my own writings I myself have relied much on Oakeshott’s articles that make up this work and recommend this new compilation as a must have for the student of the sword. Mr. Oakeshott, long an inspiration and consultant to ARMA, presents a wide range of material in his chapters that includes personal observations and recollections on antique historical swords as well as a range of impressions from his own personal and other private collections.  In his usual casual sincere and fascinated approach, Oakeshott’s profound expertise comes out clearly in each chapter.   The book, dedicated to John Waller, “who makes this live”, reads very pleasantly as an exploration of the subject with the sword not just as a historical or cultural or artistic object but as a working tool in a historical context.  Aspects of Viking lore, chivalry, knighthood, tournaments, battles, Froissart’s Chronicles, and judicial duel are all touched on.  Oakeshott’s subject matter ranges from the Vikings and early Medieval short swords to great swords and two-handers of the 1400s as well as cut-and-thrust arming swords.  Among the material he offers sections on short swords, knightly long swords, and information distinguishing between Medieval two- hand swords and the later Renaissance two-handed swords.  It’s illustrated with many original drawings by the author and dozens of excellently examples of pieces once in his own or other collections.  Sword in Hand is a wonderful little book the presents the best of Oakeshott’s lifelong and sincere love of swords. The book is another welcome addition to the subject literature from the “Dean of Swords”.

Blood Red Roses
The Archaeology of a Mass Grave from the Battle of Towton
AD 1461
by Veronica Fiorato, Anthea Boylston, Christopher Knusel. Oxbow Books, Ltd. 2000.
Reviewed by Hank Reinhardt

This is a most important book for the serious student of arms and armor and of history. One hundred years after the Battle of Visby, in 1361, there was the Battle of Towton.  Visby was important not so much as a turning point in Swedish history, but because the mass graves there survived to the present day and form an invaluable archeological resource. So it is, too, with Towton in England. A mass grave was recently excavated, there was intense an intense forensic study of the skeletons that were unearthed.  Although there are interesting chapters on Archery, Weapons and Armor by John Waller, Graeme Rimer and Thom Richardson, the real value of the book is the detail regarding the victims. These appear to be average soldiers of the period, and we learn the general condition of their health, their teeth, their height, and previous wounds. It is extremely interesting, and confirms many things that have long been suspected. One of the most important is that people were tough and strong, and not near as small as many like to think. The one flaw in the book is the attempt to pretend that the victims were not murdered. One idea is that they were killed while fleeing the battle. They had thrown away there helmets when a detachment of cavalry attacked. This is why all the wounds are head wounds. This whole idea falls apart when you consider that the dead had received multiple wounds to the head.  A horseman is not quite able to deliver a number of blows to the head, as the recipient would usually start falling, and it would be quite difficult to reach down and continue to deliver blows. However multiple blows to the head are very likely when a group is being killed. It is easy to imagine the armed men attacking and hitting hard and often, and even striking while the victim is on the ground. This isn’t “fighting” in combat, it is killing, it is butchering. Another conjecture was that the men had fallen in the battle, and as the waves of troops passed over them, they were again struck in the head. That doesn’t make any sense either. Occam’s Razor applies here. They were simply prisoners that were killed. The Wars of the Roses were notoriously brutal, as are all civil wars, so one shouldn’t be surprised at this action. This was the 15^th century, and people behaved differently than they do today. Even today such things happen, witness Bosnia and Africa. But this is merely a quibble on my part. This is a book that I wholeheartedly recommend. Regardless of how the victims met their fate, it is a very important book.

Medieval Military Costume – Recreated in Colour Photographs
Europa Military Special No. 8. Gerry Embleton. The Crowood Press, UK, 2000. $22.95.
Reviewed by J. Clements

Gerry Embleton, co-author of the superb “Medieval Soldier”, has done another outstanding job.  Showing an array of recreated historical source illustrations and artwork, this book covers all the important key elements of late medieval garb and equipment –shoes, headwear, under garments, body wear, helms, and armor.  This is the best of what re-enactment is all about. The book provides splendidly depicted sections on garments worn under armor and on historical footwear and clothing.  The photos are superb and specifically taken to show off clothing or armor. The pictures offer a world of examples and inspirations to draw on.  The Focus is mainly on Swiss, German, Italian, and English men at arms and knights of the mid to late 1400s (one of the most popular periods for living history reenactment and among the liveliest for martial arts).  The daily wear of civilians and women folk is also included as is some on earlier and later periods.  The reader can drool in envy at the detailed accoutrements of modern examples of period soldiers and warriors, as well as use the many facts, sources, and suggestions given to assist in their own efforts. Though not large, and not heavy on text, this book is gorgeous. It is an absolute must for anyone interested in eventually adding ameticulously reconstructed and historically accurate ensemble to their experience of historical European martial arts…the other side of the coin.

