A BASIC GUIDE by the HEMA Alliance

Pojedynek Wołodyjowskiego z Bohunem by Juliusz Kossak 1886

A 17th Century duel between Colonel Wolodyjowskia and the Cossack Jurko Bohun, two
characters from the Polish epic by Henryk Sienkiewicz

AUTHOR
Richard Marsden

EDITOR
Keith Farrell

HEMA ALLIANCE RESEARCH TEAM

Tyler Brandon
Keith Farrell
Jonathan Hill
Daria Izdebska
Olek Frydrych
Kevin Maurer
John Patterson
Not for sale, but can be used freely for educational use.

Copyright 2013
 2

Eric Stefan Jadaszewski, owner of the Polish

Hussar Supply Company. They provide period
clothing, armor and arms.

www.polishhussarsupply.com
 3

HEMA Alliance Polish Saber Basics

Scope: This PDF covers the very basics of Polish saber, using numerous (though limited)
sources. The object of the work is to introduce the basic history, concepts and techniques of the
Polish saber as it was used on foot in the setting of a duel during the 17th century. This setting is
somewhat different to the sword's usual role as a cavalry weapon for war.

Sources: There are no Polish texts from the 17th century on the use of the Polish saber. There
are, however, painfully tantalizing bits of information and artwork from the era, and in the 19th
century Michał Starzewski wrote about his understanding of 17th century Polish fencing. Below
are some of the more profound sources at our disposal.

Art = Martino Altomonte, an Italian painter from the 17th century, depicted Polish nobles
gathered at an election in 16971. In the painting, two youths can be seen using sticks to fight
while their elders watch. This was a game known as palcaty. The depiction provides some hints
as to the stance and blade-work.

German 17th Century Text = The German rapier master Sebastian Heussler's 1627 manual has
three curious plates which illustrate and describe cutting with the saber3. In one of the plates, a
Pole and Turk face one another. The book is for the rapier, so the images may simply be stand-
ins to express the idea of cutting.

German 16th Century Text = The German dussack is a short, curved, training-weapon meant
primarily for cutting and was often made of wood (although there are many surviving examples
of metal dussacks in collections throughout the world). Joachim Meyer, in his treatise, described
the dussack as the basis for all one-handed weapons4. Meyer's work comes from 1570 and can be
used for some saber techniques. While there is not a one-to-one correlation, one can think of the
dussack in its relationship to the saber, as one might see the 16th century side-sword in relation
to the rapier.

Primary Account = Jan Chryzostom Pasek was a Polish noble who lived during the tumultuous
17th century.5 His colorful memoirs include several duels, and give hints as to how the saber was
used on foot.

1
Altomonte Martino, Election Diet (Detail with Polish Nobility) 1697,
(http://en.wikipedia.org/wiki/File:Polish_nobility_in_1697.JPG)
3
Plates and Translation courtesy Kevin Maurer
4
Maurer, Kevin, Meyer 1560, (https://sites.google.com/site/jochimmeyer1560/)
5
Pasek, Jan Chryzostom, Memoirs of the Polish Baroque, translated by Chatherine S. Leach (Los Angeles: University
of California Press, 1976)
 4

Primary Account = Jędrzej Kitowicz was a Polish historian who wrote about his country's culture
and customs during the early 18th century. Of particular note was palcaty. Palcaty was a game
taught to the Polish youth as part of their standard Jesuit education and it is likely that the game
was used to prepare children to be swordsmen as adults.6

Secondary Account = Michał Starzewski was a 19th century Polish figure who opened up a
school of fence and wrote an incomplete treatise on the use of the Polish saber.7 This was written
in 1830 and tried to re-create what saber fencing of the 1600's might have been like, and
stylistically was written in a faux-baroque style.

Secondary Account = Wojciech Zabłocki is a Polish sport fencer who participated in four
Olympic games. In 1989, he researched the dimensions of Polish sabers and drew images of
them, and also commented on Michał Starzewski's treatise8. He continues to advance Polish
fencing today.

Multiple Interpretations: The most complete source is a secondary account written two
hundred years after the 17th century. Meanwhile, the contemporary accounts offer very few
details. This means that there is no solid instruction of technique, but rather there are pieces of
the puzzle to be found and put together. Our research has led to numerous interpretations, and

6
J. Kitowicz, T, On Customs and Traditions in the Reign of Augustus III, translated by Daria Izdebska
(http://www.historical-academy.co.uk/library/research.html)
7
Starzewski Michał, Treaties on Fencing, translated by Daria Izdebska, (Original is found in Michał's grandson's
book Ze wspomnień o Michałe Starzewskim, 1932)
8
Oril, Richard J, Polish Saber Fencing, (http://www.kismeta.com/diGrasse/Zablocki.htm) (Original is found in
Wojciech Zabłocki's Ciecia Prawdziwa Szabla, 1989)
 5

rather than argue over which is right, or wait for more sources that may never arrive, numerous
interpretations will be explored.

How to get involved: At the end of the work, links will be provided where you can buy
equipment so that you can learn, adapt and further our communal understanding of the Polish
saber.

