Table of Contents:

German series Italian rapier series Medieval Italian series Spanish series

Friday Coached Sparring will take place during workshops/lectures (3rd floor lobby at the Masonic Centre) and will be replaced by open sparring during lunch breaks. All symposium pass holders are welcome to participate. Time Track 1 Track 2 Track 3 Track 4 Lectures 9:00 Welcoming Ceremony 10:00 Guy Windsor

Armizare Track Day 1:

The Medieval Dagger

(180 min) Eric Myers & Puck Curtis

Destreza Track Day 1:

Reduction of Movement

(180 min) Marco Quarta

Fighting the Fight

(180 min) David McCormick

Punch & Thrust

(75 min) 11:15 11:45 Kaja Sadowski

Hollow & Arch

(75 min) 13:00 Lunch/Open Sparring 14:00 Christian Tobler

German Track Day 1:

Footwork, Guards, Blows, and Cutting Patterns

(180 min) Devon Boorman

Italian Rapier Track Day 1:

The True Fight

(180 min) Matthew Howden

Introduction to Thibault

(180 min) Loki Jörgenson

Filipino Espada y Daga

(180 min) 15:15 15:45 17:00 18:00 Meet and Greet at Academie Duello, Open Sparring, and Master Class Auditions (drills & exercises)



Note: Potential master class participants should expect to use part of this time to get instructor approval. 19:00 20:00 21:00 22:00 23:00 Saturday Coached Sparring will take place during workshops/lectures (3rd floor lobby at the Masonic Centre) and will be replaced by open sparring during lunch breaks. All symposium pass holders are welcome to participate. Time Track 1 Track 2 Track 3 Track 4 Lectures 9:00 Guy Windsor

Armizare Track Day 2:

The Medieval Longsword (Fiore)

(180 min) Eric Myers & Puck Curtis

Destreza Track Day 2:

From Theory, Victory

(180 min) Marco Quarta

Venire ai ferri corti:

From dagger to knife fight

(180 min) Devon Boorman

Italian Rapier Master Class

(75 min) 10:15 10:45 Christian Tobler

The Reversed Left Hand Grip in German Longsword

(75 min) Bob Charrette

Mail to Plate:

A Not So Simple Transition 12:00 Lunch/Open Sparring Tom Leoni et al

What makes good HEMA? 13:00 14:00 Christian Tobler

German Track Day 2:

Entering the Fight, Working in the Bind,

and Exiting the Fight Safely

(180 min) Devon Boorman

Italian Rapier Track Day 2:

Extending the True Fight

(180 min) David R. Packer

& Kaja Sadowski

Marozzo’s Knife Work

(180 min) David McCormick

Physical Culture

(75 min) Puck Curtis

Science and Violence:

When swords are better than guns 15:15 15:45 Puck Curtis & Eric Myers

Destreza Master Class

The Time Thief:

The Journey Beyond the Before, During, and After

(75 min) 17:00 Dinner Break 18:00 19:30 Saturday Night Gala 20:00 21:00 22:00 23:00 Sunday Coached Sparring will take place during workshops/lectures (3rd floor lobby at the Masonic Centre) and will be replaced by open sparring during lunch breaks. All symposium pass holders are welcome to participate. Time Track 1 Track 2 Track 3 Track 4 Lectures 9:00 Guy Windsor

Armizare Track Day 3:

Vadi’s Longsword

(180 min) Eric Myers & Puck Curtis

Destreza Track Day 3:

Adversary as Mechanism

(180 min) Mark Mikita

Disarms, Counter-Disarms,

and Counter-Counter-Disarms

(180 min) Tom Leoni

Fabris Book II

(180 min) 10:15 10:45 Noelle Phillips

Pen and Sword: Imagining Weaponry in Medieval Manuscripts 12:00 Lunch/Open Sparring Dr. Noelle Phillips & Daniel Helbert

Why Do We Fight?:

The Warrior Cultures of Medieval England 13:00 14:00 Christian Tobler

German Track Day 3:

Breaking the Guards, Combination Attacks, and Feints

(180 min) Devon Boorman

Italian Rapier Track Day 3:

The Deceptive & Adaptive Fights

(180 min) Steaphen Fick

Joseph Swetnam’s

Rapier and Dagger

(180 min) Tom Leoni

Bolognese Two Sword

(75 min) David R. Packer

Performance Nutrition for Martial Artists 15:00 15:45 Marco Quarta

Fighting the Fear

(75 min) Bob Charrette

Fiore’s Armor 17:00 Closing Ceremony 18:00 Farewells at Academie Duello/Open Sparring 19:00 20:00 21:00 22:00 23:00





