Fabris, Notes on Chapter 7


There are four cuts listed by name, none are described.

  • Mandritto
  • Roverso
  • Sottomano
  • Montante

There are four ways to throw a cut

  • From the shoulder
  • From the elbow
  • From the wrist
  • From the shoulder with a extended, stiffened arm

Cuts from the shoulder are all in all a bad thing. They are slow, easily countered, and if they miss they could wind up behind your own back. A downward strike may even hit the ground and break the sword.

Cuts from the elbow is better than the first, but it still takes the hand out of line.

Wrist cuts are the best because they don’t take the hand out of line and when completed, the sword is still on line. They are also faster than the previous two. Being the most versatile and deceptive, these are the preferred type of cut.

The shoulder cuts with a stiffened arm are not as good as wrist cuts, but still usable. They consist of the small action of slightly lifting the sword and then letting it fall. The sword arm remains locked and the wrist unbent so you can immediately return inline. This is accompanied by actions of the feet and body, for example lowering the body will allow you to recover faster.


If you want to cut, you have to wait for the right tempo. A good way is to feint a cut in order to put the opponent into obedience, and while he tries to parry strike him with a thrust. Don’t feint with a cut against a stationary opponent, the length of the first tempo would put you in danger. In addition, you are spending one tempo to raise the arm and another for the actual cut.

If you feint with a thrust then strike with a cut then you don’t want to wait for a tempo.

In general all cuts are slow and you cannot counter-attack while parrying. The recovery is also slow if you miss.

[He then burns two more paragraphs on how he favors thrusts.]

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