Two reproduction
Polish sabers.

The guards have a

floating knuckle-
bow and a thumb
ring. Two common
features in Polish
sabers.

The curvature on
the swords varied,
from gentle like
the one on the left
to deep like the
one on the right.

On the right, an
image from a 17th
century map,
detailing a Polish
cavalryman with a
saber and a
floating knuckle-
bow.
 6

History: Poland-Lithuania (The two countries were nominally fused in the 1300's) was one of
the largest countries in Europe during the 17th century, second only to Russia, and a gateway for
ideas from the East and West. During this time, Polish nobles could be seen wearing the latest
boots from France, sporting Italian lace, fancying Eastern silks, and donning Muscovite hats.
Within Poland's borders one could find English merchants, Italian artisans, German mercenaries
and a host of others. All of these outside influences were merrily adopted by the Poles, which in
turn created a colorful and unique culture. The 1600's were hardly kind though, as Poland found
itself at war with the Swedes, Muscovites, Turks and even themselves.

While monarchs striving for more absolute rule controlled nations like France, England, and
Sweden, Poland had a king who was at the mercy of his nobles. The Polish king had to be
elected by them! The Polish nobility, or szlachta, had considerable influence over Polish politics.
Rich or poor, the szlachta had a voice in Poland's government through a body called the Sejm.
These nobles were so independent-minded that they even believed themselves to be a separate
people from the commoners and believed their ancestry led to the ancient Sarmatians. The
fashions, attitudes, and politics of the szlachta were eye-catching, and invariably included the
saber as a compliment to the aforementioned.

The Saber: The Polish saber was primarily a sword meant for mounted combat, though it could
be used to settle affairs of honor, love, country, politics, or festivities. The famous Polish noble
Pasek found his saber in hand for numerous duels, or near-duels. The most spectacular was at a
party, where he dueled with three people.9 The shapes of 17th century Polish sabers differ, but
they share certain characteristics that affect their use.

Curve = Polish sabers have varying degrees of curves. The curve maximizes cutting potential,
and on horseback, sabers were excellent weapons. On foot, the saber is no less deadly, and
though designed for the cut, it can still perform a thrust. The curved nature also allows for the
ability to stab around guards, thus making defense with a Polish saber more exaggerated to
prevent this.

Limited Hand Protection = A defining aspect of Polish sabers are that they offer little in the way
of hand-protection. Simple cruciform shapes were common, sometimes with a chain stretching
from the quillon to the pommel. Other variations offered more protection, with a floating
knuckle-bow and/or thumb ring being popular. The thumb ring offers limited protection for the
thumb against vertical strikes and provides additional control, while the floating knuckle-bow
protects the front of the hand. Shells and full knuckle-bows replaced these in later periods.

9
Pasek, Jan Chryzostom, Memoirs of the Polish Baroque, translated by Chatherine S. Leach (Los Angeles: University
of California Press, 1976) pg. 60-62.
 7

Reproduction Polish saber with

a floating knuckle-bow and
thumb-ring.

From Sczepan Twardoch

www.myarmory.com
Drawing of a historical Polish
saber by Wojciech Zabłocki.

Note the very gentle curve,

floating knuckle-bow and
thumb-ring.

Sabers were classified by by

number, name and letter. Such
as type IA, IIB, IIIC and so on.

www.kismeta.com

Because Polish sabers have limited hand protection, the hand, wrist and fingers were very
vulnerable in combat, especially when dueling. In Pasek's memoirs, most of his duels resulted in
a strike to his opponent's hand.

Tomasz Sapieha, a Polish noble, lost his entire right hand in a saber duel in 1632 to Jerzy
Zenowicz. This didn't slow Tomasz at all, as he went on to participate in several battles and to
become the Voivode (warlord-governor) of Wenden and Nowogródek.

In Starzewski's manual, the hand is described as a primary target when practicing and every
possible way to strike it is described and illustrated.

In Zabłocki's research on 17th century diaries, a majority of duels resulted in strikes to the hand
with such colorful phrases as “loose fingers” being a result.10

The nature of the Polish saber means that you must protect your hand much more than you might
with a sword with a more complex guard, or a basket-hilt.

10
'Out of 19 landed cuts, 14 struck the hand and 5 the head.'
 8

Types of Polish Sabers of the 17th Century

Sabers were classified by Wojciech Zabłocki

in his book, ' Ciecia Prawdziwa Szabla'.

Type I B Saber - These sabers sported a

knuckle-bow, either connected or floating, and
a thumb-ring. They were known as Hussar
Sabers and were useable mounted or on foot.

Type IIB Saber - These sabers had no

knuckle-bow and a flared pommel to rest in
the palm of the hand, which provided a better
grip for circular cuts. They were known as
Karabelas and were useable mounted or on
foot.