Multi-Day Intensive Workshop Series (3 x 3 hours)

Guy Windsor – Medieval Italian intensive: Italian dagger and longsword according to Fiore and Vadi

Note: To get the most out of this workshop series, students should familiarize themselves with Guy’s books The Medieval Dagger, The Medieval Longsword, and Veni Vadi Vici. Come to class with practical questions ready (academic discussion will be reserved for the bar afterwards), and a wish-list of material to cover. Day 1: The Medieval Dagger

This class will lay the foundation for the three day course, as we will cover the fundamental principles of Fiore’s Art of Arms, as expressed in his dagger material (drawing primarily from the Getty Manuscript, and also from the Pisani-Dossi), and the fundamental principles of skill development. We will swiftly survey the breadth of the material and the principle strategies for learning it, and then go deep into a few plays, guided by the interests of the participants, to discover how to take the material from “I know this in theory” to “I can do this”. Equipment Requirements: Dagger simulator (wood preferred, but any will do; steel must have a rubber or plastic blunt on the tip); mask. We will not be addressing falling, so if you do not know how to fall safely, then inform your partner and you will not be thrown. Academie Duello will provide a limited number of dagger simulators for the workshop. If you don’t have a dagger, you can also bring a 12-18″ long stick.

Recommendations: Prepare beforehand by reading Guy’s book on the class topic: The Medieval Dagger.

Day 2: The Medieval Longsword (Fiore)

This class will take the learning theory of the Dagger class, and apply it to Fiore’s Longsword plays (drawing primarily from the Getty manuscript). We will first establish the logical pattern and structure of the plays as a whole, then take a few of them, guided by the interests of the students present, and go deep into mastering their applications. Equipment Requirements: Longsword simulator (blunt steel preferred; ideally with a rubber or plastic blunt on the tip); mask.

Recommendations: Prepare beforehand by reading Guy’s book on the class topic: The Medieval Longsword.

Day 3: Vadi’s Longsword

This class will cover the theory and practise of fighting with the longsword that Philippo Vadi describes in his book De Arte Gladiatoria Dimicandi. We will follow the same general pattern as in the first two classes; first look at the breadth of material, then go deep into a small sample. Vadi describes “the depths and banks of the Art”; given that this style is generally less well known than Fiore’s, and has far more explicitly described theory, we will spend more time on the banks, and less time on the depths. Equipment Requirements: Longsword simulator (blunt steel preferred; ideally with a rubber or plastic blunt on the tip); mask.

Recommendations: Prepare beforehand by reading Guy’s book on the class topic: Veni Vadi Vici.

Puck Curtis and Eric Myers – Spanish intensive: Smaller, Fewer, Smarter: Beyond the Basics

Day 1: Reduction of Movement Working through the system starting with the larger actions and reducing the number of movements.

Day 2: From Theory, Victory Controlling the opposing steel, controlling the space, controlling the times.

Day 3: Adversary as Mechanism Forcing movement from the adversary and stealing his times. Over the course of three days the instructors will use Destreza as the lens by which we will study and unite the sword held in a single hand with the montante to create a distilled set of concepts which both weapons share and use Destreza theory to understand the differences. We will examine how to create lethal efficiencies in the practice which allow you to make smaller movements, fewer movements, and smarter movements. Particular attention will be paid to applying the basics against an advanced adversary and partnering with the opponent to bring about their defeat. Equipment Requirements: Mask, single-handed training sword, gloves. Padded jacket recommended. Montante simulators will be provided by Academie Duello.

Christian Tobler – German intensive: Longsword, Messer, Sword and Buckler: Principles, tactics, and strategies in Liechtenauer’s art of fighting

Day 1: Footwork, Guards, Blows, and Cutting Patterns

Day 2: Entering the Fight, Working in the Bind, and Exiting the Fight Safely

Day 3: Breaking the Guards, Combination Attacks, and Feints

This three day intensive will explore the applications of Liechtenauer’s art of swordsmanship using three weapon forms: longsword, messer, and the combination of sword and buckler. Beginning with basics on Day 1, we will then explore the more sophisticated concepts of what to do when the swords meet, how to properly attack, and the still more advanced ideas behind compound attacks and feints. Note: Novice students of German swordsmanship should not attempt to skip the first day.