Viking Weapons and Warfare
J. Kim Siddorn. Tempus, UK, 2000. $27.
Reviewed by J. Clements.

Reading this excellent work was pleasant and enjoyable. Written by one of the most experienced reenactors of the Viking period, with a lifelong interest in the subject, the majority of the book consists of about 140 pages covering history, iron, spears, shields, armor, and swords.  Siddorn does not bother to just rehash material from other reverence works on Viking arms or armor, but instead provides first-hand information gathered from re-creation of the subject based on extensive research and hands-on study.  The book is nicely illustrated with dozens of lively black and white sketches and 16 pages of color photos.  Swords are covered in roughly short 15 pages, spears in about 7, armor and helms each in just 6, and shields in 20.  The shield section also contains information on construction and statistics on dimensions of known archaeological shield finds.  Other chapters cover history, money, sword sheaths and other equipment.  There is even a wonderful section on Viking ships and sea travel, again from experience in reconstructions and reenactment of actual replica ships travel.  One drawback perhaps is that reenactment combat is covered in a mere 3 pages and then without much explanation as to its limitations as martial study or historical research.  No accounts referencing combat from period literature is included either.  The author however does very well in distinguishing between current factual evidence from theoretical propositions, relating his own reconstruction insights to known historical research. Siddorn’s casual writing style reads easy and his theories and comments contain a few real gems (which excuse some of his minor errors in sword typology or his referring to Viking blades by the 17^th century term “broadsword”).  His enthusiasm, sincerity, and passion for his subject comes through clearly as does his high degree of familiarity of his subject. This is a fun and lively book useful to anyone interested in Viking reenactment, medieval arms, or early English history. We need more good titles like this.

"The Martial Arts of Renaissance Europe"

Exclusive ARMA preview & review here.

Review by Stefan Dieke:

Although the book only claims to be a translation of a German fencing book written in 1467 by Fechtmeister Hans Talhoffer it's much more than that. It provides an interpretation of this more or less cryptic source by an experienced swordsman and thus makes it much more valuable for beginners and advanced practitoners of the Long Sword than a mere translation of the texts provided by the first edition which had been edited by Gustav Hergsell in 1888. Mr. Hergsell only partially translated the medieval german texts which he found in the original manuscript into moderen german but left those parts untouched, which he was not able to translate. Thus in his edition there was an obscure mixture of medieval and modern German. Mr. Hergsell doensn't seem to have cared too much for this problem. He has published three different manuscripts written by Hans Talhoffer and still stated that there was not much art or skill in fencing with the long sword. From his point of view the epee was the ultimate fencing weapon and fencing itself archieved it's height at the end of the 19th century.

Luckily for all the readers Mr. Rector took a different approach. Instead of just translating the texts from the 19th century he analysed the pictures and the transcription of the original texts and tried to find out what they described. Interchanging informations with other practitioners of the Long Sword he was able revive the deadly effective system of fighting with the Long Sword and other (some rather strange) weapons of 15th c. Germany and to show this on the plates from an original 15th c. Fechtbuch. Where there's need he provides additional information in the form of endnotes. The book is rounded of by a short but precise description of the principles of german Long Sword fencing and a brief overview of the weapons described in the book and their background. For those who can read german Mr. Rector also includes a transcription of the
original text.

This book is definitely the best edition of Talhoffer's manuscript we have worldwide. For Fencers with the Long Sword it provides invaluable information, no matter if they are beginners or advanced. For all other readers it may give a correct impression about fighting techniques and judicial combat of the 15th century. If you're used to what Hollywood or
Ren-Faires offer, reading this book may be an eye-opening experience.