Type IIIB Saber- These sabers had no

knuckle-bow, but could have a chain strung
from the pronounced quillon to the pommel to
act as one and sported thumb-rings. This
particular model has a yelmen, which is the
flared end of the sword. They were known as
Hungarian sabers and had separate models
meant for horseback and foot combat.

www. reenactmentmarket.eu.com
 9

Polish Martial Connections to Western Europe

Joachim Meyer 1560

In this image depicting dussacks, the fencer on

the right sports Polish footwear in the form of
riding boots, a zupan, which was a form of
undergarment, and over it a ferezeya coat. The
moustache rather than a clean-shaven face, or
beard, is another mark of the man's Polish
nationality. The fencer on the left is in typical
Western attire and the author of the manual
was a German master who operated a
fechtschule in Strasbourg.

Courtesy Kevin Maurer

Antonio Marcelli 1686

Marcelli was a rapier master who was taught in

the city of Rome. In his manual he discusses the
sciabla, which is similar to the Polish word for
saber- szabla. He describes how one should
fence with a rapier against a saber and a saber
against a rapier. A direct Polish connection is
tenuous, but not non-existent.
http://www.umass.edu/renaissance/lord/pdfs/Marcelli_1686.pdf

Courtesy the Lord Collection

http://www.umass.edu/renaissance/lord/pdfs/Marcelli_1686.pdf
 10

Footwork and Footwear

Footwork is not explicitly described in any of the sources, and like with most things involving
the 17th century Polish saber, there are clues, but no solid answers. When it comes to footwork,
featured later, footwear bears some mentioning.

Footwear-

Most Polish nobles wore riding boots or riding shoes. These types of footwear have a raised heel
so that one can attach spurs. 17th century boots, not only in Poland, but also in France and
England, had somewhat pointed toes and very raised heels. The heel plants the ball of the foot on
the ground. This enables quick forward movement because the rear heel doesn't need to be raised
before one takes a step.
Turkish footwear. (Popular in Poland)

These 17th century Turkish boot have a very raised heel

so one can attach spurs. The high heel naturally plants
the ball of the foot on the ground.

www.kismeta.com

17th or 18th Century English Postilion Boots.

Boots like these were popular on Europe's unpaved and

rough roads. They were heavily reinforced, and covered
the calf and sometimes the knee or even thigh!

Buckles, spurs, and other features were adornments that

were added on later, and could be removed when a new
pair of boots were bought. As roads improved in quality,
the need for such heavy, and tall, footwear declined.

www.overuboots.com

Polish Hussar Boots.

The colors yellow, gold, and maize were popular with

17th century hussars. Note the very high heel and how
the ball of the foot naturally rests on the ground with
these reproduction hussar boots.

http://www.ukrainiansite.com
 11

The Duel in Poland: While immensely popular in Western Europe (to the point where France
occasionally lost more men to dueling than it did to wars11), the duel in Poland was forbidden by
both Church and State. If the power of God and monarch wasn't enough, the lawsuits resulting
from a duel did much to curb its practice. Dueling with sabers on foot did take place, but it was
often informal by Western standards. Additionally, it was rarely fatal, with a single cut usually
ending the affair and bypassing the legal matters that a death was sure to bring.

Pasek, for example, fought two guests at a party in a military camp, and then the host. Dueling
was not allowed within the camp, but that didn't stop Pasek, nor was he punished for it. All
involved were well into their cups and no one died as a result. The host of the party was fined,
and Pasek, being a sporting sort of person, paid for the surgeon who was needed for the wounded
guests.12 Customs and rules were often set in place, such as a restriction on fighting in the camp,
and duly ignored.

Another time, Pasek struck a man in the presence of the King; a grave offense, punishable by
death. The King cheerfully pardoned Pasek for his transgression.

Western custom dictated that in a duel, the two aggrieved parties should meet at a certain place,
at a certain time, and bring seconds. The duel would then be conducted with identical weapons.
When a fellow noble challenged Pasek, rather than waiting, Pasek rode out (apparently alone) to
the home of his challenger and called him out then and there. The matter was resolved
peacefully.

Pasek's attitude toward dueling was typical of the Polish nobility who were aware of the more
formal rules of places like Italy and France, but chose to ignore them as they saw fit.

11
Kiernan, V.G., The Duel in European History, (Oxford: Oxford University Press, 1989) pg. 74.
12
Pasek admonishes his readers with the following tips on dueling, "Every time I gave provocation I was defeated;
every time someone provoked me, I was always victorious. "
 12

Core Concepts

Stances

Footwork

Guards

Attacks

Techniques
 13

Stances

There are several interpretations of stances. Huessler, Altomonte, Starzewski and older dussack
manuals all show or describe different forms of stances and all of them can be used.

Back-Weighted

Huessler 1627

Note that both the Pole and Turk are back-

weighted in their stance. The footwear has a
high heel.

Courtesy Kevin Maurer

Toes Forward

Martino Altomonte 1697

Note that one is passing and both have their toes

forward. The footwear indicates a flexible boot
with no major heel.

www.en.wikipedia.org/wiki/File:Polish_nobility_in_
1697.JPG
Even-Weighted

Wojciech Zabłocki's rendition of the 1830

manual by Michał Starzewski

Note how both legs are bent, sharing the weight

of the body.

www.kismeta.com

Forward-Weighted

Joachim Meyer 1560

The stance was broader, with a forward

weighting at times.

www.friefechter.com
 14

Depending on which stance one chooses, certain factors will apply.