Equipment Requirements: A blunt longsword, blunt arming sword and/or messer, buckler, fencing mask and leather gloves.

Devon Boorman – Italian rapier intensive

Day 1: The True Fight

Within all of the core Italian rapier texts there exists a fundamental mechanical, tactical, and contextual approach to the art of the duel. In this first class students will learn the fundamental postures of Italian rapier, how to strongly find and gain the opponent’s sword, control the tempo of a fight, and apply the fundamental strategy that exists throughout the Italian rapier corpus. Equipment Requirements: Mask, gorget, and rapier.

Knowledge Requirements: A grounding in the fundamentals of Italian rapier is recommended but not required. We will be covering a lot of material on this first day so brand new practitioners of the rapier should be prepared for information overload.

Day 2: Extending the True Fight

In the second class of the series students will extend the framework established in class 1 to include a broader set of tools that add depth and breadth to the True Fight. Topics will include using offline and cross-line movement to increase control of the opponent’s weapon and increase the tempo and predictability of their next actions; use of voids (sudden offline movements) to avoid attacks and strike to difficult to defend targets; and the closed and open positions of the rapier & dagger and rapier & offhand. Intensity: This will be an intense, fast moving class.

Equipment Requirements: Mask, gorget, rapier, and dagger (optional).

Knowledge Requirements: A grounding in the True Fight of Italian rapier as covered in class 1.

Day 3: The Deceptive and Adaptive Fights

Once you know the rules you can begin to explore what it means to break them. First, students will explore the Deceptive Fight where feints, misdirection, and provocation will be used to bring an opponent out of position, open them up tactically, and exploit various common motivations and errors. Then, in the Adaptive Fight students will explore the concept of continual movement forward where a lost crossing is transformed into a winning position. Ideas from within the full Italian system of swordsmanship from Fiore to Fabris will inform this rich set of exercises. Intensity: This will be an intense, fast moving class.

Equipment Requirements: Mask, gorget, rapier, and dagger (optional).

Knowledge Requirements: A grounding in the True Fight of Italian rapier as covered in class 1.





3-hour Hands-on Workshops



Marco Quarta – Fighting the fight: Closing the gap from misura to gioco stretto

“Io te tengo in modo al mio parere,in terra anderai contra el tuo volere”

(I control you the way I prefer, you will go down against your will)

– [Magistro Filippo Vadi] In a fight there are multiple dimensions constantly at play that will affect the outcome. For example, combat with the use of long weapons can be limited in the application of grappling on the ground. Conversely in a free hand situation can be critically challenging to defend yourself against an opponent armed with a weapon. In this workshop we will train how to mutate and transfer one dimension into another to our advantage. In particular we will train how to close distance and timing and still be in control in a grappling situation; conversely we will see and how to escape from an uncomfortable close distance to re-define a long range fight. The three pillars in fencing are “modo, tempo e misura”. We can recapitulate them as the strategy, timing and distance required in becoming the architect of an assalto or a fight. The stage where two opponents confront each other is always defined by the space/time. Transferring efficiently the right strategy in the right place at the right time allows the fighter to design a dynamic action while changing the parameters and the geometry of the fight. Over the centuries, the European “Mastri di Scherma” developed highly efficient applications of these principles to survive and rule in different fighting scenarios. Medieval Masters as Fiore de Liberi and Filippo Vadi showed us how to fight in close distance with weapons”. Nineteenth centuries fencing masters as Luigi Carmine or Giannino Martinelli showed us how to self defense with bare hands against attacks of blades or sticks. Street fighting methods in family-regional Italian schools are still popular today to learn how to “dance the fight” while moving from narrow street to large town squares. We will learn combat strategies derived from the original sources, and we will transfer them to techniques that will be trained in the class to expand our skills in the armed and unarmed fight. Intensity: Medium to high

Knowledge Requirements:: Fencing experience

Equipment Requirements: Mask, heavy gloves, boxing gloves

NOTE: VISS will supply a limited amount of loaner gloves, but if you have a pair, bring your own!