"Nobles, Knights, and Men-at-Arms in the Middle Ages"
Maurice Keen, The Hambledon Press, London, 1996. ISBN: 1852850876. A collection of 14 essays by expert medievalist Maurice Keen's essays originally published between 1962 and 1993 that deals with both the ideas of chivalry and the reality of warfare. He discusses brotherhood-in-arms, courtly love, crusades, heraldry, knighthood, the law of arms, tournaments and the nature of nobility, as well as describing the actual brutality of medieval warfare and the lure of plunder.

Richard Bezdek, sword collector and author of titles on American swords and sword makers, has done a highly detailed job of compiling a range of table, lists, charts, and information on a subject that has received less attention that it rightly deserves. It should prove a valuable aid to collectors, curators, and aficionados. Covering mostly the famous Solingen region of Prussia (known for their "running wolf" logo) which at one time was the world's largest producer of swords, this reference work is a useful text. Covering swords mostly of the 17th, 18th, and 19th centuries it features many drawings and pictures from noted German sword author Gerd Maier. Over a hundred pages are offered on sword makers, their lineage, region, with dozens of pages of sword makers marks (a long needed reference guide). The book also includes many sections on German history and blade manufacturers, German sword exporters, translations of German words, and chapters covering swords of Prussia, Bavaria, Wurttemberg, Saxony, and Austria. Finally, about 75 ages of photos and sketches of German swords are included. This reveals a good cross-section of just what a wide variety of forms were in use. However, these depict mostly all hilts of military sabers, cutlasses and actual broadswords from the 18th and 19th centuries. Given that this is a essentially a reference work, no information is provided on the blade forms themselves (which is especially disappointing to students of swordplay, given that blades can have very different cross sections at the foible than at the forte). On the down side, it appears little attempt was made to include Medieval swords or the wide variety of German blade forms of the Renaissance. Surprisingly no effort is made to classify or categorize historical German sword such as Messers, Dussacken, the many styles of Langenschwert (long-sword), Dopplehänder/Bidenhänder ("both" or "double-hander") and Zweihänder/Schlachterschwerter ("slaughters-swords"). Distinctions could have been made among the Grosse Messer or Zwiehand sabel, the Panzerstecher or Dreiecker (estocs), and types of Paratschwert ("parade-swords"). Comments on the many sword forms depicted in the historical German Fechtbuecher (fighting manuals) would also have been interesting. These omissions may be the collectors' approach to the subject as such weapons are very rare to obtain and less information is available on their makers. The work also does not include very much material at all on rapiers and none on small-swords or dress swords. The book also makes one big mistake in omitting the major large government manufacturer of Pottenstein. It also erroneously declares the Klingenthal region was under German control from 1815-1918, when it fact it only came under their control after the Franco-Prussian war in 1870. While less than complete in some respects and aimed at the collector and curator, this reference work still makes fine addition to any European-sword fanatic's library.

Twelve expert scholars contributed their know-how to produce this new illustrated book that explores 700 years of European warfare covering the era of Charlemagne to c. 1500. Divided into two parts it focuses first on the chronological experience of Medieval war, and then thematical developments in Medieval war. Covers the Vikings, Crusades, Hundreds Year War, etc. as well as investigates fortifications & sieges, armored cavalry, mercenaries, gunpowder, shipbuilding and navigation. Gives the reader an overall impression of where and when plus the social experience and cost of warfare in the period while making warfare and its ramifications the central idea of the Middle Ages. A great addition to the subject and one that adds new ideas and thoughts from different modern historians. The illustrations could have been more diverse, but the short, concise, independent chapters make this a useful and easy read for both new students or learned ones alike.

A companion to the Discovery Channel's documentary it examines in how castles shaped medieval warfare and society. A lively book with over 150 color photos of reenactors participating in various aspects of a late Medieval siege. It expands the programs material significantly and adds glimpses into seldom depicted sides of Medieval siege warfare, an activity central to warfare of the period. The commendable use of living-history groups to illustrate the text creates a greater sense of reality for the subject.  A light but useful and entertaining work.