Back-Weighted = This linear stance is similar to that which was used in 17th century rapier. The
rear leg is bent and the foot planted, the front leg has very little weight on it and the lead foot is
ready to move. In rapier-theory, this was meant to allow the lead foot to pull back instantly if
threatened, and to enable left or right voids, or lightning quick lunges powered by the rear leg.13

Toes Forward = In this stance, the weight is fairly shared between each leg. The balls of the feet
are planted on the ground and the heels raised slightly. In modern shoes this can be difficult to
accomplish. Polish footwear of the 17th century varied, but included flexible slippers, which
made going on the balls of the foot easy, or riding boots with very high heels, which
accomplished the same thing automatically.

Even-Weighted = This linear stance was popular in the late 1700's and the 1800's. It can be
found in Angelo's manual of Highland-Hungarian broadsword and is described in Starzewski's
work of 1830.14

Forward-Weighted = This broader stance, seen in dussack manuals, does nothave the heels in
line, so that the rear leg can pass as needed. The weight is mostly on the lead foot and the rear
foot turns as needed. One can then pass forward, or, turn the foot away from the opponent and
lean back.

Leaning = In all cases, one can take their rear foot and turn it out so that the toes face away from
the lead foot. This wide stance enables one to lean forward and back easily. If the rear foot does
not turn out, one can lean deeply forward, but not as deeply backward.

Opus Amplissimum de Arte Athletica

compiled by Paulus Hector Mair 1542

Left - Leaning forward with the rear foot

slightly turned out.

Right -Leaning backward with the rear foot

entirely turned out, with the toes pointing
away from the lead foot. Both are in a
position similar to the low guard discussed
later.

www.wiktenauer.com

13
Huessler depicts saber fighters in this stance, but they could be stand-ins for the concept of 'cutting'. Starzewski
meanwhile uses a different stance, but suggests a lunge, or 'spring' as a means of attacking an opponent.
14
Even-weighted can be everything in-between forward and back-weighted.
 15

Back-Weighted

Toes forward
 16

Even-Weighted

Forward-Weighted
 17

Leaning Forward

Leaning Back
 18

Footwork

Forward = Moving forward can be done two ways: an advance or a pass.

Advance - An advance is a quick way to move forward. The lead foot extends and the
rear foot follows. You should try to not bob up and down as you move, but maintain
balance and height. Another way, which can be deceptive to the opponent, is to have the
rear foot move closer to the lead, then extend the lead foot.

Pass - A pass is a slower way to move forward but covers more ground and brings you
“off the line” that connects you to your opponent. It is easier to perform when you have a
broader stance, since the heels are not in line. The rear foot moves to become the lead.
Because the rear foot has so far to travel, it is slow. Additionally, if the weapon hand is
leading, after the pass it will be trailing. A specific use of the pass will be explored in
more depth in the techniques section.

Backward = Moving backwards can be done two ways. A retreat or a pass-back.

Retreat - The retreat is a quick way to move backward. The rear foot steps back and the
lead foot follows. This can be done quite effectively by pushing off the lead foot. You
should try not to bob up and down as you move, but maintain balance and height.
Another way, which is quicker, is to move the lead foot and bring it closer to the rear,
then have the rear foot move backward to re-establish the stance.

Pass-Back - A pass-back is a slower way to move backward, but covers more ground and
brings you “off the line” that connects you to your opponent. It is easier to perform when
you have a broader stance since the heels are not in line. The lead foot moves to become
the rear. Because the lead foot has so far to travel, it is slow. Additionally, if the weapon
hand is leading, after the pass-back it will be trailing. The pass-back is used more often
than the pass-forward in Polish saber. If one's leg is attacked, you can pass-back, while
your body leans forward and you strike toward the opponent's hand, arm or head. This
technique is common in numerous systems such as longsword and rapier and will be
explored in more depth in the techniques section.
 19

Lateral = Moving laterally can be done three ways: a lateral move right, a lateral move left, or
moving laterally with the use of a pass.15

Lateral Right - The lead foot moves to the right and a little forward. As soon as the lead
foot is planted, the rear foot moves a little to the right to realign the body.

Lateral Left - The rear foot moves to the left and as soon as it is planted the lead foot
moves to the left and a little forward. By having the rear foot move first, one does not
cross one’s legs.

Pass - The pass can be more lateral as needed.

Advance

Retreat

15
Lateral movement is mentioned by Starzewski, but not described. Meyer's 16th century manuals provide
applicable advice.
 20

Passing Forward

Passing Back
 21

Lateral Right

Lateral Left

Lateral Left from a Different Angle

 22

Guards

For the purpose of this manual, guards include positions from which to act and to defend. The
potential for guards are numerous, and experimentation is encouraged.

When deflecting attacks, it is best to use the stronger portion of the blade, which is closer to the
guard. Most fencing manuals, from any time-period, discuss this concept. Starzewski explains
that from the middle of the blade to the guard, the sword is better at parries, and from the middle
to the tip, better at the attack - with the extremities being best of all at these tasks! Meaning, the
portion closest to the guard defends the best, and the tip of the sword attacks the best.