Marco Quarta – Venire ai ferri corti: from dagger to knife fight

Short-to-middle range is the place where knife fighting takes place. It requires combining together the skills of a fencer and of a wrestler combined together. We could call it the “middle earth”, where the “light, distant and geometric” sword play meets the “dark, blind and physical” grappling, the land where the two dimensions join together. We will explore principles of dagger and knife fencing, touching the traditions of the Italian mediaeval and renaissance masters and some of the Italian regional folkloric knowledge of the use of the “ferri corti”. We will practice armed versus unarmed, strategies “in misura”, “sotto misura”, attacks, protections, and “contrarie”. Intensity: Low to high

Equipment Requirements: Equipment Requirements: Fencing mask, training dagger and knife, protective leather gloves. Academie Duello will supply training knives and daggers, but feel free to bring your own blunt training knives and daggers.

Knowledge Requirements: None



David R. Packer and Kaja Sadowski – Marozzo’s Knife Work: Modern tactical applications

This class will explore Achille Marozzo’s 22 knife defense techniques, adapted for a modern tactical environment. Students will learn how to assess and respond quickly to situations where they at a disadvantage. The class focus will be on scenario-based drilling that allows students to safely test the effectiveness of each technique, beginning with the simplest and easiest to apply, and working through to the most complex. Intensity: Medium-high; frequent scenario-based drilling, and high energy output during drills

Equipment Requirements: Plastic or rubber training knife. Academie Duello and Valkyrie WMAA will supply training knives and daggers, but feel free to bring your own, too!

Knowledge Requirements: None



Matthew Howden – Introduction to Thibault

Few things are more important in the art of defense than the ability to make sound decisions and implement them in the correct time. This hands-on class will examine key elements of Gerard Thibault’s rapier system with specific emphasis on how he sets up each aspect of the fight from entry, to engagement, to striking and exiting, and around the need to control and respond to the changing variables of the fight at each measure. Knowledge Requirements: This class is appropriate to all skill levels.

Equipment Requirements: Rapier, mask, gloves.



Steaphen Fick – Dagger and Rapier: The offensive use of the dagger from Joseph Swetnam

In Joseph Swetnam’s manuscript The Noble and Worthy Science of Defence he talks about the five ways to use the dagger in the fight. He also talks about the ways NOT to use the dagger. In this class we will be learning how to use the dagger in the fight. The sword is generally the offensive weapon in the rapier and dagger fight, but here we will be learning how to use the dagger as the offensive weapon while defending with our rapier. We will also be learning some of the guards that Swetnam teaches and how to use these guards to defend and offend our adversary. We will be using the footwork that Swetnam teaches. Our class will include movement and timing to help in the use of the sword and dagger work. Knowledge Requirements: None

Equipment Requirements: Mask, gloves, rapier, dagger (fencing jacket or doublet, gorget, vambraces or other forearm guards are recommended).



Tom Leoni – Book 2 of Salvator Fabris’s Lo Schermo, overo Scienza d’Arme

In Book II, Fabris teaches advanced swordsmen how to fence without stopping in guard, but rather by confidently walking from out of measure to where the point of the sword scores a hit. Although introduced by Fabris alone, this mode of fencing remained a vital part of standard Northern European swordsmanship curricula all the way into the 19th century. Today, Fabris’ Book II is an excellent “etude” to help refine practically all aspects of rapier fencing: measure, tempo, strongs and weaks, opening and closed lines, blade feel, cavazioni, yields, voids and counterattacks. In this 3-hour class, we will systematically go over Fabris’s first of six techniques on how to proceed against the opponent without stopping in guard. This will greatly benefit intermediate-to-advanced rapier fencers who want to refine their technique, as well as rapier instructors and study-group leaders who want to teach this important aspect of historical fencing as well as understand how to practically apply Fabris’s other 5 techniques. Knowledge Requirements: This class is intended for intermediate to advanced rapier fencers.

Equipment Requirements: Rapier, mask.



Loki Jörgenson – Filipino Espada y Daga

Spanish conquest of the Philippines brought new weapons, better metal, and modern techniques to tribal warrior societies. Proud of their native fighting arts, Filipinos to this day claim the death of explorer of Ferdinand Magellan as proof their skills and prowess long before they adopted the arts of the conquistadors. Weapons are at the heart of the Filipino arts, known variously as kali, arnis or eskrima. Use of two weapons was common and so sword and dagger was quickly adopted. Techniques and training methods from Pekiti-Tirsia System of Kali will be shared including some classic methods for close quarters partner training. Knowledge Requirements: Intended for Western martial artists looking outside of the traditional European weapon practices. Some experience with Western sword and dagger technique may be beneficial.