Arms & Armor of the Crusading Era 1050-1350
Vol. I Western Europe and the Crusader States.
David Nicolle. 19988/1999 reprint by Greenhill Books UK, London/Lionel Leventhal; ISBN: 1853673471 (Stackpole Books USA).
Reviewed by J. Clements

An amazing work. Comprehensive and huge. Over 600 pages, with over 2000 drawings. Presents account of armies, arms, equipment, of the period based on archaeological and pictorial sources. A rare book now reprinted and very worthwhile. The author is a leading historian of the Middle East and Islamic military history. Vol. II covers Eastern Europe and Asia.

The World of the Medieval Knight
Christopher Gravett, Illustrated by Brett Breckon
Peter Bedrck Books, NY 1998/1996. ISBN 62774
Reviewed by J. Clements

Medieval subjects tend to be one of the few areas where children’s books when done with care and style also end up being a useful reference even for adults. This delightful little work is one of those rare gems. It is an extremely colorful and pleasant presentation of castles, and armor, and feudal society with detailed and highly accurate drawings and schematics of late medieval armor and weapons. Whether for a youngster with a keen interest in history and knighthood or the serious student, this is a fine addition to your library.

Anglo-Saxon Weapons & Warfare
Richard Underwood, Hardback, 159 pages, $29.99, Tempus Publishing Ltd. 1999, ISBN 07524 1412 7
Reviewed by J. Mark Bertrand

The reenactment movement in the UK and Europe has produced a recent number of worthwhile books on Medieval weapons and warfare. The latest work, Richard Underwood’s Anglo-Saxon Weapons & Warfare, makes use of archaeological evidence, literary sources and practical experimentation to present a detailed picture of Anglo-Saxon weapons and fighting methods.

The book opens with a discussion of missile weapons, from spears to slings, then moves on to consider hand-to-hand combat weapons like the sword and axe. Information on the construction of each is outlined along with numerous supporting diagrams illustrations. Photo sequences suggest intelligently, if somewhat stiffly, how the weapons would have been used, but stop short of attempting a more systematic reconstruction. Underwood uses the later Viking sagas to supplement Anglo-Saxon sources where they are sketchy —on the use of the sword, for example. Fighting an opponent armed with a shield, blows will fall on the head, the neck and shoulder opposite the shield, and the lower portion of the leading leg. One of the photographs illustrates a countercut against the opponent’s sword-hand after the attack is warded with the shield. The combat reconstruction is not extensive, but it is well presented and fairly realistic.

Underwood touches on all the major archaeological evidence in his discussion of weaponry and subsequent treatment of armor, and brings it all together in the concluding chapter on the nature of Anglo-Saxon warfare. Throughout, Underwood never strays too far from the evidence. When he offers inferences based on personal experience —during his discussion of the value of different sizes of shields, for example —he offers common sense interpretations that are consistent with, if not explicit in, the sources he relied on. This work represents another example of the useful insights that result from the collaboration between the scholar-researcher and the physical interpretation/reenactment community.

The Cutting Edge - A Practical Guide to the Use of Highland Weapons: The Broadsword and Targe
by Larry L. Andrews, 1995/98 past & Present Enterprises, Ridgeley, WV.
ISBN 0766367200. $11.
Reviewed By J. Clements

This interesting little booklet of a mere 42 pages consists of ten short sections covering guards, blocks and wards, footwork, striking, grips, basic cuts, lessons, and training tips. It includes a handful of simple but effective sketch illustrations of postures and actions. Right off, it states it is a "manual on the proper use" of the title weapons. Although very short, it is written with sincerity and a clear martial spirit --and that on its own deserves respect. The Scott broadsword and targe is not my field of specialty, however it is close enough to the use of the medieval sword & shield in universal principles as to allow myself a good deal of room to consider the material presented. I did not want to be intentionally critical of the author’s effort or results, and I would much rather end up learning something new. At the least, the author clearly understands the necessity of using the flat to parry with and knows about using the face as well as the edge of the shield in parrying. The footwork chapter itself is also actually pretty good.

Strangely, the booklet doesn’t offer any background on the subject weapons themselves such as describe their origin, development, history, or conditions of use by Highland warriors. Perhaps this is already considered generally known by the book’s Scottish heritage audience? Regardless, the limited approach reduces the overall value of the work. In fact, one complaint I have is that it’s all written almost too casually, which makes appear as simply a student’s training notes or an instructor’s brief class outline. It also doesn't really discuss anything on blade characteristics, weapon construction, handling aspects, hilt configuration, etc. Cuts are covered but they surprisingly include diagonal and vertical descending strikes as being the same and do not even separate between left and right versions. The targe is a small round shield, yet is its use is mentioned for only two blocks and a handful of minor actions. No mention is made either of its classic center-spike. He also does not discuss its origins or period of use.