The sword has two edges, a true edge and a false edge. The true edge is used in all defense (in
this PDF) and most attacks. The false edge is used for specific attacks.
 23

High Extended = The right arm is extended, the blade's tip is pointed at the opponent's right eye
and the knuckles are turned up. The hand is held high enough that one looks under one’s guard.
Various masters described this as the quickest and safest position at which to arrive when
drawing the sword.16 Additionally, it creates a threat to the opponent's face and can be used to
keep distance.17 Any attack from above will be thwarted by the manner the sword is held, and a
moulinet from this position can deflect any attack that comes toward the body.

16
Agrippa, Fabris, and the British Saber Manual of the 7th Guard, are all examples of manuals that use this guard
when drawing the sword.
17
This guard is mentioned by Starzewski and was popular in 17th century rapier where it was known as Prime,
First, or Prima.
 24

High Retracted = Because the Polish saber lacks hand-protection, it may be necessary to draw
back the hand momentarily while still providing a threat. From here, another guard can be
adopted. To achieve this guard, from the High Extended, draw the hand back toward the right
shoulder, or toward the left shoulder. Raising the hand higher protects the head.18

Opus Amplissimum de Arte Athletica compiled

by Paulus Hector Mair 1542

Mair suggested waiting for the opponent to

attack your right arm, parrying the attack with
the true edge, and passing forward to use the
left hand to grasp the opponent's wrist.

www.wiktenauer.com

US Cavalry Manual 1907

This guard was meant for mounted combat, but the concepts remain the
same for use on foot. The sword is drawn back toward the chest or head.
From here other guards can be adopted or a thrust delivered.

www.anesi.com

18
This guard was used in 20th century saber manuals, including the US Cavalry manual. It has an older correlation
as well in Meyer's 16th century rappier manual, where it is described as the ox guard and a variation can be found
in Mair's dussack.
 25

Hanging Guard = This guard's purpose is to parry attacks aimed at the head by directing them to
the left instead. When an opponent's strike is delivered, it is best to expulse the blade, not just
stop it. The harder an opponent hits, the further their attack can be expulsed by making the sword
a ramp to guide the opponent's attack away, rather than making a bar with which to stop the
strike entirely.19

Martino Almonte 1697

The youths are engaged in palcaty. The youth

on the right is using a hanging guard to protect
himself from a cut from below. Like Western
single-stick games, the head was the primary
target.

www.wikipedia.com

Henry Angelo 1799

A typical hanging guard. Cuts from above are

deflected to the left.

www.sworddueling.com

Wojciech Zabłocki's rendition of the 1830

manual by Michał Starzewski

Starzewski described this deflection as pushing

aside the opponent's incoming attack.
Meanwhile the sword acts as a guide to aide in
the deflection.

19
This was a common guard in numerous systems, ranging from Angelo's late 1790's Hungarian-Highland
broadsword, to Hutton's 19th century saber and mentioned by Starzewski and seen in Almonte's 17th century
painting.
 26

Middle Guard = This is a standard engaging guard and has two variations. The first variation
keeps the point of the sword aimed at the opponent to threaten him with a thrust. Another
variation is to have the hand drawn back, and the tip pointed to the sky. The first uses the thrust
as its most likely form of attack, the second threatens the cut.20 Both keep the hand around waist-
level.

From Wojciech Zabłocki's rendition of the 1830 manual by

Michał Starzewski.
www.kismeta.com

20
Starzewski describes a standard engaging guard with the tip of the sword used to threaten the opponent, but in
Zabłocki's drawings, a different variation is used with the cut being the primary threat that is similar to Angelo's
Middle Guard.
 27

Parry Inside and Outside = Cuts from the right or left can be transformed into thrusts, which by
the nature of the curve of the sword can get around an opponent's guard. To protect against this a
more exaggerated defense is needed. Attacks to the left or right side are parried with the true
edge of the blade, close to the guard. The arm is extended for safety.

The sword can be point up or down, depending on where the attack is coming from. Point up is
meant for attacks from the waist up, and point down is meant to deflect attacks from the waist
down.

This parry isn't extended enough, and so with a twist of the wrist, the curve can go around it.

This parry is extended enough, and so the opponent cannot turn their wrist to get around it.
 28

Parry High Outside and Inside

Parry Low Outside and Inside

 29

Low Guard = The guard has the sword resting low, and the upper body invites attack.21 One can
draw one’s sword quickly into a hanging guard to deflect attacks. Because the Polish saber lacks
hand protection, especially compared to a basket-hilted sword, draw the blade into the hanging
guard by moving the right hand up and back toward the right ear, rather than just lifting the
sword from a low guard to a hanging parry that would expose the hand.