Intensity: Moderate

Equipment Requirements: FMA works with relatively short 28-23″ machete length blades, as well as knives. Bring sticks and knives if you don’t have really short swords. Maelstrom Martial Arts will provide wooden & rattan training swords and knives, but feel free to bring your own!



Mark Mikita – Disarms, counter disarms, and counter-counter disarms

Mark’s workshop will focus on: Disarming, counter-disarming and counter-counter-disarming a skilled opponent – How to train so you can actually do it.

Distance, time and the effective use of the ‘live hand’ – traps, set-ups and dirty tricks in close-quarter fighting.

The counter-offensive mindset – staying on the offensive while maintaining an impenetrable defense.

Awakening from the still semi-asleep state that often passes for mindfulness. Equipment Requirements: Sticks and training knives. Maelstrom Martial Arts will provide sticks, and Academie Duello will provide training knives, but feel free to bring your own training knives and/or 28-30″ sticks!





75-minute Hands-on Workshops



Christian Tobler – The Reversed Left Hand Grip in German Longsword

A number of German Fechtbücher include curious images where one combatant is shown gripping a longsword with the left hand in a reversed position; i.e., with the thumb facing the pommel. Most researchers have concluded that these depictions are nothing more than artistic anomalies. A study, begun by Mr. Dierk Hagedorn of the Hammaborg swordsmanship club, yielded compelling tactical and mechanical advantages, albeit with some caveats, strongly suggesting these images do not represent artistic fancy, but actual and workable technique. This class will explore this hand position, along with potential applications and advantages conferred by this grip. Intensity: Low to moderate

Knowledge Requirements: Familiarity with Longsword basics.

Equipment Requirements: Longsword, Mask, Gloves



Tom Leoni – Bolognese Two Sword

The art of two swords (one per hand) is one of the best-described in Bolognese swordsmanship, and it is therefore a relatively easy one to grasp in its totality. In this class, we will explore all offenses and defenses of Bolognese two swords, so that students and teachers may easily memorize the highly logical material. Knowledge Requirements: None.

Equipment Requirements: Two single-handed swords (e.g. sideswords, arming swords, small rapiers) to be held one in each hand, fencing mask.



Marco Quarta – Fighting the Fear: The search for the Lion’s heart and the Architect’s mind

Description: The warrior’s way is based on facing your own fears, to ultimately free yourself into fearless actions and a clear decision making. Like a Knight was reaching to become enlightened in his quest for the Graal, a martial artist finds today in his practice special gates to experience the reprogramming of his mind and body. We will explore together concepts of modern neuroscience, visions of ancient medieval manuscripts, and knowledge of Asian and western philosophical exploration of the way seeking mind of a fighter. We will practice together exercises based on the Western traditions, to investigate how and why facing the challenge of a fight results first in fighting your own fears. Knowledge Requirements: None.

David McCormick – Body Mechanics of a Powerful Punch and Thrust

Who hasn’t been impressed by Bruce Lee’s 3-inch punch? Those who say “it’s all in the wrist” are missing 95% of the picture. Learn how to commit the body to a powerful strike that doesn’t just rely on your arm. Thrusting weapons benefit from this training just as much as boxers, and we’ll apply these insights to bayonets, spears, rapier and longsword. Intensity: Moderate

Knowledge Requirements: None

Equipment Requirements: Rapier or Longsword (if desired)



David McCormick – Physical Culture Exercise (Indian clubs, medicine balls, feats of strength)

Get the best start for your day by learning the best classical exercises using traditional equipment or bodyweight. The term “physical culture” was used in the 19th century to denote all aspects of training the body that were not sportive: strength, flexibility, coordination and endurance. It was commonly believed that a gentleman should be “morally upright and physically fit.” Intensity: Push yourself (non-competitive)

Knowledge Requirements: None

Equipment Requirements: None



Kaja Sadowski – Hollow and Arch: Structure for martial artists

This class will introduce students to two fundamental body positions that provide stability and structure for martial artists. Students will be taught a basic set of body-awareness and strength exercises that incorporate the hollow and arch structures. Then, they will learn how to integrate these positions into their current fighting practice to improve guard stability, body alignment, mobility, and overall performance. Intensity: Medium; some gymnastic body-weight exercises, and slow exploration of body positions and mechanics

Knowledge Requirements: None

Equipment Requirements: None; students may bring their primary training weapon





75-minute Master Class Workshops

Master classes are designed for intermediate to advanced students to study more in-depth. Students who wish to participate in master classes must be individually approved by instructors.