Fortunately, the author does avoid professing most of the various common myths and familiar misconceptions about European weaponry --and with the mass of misinformation readily available, this alone is an accomplishment. Of course, I did not agree with all his theories and findings, but I do think it is easy to see how they were reasonably arrived at and where they have merit.

I can say without doubt that I recognize and respect the author’s methodology of reconstructing his interpretation of the use of these weapons. It’s obvious he sparred and trained, read historical sources, tested their instructions, practiced again, and followed his instincts to discern a general method which he then set out to explain with confidence. Indeed, this is an admirable, commendable, and reasonable way to proceed in reconstructing and replicating a reliable facsimile of a lost historical fighting art. Sadly, there was no mention of the important element of test-cutting with sharp blades (or of just drilling and exercising with blunts or wooden weapons).

The publication also did seem somewhat too loose with its amalgam terminology, and would have been better served again to have used additional source material by other 18^th &19^th century authors (such as those from an array of related books on similar broadswords and cutlasses by  C. Phillips Wooley, C. Roworth, John Taylor, H.C. Wayne, J.M. Waite, Alfred Hutton, and Antoine J. Corbesier).

It’s possible to see where the author over generalized somewhat from his references, several of which reflect fighting methods and styles and even blade formss quite unlike the Scottish one of his subject (i.e., Lebkommer, Sutor, Meyer, Talhoffer, Capo Ferro, etc.). Some of his interpretation of these manuals suffers and is even superficial (focusing on postures rather than on the whole form). Additional sources (such as Swetnam, Pallas Armata, Castle, Burton, and others) would have been of more benefit in supporting his ideas if he better understood their weapons and styles or included more of them. His ideals on the "low ward" and "on guard" are almost incomprehensible.

Still, while limited in comparison they are legitimate and understandable source material for supporting a basic system of broadsword & targe, especially when the Scot weapons themselves are fairly simple and without any sophisticated method of their own. Still, he perhaps tried a bit too hard to force analogies or synthesize ideals among unrelated historical manuals when in fact they reflect wholly different philosophies of fighting.

The most disturbing part of the pamphlet however, is an odd comment about how "the iron clad knight stood erect with a straight back to maximize the force of his attack against his enemies armor", and "while a warrior clad only in leather had to use crouching stances to diminish his total target area". This kind of unsubstantiated nonsense reveals the author’s profound misunderstanding of fundamental aspects of medieval fighting and weapon use and serves to undermine his credibility. Still, some factual errors cab be overlooked if his other judgments otherwise seems sound. But another strange comment reads that it is not true that there is "a standard method of sword tactics", followed later by a statement that the reader should seek to master tactics appropriate for his weapon" so as to "be able to recognize when they are losing". Hunh? Statements like these are just confusing.

Overall though, this short work does present some fundamental advice that while perhaps not so detailed or eloquently written, is generally sound, reasonable and undoubtedly acquired directly from experience in sparring and fighting. The pamphlet also states it is volume 1 of a supposed 5 volume set on Highland weapons that includes (or will include) editions on two-handed claymore, lochaber and sparth axe, and also padded weapons (presumably sparring gear?). Oddly, it also makes the claim the author has "20 years of research into old manuals as well as more than 25 years of actual field combat." I suppose by this they mean simulated sparring?

In conclusion, the practical advice offered on the title weapons while legitimated in principle, is hindered by lack of supporting information and an assortment of minor mistakes and historical errors. This is forgivable though, and given the scarcity of respectable titles on Western fighting arts I for one would not mind seeing more in the future from this author. He seems to have some genuine insight waiting to be refined and articulated. As a writer on historical Western martial arts myself, I am all too aware of how a person’s fighting knowledge and understanding of weapons skills often cannot come out easily in words. So then, while it is possible to pick this booklet apart, for a mere $11 is it worth adding to your library for the merit of its contents alone? I have to say, sure.