Hans Talhoffer 1467

Talhoffer's manual covered numerous weapons, including the messer,

a short sword with limited hand protection. A low guard is depicted
here. From this position, one can move into a hanging guard and pass,
using the left hand to grasp the opponent's right arm/wrist. Another
option is to cut off the attacker’s hand as he strikes, or deflect strikes
from above.

www.talhoffer.wordpress.com

21
This guard is described by Michael Starzewski and has correlations in dussack (with the false or true edge
leading), messer and rappier (with the false edge leading) of the 15th and 16th centuries.
 30

Attacks

Starzewski details attacks in great depth, and they can be simplified into two targets, the hand or
the core.22 All attacks described by Starzewski are cuts that use the “wrist-moulinet”.

The hand includes the fingers, palm, wrist and forearm. It

is the easiest target because it is the body part that is most
extended, and the Polish saber lacks sufficient hand
protection. In most historical accounts, duels in Poland
ended with a strike to the hand of some sort. The hand can
be attacked from the four cardinal directions and also
diagonally.

Attacks from above, below and horizontally can use the

true edge. Attacks from below and horizontally can use
the false edge. Because the hand is delicate, not much
power is needed to cause damage with a Polish saber. Additionally, the point can be used to
thrust into the hand, and again, not much power is needed to cause damage.

Starzewski describes the core as targets other than the hand, such as the head, belly, shoulders or
sides. Attacks come from the four cardinal directions and also
diagonally. Because the core is a much bigger target, the
horizontal attacks may come at stomach level, chest level, and
head level.23

Because the core is farther away than the hand, more speed and
greater reach is needed to hit the targets. As with the hand,
attacks from all directions can use the true edge, while
horizontal cuts and those from below can use the false edge.

The thrust is not described by Starzewski, but has historical

references.24 The thrust can come from below, by using the
curve of the blade to strike an opponent under the chin, or it
can come from above, using the curve to strike an opponent in
the chest. From binds, the sword can also turn and thrust or cut
as needed.

22
Starzewski noted that in practice one aims for the hand, in war, one aims for the core. A duel may fall
somewhere in-between given the proclivity of hand strikes.
23
This is very similar to Meyer's cutting diagrams in his treaties on the rappier.
24
Pasek describes numerous accounts where he uses the point of his saber, usually with fatal results.
 31

Moulinet = The moulinet is a type of cut in which the sword rotates to generate power. The
moulinet was popular with older forms of saber, but was abandoned in the late 19th century as
sabers became lighter and sporting techniques supplanted martial ones. There are two varieties of
the moulinet.

Wrist-Moulinet

The sword is rotated by the wrist and the arm is extended while the forearm and elbow
remain as still as possible. This is so that the forearm is not exposed during the moulinet.

Arm-Moulinet

The moulinet can be powered by the elbow and arm, but to do so safely, the hand and
arm must be raised above the head, and out of the way, as the powerful circular attack is
launched.

Wrist-moulinets can deliver attacks with the true or false edge from any of the directions put
forth by Starzewski, while arm-moulinets are less versatile, but provide more power.

A wrist-moulinet using the true edge, for example:

From the Middle Guard, dip the tip of the sword toward the left hip, then using the
fingers and wrist, roll the sword back to the Middle Guard. Imagine that during the
movement one could check the time on one’s wrist-watch. Done quickly, the sword dips
and returns with sufficient power to cause damage, thanks to the momentum generated by
the rotation. The forearm and elbow remain stationary during the moulinet.

A wrist moulinet using the false edge, for example:

From the Middle Guard dip the tip of the sword toward the right hip, then using the
fingers and wrist, rolling the sword so that it strikes from below, using the tip of the
sword. Imagine that during the movement one could look at the clasp of one’s wrist-
watch. The forearm and elbow remain stationary during the moulinet.

Raising and lowering the arm enables the moulinet to strike the head, body, or stomach.
Additionally, moulinets can be horizontal, vertical, or diagonal.

Simple Attack = The simple attack is the use of the cut without the full rotation of the moulinet.
You extend your arm and snap your hand toward the opponent. It is faster and more direct, but
lacks the power and some of the deception involved in the moulinet.
 32

Stages of the Wrist-Moulinet

Stages of the Arm-Moulinet

 33

Footwork During the Attack = Various fencing masters in history made rules to determine the
“order” of an attack.25 In short: the sword must move before anything else.

When using the Polish saber, this means that the sword needs to lead the movement of an attack,
not the body or the foot. The sword attacks, but it also protects, and by leading with the sword
when attacking, one will be safer.

Starzewski's description of attacking is summarized as follows: strike while springing forward,

powered by the rear foot. The rear foot remains planted; the sword begins moving, the lead foot
advances and the strike hits. Once the attack hits (or even if it does not), one springs off the lead
foot back into the High Extended guard. Once again, the rear foot has not moved.26

He also described moving laterally with springs to avoid counter-attacks.

Almonte's painting shows a very different style of attack, where one youth is passing and striking
at his opponent from below.

Older dussack and rappier manuals, such as those written by Meyer, involve advancing, passing,
and moving laterally while performing attacks.

All together, the theory remains the same. The sword has to move first, the body next and then
finally the foot to be as safe as possible. It doesn't matter if one chooses to spring like
Starzewski, pass like Almonte, or shuffle laterally like Meyer, as long as the order of movement
is maintained.

When recovering from a strike, the sword needs to remain as protection, so the foot moves, then
the body, and then the sword.