Puck Curtis and Eric Myers – (Destreza Master Class) The Time Thief: The Journey Beyond the Before, During, and After

The Before, the During, and the After… These concepts are well known to most modern practitioners of western sword arts, but in the deeper waters of Destreza theory untold riches await the experienced martial artist with the courage to look for them. La Verdadera Destreza’s method of stealing the place from your adversary is the diestro’s playground. In this class we will use the adversary’s movements and footwork against him to develop our assaults at his expense. (This class will be particularly useful if you often fight with a reach disadvantage.) Equipment Requirements: Mask, single-handed training sword, gloves. A padded jacket is recommended.

Devon Boorman – (Italian Rapier Master Class) Italian Rapier Principles for Unorthodox Postures

How do you apply Italian Rapier principles when facing people who are not doing Italian rapier? This workshop will focus on dealing with low swords, offline movement, and Spanish fencers.

Equipment Requirements: Mask, rapier, gloves.





Private Lessons

In addition to the workshops, master classes, coached sparring, and lectures, the following instructors will be available for private lessons during VISS:

Puck Curtis

Steaphen Fick

Matthew Howden

David McCormick

Mark Mikita

Marco Quarta

Kaja Sadowski

Christian Tobler

Private lessons are available for $100/hour + 5% GST. Please contact our registrar to check availability.





Lectures

Panel Discussion: What makes good HEMA? featuring Tom Leoni et al.

Panel: The characteristics are of a good HEMA researcher, and what makes the difference between one who has the right intuitions and one who has a knack for always choosing the wrong “door.”

Performance Nutrition for Martial Artists by David R. Packer

Students will learn how to manage their nutrition for long-term training and competition performance.

Mail to Plate: A Not So Simple Transition by Bob Charrette

A survey in art and archaeology of the change from the mostly mail-armored knight of the High Middle Ages to the mostly plate-armored knight of the Late Middle Ages. We will look at what the changes meant to mobility, protection, and martial practice as well as how the changes may have influenced the development of fighting arts.

Fiore’s Armor by Bob Charrette

Fiore dei Liberi’s il Fior di Battaglia (aka Flos Duelotorum) is the earliest treatise we have that deals with armored combat. But what was the effect of armor? We will look at some of what Fiore said about it, what he showed of it in his manuscripts, and relate Fiore’s references to what is known of the time period’s arms and armor from art, archaeology, and historical documents.

Science and Violence: When swords are better than guns by Puck Curtis

Swordplay is textured with layers of Aristotelian theory but science didn’t stop when Aristotle died. This interactive lecture will explore sciences old and new as we apply modern understanding to the practice of western martial arts, how we deal with violence, and how we can study violence to improve our lives. What have we learned that can make us better martial artists, better teachers, and better human beings? Together we will look at some research, try some experiments, and look afresh at the sword with our new causes in hand.

Why Do We Fight?: The Warrior Cultures of Medieval England by Daniel Helbert, Professor Noelle Phillips, and Professor Robert Rouse of the University of British Columbia

In this three-part lecture, you will hear about the martial culture of three distinct periods in English medieval history. First, Daniel Helbert will discuss the heroic military culture of the Anglo-Saxons, discussing the hierarchical system of the germanic comitatus and the warrior society that it lay at the centre of. He will also discuss the other warrior cultures of early medieval Britain, including the Welsh arglwydd/rhyfewr retainer system. Next, Robert Rouse will move us on to the twelfth-century and the highly topical question of the Crusades. The transition from fighting for glory to fighting for God was one that had a deep impact on the warrior culture of western Europe, and played a large role in the rise of what we now term Chivalry. Finally, Noelle Phillips will cover the collapse of practical Chivalry during the fifteenth-century Wars of the Roses, where warrior culture was once again transformed: this time by the horrors of civil wars and the introduction of technologies such as the battlefield cannon and hand-held gonne.

Storied Swords: Behind the Legendary Swords of the Middle Ages by Professor Robert Rouse of the University of British Columbia

From Arthur’s Excalibur to Arya’s Needle, all the best swords have names. Far from being the invention of modern fantasy writers, the tradition of naming swords is well attested in medieval culture. A practice that is revealing of the importance of the sword to martial medieval culture, it also speaks to the role that swords play as objects that literally record history. This lecture will reveal the stories that lie behind some of the most famous swords of the middle ages, and the surprising political uses to which they were put.