25
Meyer simply stated that the sword and foot should land simultaneously as possible. George Silver, a late 16th
and early 17th century English master, determined that the hand moves fastest, the foot the slowest- so the hand
should lead the foot in what he described as true times. In rapier manuals of the 17th century, the lunge was
described in similar terms, with Giganti dictating that the hand, body, then foot should move when launching an
attack.
26
This is very similar to the lunge of 17th century rapier manuals in which a thrusting weapon was used. Starzewski
may have been using this method, which became the primary attack for sabers in the 19th century in which the
point was used more often.
 34

Ideally when attacking, the hand will move first, and then the foot. The sword should still strike
the opponent as the foot lands.
 35

Techniques

Below is a brief sampling of just some of the techniques one can perform with the Polish saber.
Some of the techniques make use of the curved nature of the blade; others are common defenses
with single-handed weapons from the 15th to the early 20th century.

Pass and Grab = From the Low Guard await an attack to the head. When the opponent attacks,
enter into the Hanging Guard while passing forward. The sword will deflect the attack to the left,
and create a barrier. The left hand will reach under the Hanging Guard and grasp the opponent's
right wrist, or arm, at the same time as the pass is completed. From here, the right hand is free to
bring the sword around for a strike to the opponent's head.27

Hans Talhoffer 1467

One of Talhoffer's messer plays depicts the

technique of using the sword to deflect an
attack, while the left leg passes forward and
the left hand reaches under the sword to grasp
the opponent.

www.talhoffer.wordpress.com

27
Variations of this technique can also be found in Fiore's sword in one hand, Meyer's dussack, and in Spanish
rapier is known as the movimiento de conclusion.
 36

Counter-Cut to the Inside = If an opponent cuts toward the inside (everything left of the sword
when it is held in the Middle Guard), step back with the rear foot and lean back. While doing
this, cut to the inside of the opponent's arm. The stepping and leaning will cause the opponent to
miss their intended target while exposing the inside of their right arm.

Sebastian Heussler 1627

Here the Polish nobleman uses

his type III B saber to counter-
cut to the inside of his Turkish
opponent.

The Pole is stepping back with

his left foot and leaning back
so as to create distance while
he counter-cuts.

Images and translation

courtesy of Kevin Maurer.

Counter-Cut to the Outside = The technique is similar to the previous technique. If an opponent
is cutting to the outside, step back with the rear foot and lean back. While doing this, cut to the
outside of the opponent's arm.
Sebastian Heussler 1627

The same technique is shown

but to the outside. The men
are using straight swords with
floating knuckle-bows.

Images and translation

courtesy Kevin Maurer.
 37

Beat = This technique requires a simple attack to the opponent's sword to move it out of position.
After the opponent's sword has been moved, a follow-up simple attack is directed at the
opponent's hand or core. A beat requires sufficient force to move the opponent's blade aside. This
means the beat must have a snap to it and be directed at the middle to the tip of the opponent's
sword. To get the snap, cock the wrist, then launch the simple attack.
 38

Moulinet Counter-Cut to a Beat = From the Middle Guard with the point aimed at the opponent,
or the High Extended Guard, respond to a beat by performing a moulinet (using the true or false
edge) before the opponent's sword strikes. Because the opponent has to make two motions to
perform a beat, one can respond by starting the moulinet. The opponent's beat misses and his
sword will be out of position and his hand exposed. The moulinet ends with a strike to the
opponent's hand.
 39

Disengage Counter-Thrust to a Beat = From the Middle Guard with the point aimed at the
opponent, or the High Extended Guard, respond to a beat by dipping the sword down and around
the incoming attack. One's sword will then be on the outside of the opponent's saber. Perform a
thrust bringing the guard close to the opponent's sword so he cannot recover in time.28

28
Both counters to the beat void the attack and rely on a matter of time. Rapier masters noted that a beat takes
two actions, one to prepare the cut by cocking the wrist or raising the arm, and another to deliver it. This gives one
time to prepare a defense against a beat. 17th century rapier masters used a disengage followed up with a lunge.
 40

Thrust Over a Hanging Guard = If an opponent lingers too long in the Hanging Guard, or is lured
into it with a feint, use the High Extended Guard to thrust over the opponent's defense. The
nature of the curve will dip the tip into the opponent’s throat or chest.
 41

Thrust from Below = From the Middle Guard with the point aimed at the sky, feint a simple
attack toward the opponent's head. If he enters the Hanging Guard to cover, perform a moulinet
with the false edge and transition it into a thrust into the opponent's chin.29

29
In the 19th century Richard Burton doubted that deeply curved sabers could thrust. Numerous accounts
dispelled this myth. The thrust from below could have particularly gruesome and spectacular effects. Kinsley, D.A.
'Blades of the British Empire' (Lulu Press, 2012).
 42

The Cut that Must be Answered = This technique has many variations and is a fundamental one.
Most initial cuts are likely to be stopped by the opponent. This can be advantageous, because
when an opponent parries there is a part of him that is left unprotected.

Example = A cut to the left side of the head must be answered. If the opponent parries with the
Hanging Guard, one can direct another strike to the opponent's uncovered right arm. By
preparing this in advance, the movement will be quick. The cut to the head must be sufficient
enough to require a response, but not too hard to prevent a follow-up attack.
 43

Thrusting Around a Defense = This technique is similar to the previous technique. A cut is
launched that must be answered. When it is parried, two opportunities arise to use a quick thrust.
If the opponent's defense is not wide enough, one can turn the wrist and use the curve of the
saber to thrust around the opponent's parry. Another option is to wait for the opponent to leave
the bind - as he does so, he is momentarily not a threat, and so a quick turn of the wrist can allow
the curve of the saber to peck at the opponent's retreating hand or arm.30

30
This technique is used extensively with the tulwar, a curved sword used by Sikh martial artists practicing
Shastarvidiya. Interestingly enough, Sikhs avoid clashing swords, preferring to maneuver around and jab or cut at
close range. The history and techniques of Shastarvidya are being revived by Nihang Niddar Singh.
 44

Conclusion

Rediscovering a lost martial art is no easy task. In the case of interpreting Polish saber fencing on
foot in the 17th century, the task is even more daunting. Period sources are rare and tangential,
while the most detailed text is from the 19th century and hardly complete. However, by pooling
together fragments and looking at similar systems and neighboring cultures, a once murky
picture of Polish saber fencing becomes more clear.

Part of the fascination with Historical European Martial Arts is in the discovery of material. Each
year more manuscripts are found, each year formerly obscure texts are translated, and each year
more people join in the hunt to bring back to life arts that were once dead.

This project is hardly complete. It is a beginning and not an end. Even while writing this PDF,
other members of the community discovered new material, interpreted their own ideas, and
helped us get a greater understanding of Poland's martial history during its golden era.

The hunt for more goes on.

To further our understanding, we (Richard Marsden and anyone he can dragoon) will be
producing a full-color book on Polish saber fencing. The book will have more page space
available and be able to display the high-resolution photographs more clearly than a concise PDF
can. There will be more texts, accounts, historical plates and interpretation. With hard work, and
the community's help, we hope that this PDF, and the book to follow, will breathe some well-
deserved life into Polish saber fencing of the 17th century.

About the Author

Richard Marsden has been involved in swordsmanship

since he was 15. He holds a Bachelors of Arts in
Secondary Education and a Masters of Arts in Military
Studies: Land Warfare. He is the author of short stories,
novels and gaming products. He is a member of the
HEMA Alliance and co-founder of the Phoenix Society
of Historical Swordsmanship. He teaches History at an
Arizona High School and his loving wife tolerates his
many eccentricities.

www.worksofrichardmarsden.com

http://phoenixsocietyofhistoricalswordsmanship.webs.com/

Sample Sparring

http://www.youtube.com/watch?v=Sv9Jrlr0v00
 45

Equipment

The following websites provide gear for HEMA and historical re-creation.

Absolute Force: This martial arts equipment company has a section entirely designed for the
needs of the HEMA community.

http://www.afinternationalsporting.com

Corsair's Wares: Keith Farrell, the editor, has a company that provides all manner of historical
re-enactment gear, martial arts equipment and HEMA products.

http://www.corsairs-wares.com

Historical Fencing Gear: This European company recently opened an American branch and
provides protective gear as well as low-cost training sabers.

http://histfenc.us

Hollywood Combat Center: Dave Baker can manufacture Polish sabers for sparring. These
sabers can have historical guards, or for added safety modern ones attached.

www.hollywoodcombatcenter.com

Purpleheart: Christian Darce can manufacture synthetic Polish sabers for sparring. These are
inexpensive and very durable.

http://www.woodenswords.com

Wojciech Szanek: Wojciech produces high quality Polish sabers, both for cutting, and for
sparring.

http://www.miecz-sword.com
 46

Contributors

Tyler Brandon, for continual an unerring support and feedback during the project.

Keith Farrell, for agreeing to comment on and edit the PDF and future book.

Jonathan Hill, for supplying feedback and ideas on the scope of the PDF.

Daria Izdebska, for tireless translation work and providing contextual understanding.

Kevin Maurer, for supplying plates and translations.

Olek Frydrych, for putting into practice the concepts and providing his own for the PDF.

John Patterson, for countless hours of assistance, including development of techniques as well as
being a model in the photographs.

Photography by Noelle Lara

http://www.mesaazphotography.com

Additional

Sienawski and Sons are also engaged in bringing to life Polish saber fencing as well as other
European martial arts. Their theatrical fencing is of the highest quality and they also have historical
articles such as one on 'cross-cutting', a Polish technique we'll discuss later in the impending book.
We did not work with them on this project, but they deserve attention, praise and love! Please visit
their site at-
http://sieniawskifencing.com

HEMA Alliance - The HEMA Alliance is a non-profit organization dedicated to bringing together
Historical Martial Artists. It includes many affiliate clubs, students and teachers of the arts. They provide
resources, research as well as venues for members to meet, discuss, and help bring to life Historical
European Martial Arts.
http://hemaalliance.com