|Don't mess with Teodorq or Conan|
|Don't mess with the chicks, neither|
Though they did not pirouette. All the great fightmasters were agreed on that. Exposing your back to your enemy while you spun around was a great foolishness, since the enemy was, you know, trying to kill you?
|Half-swording meant gripping the blade along the strong in close combat.|
There were two main schools of longsword art: the German and the Italian. The Germans emphasized the attack and the Italians emphasized the defense. Go figure.
The pommel was more than decorative. TOF had always imagined that the longsword was gripped in both hand like a peasant wielding an axe or Duke Snider a baseball bat, and indeed there are thrusts and guards where this is done. But in many of the postures, the two hands work independently. Primarily, the strong arm (usually the right, as shown) grips the sword below the cross guard, sometimes placing the thumb against the crossguard for better control. The off hand grips down by the pommel and apply the laws of leverage by pulling or pushing on the pommel while the strong hand acts as a fulcrum or moves in the opposite direction.
But look at the wrists. They are crossed. The strong hand is gripping at the crossguard, but the off hand is crossed under it and is gripping at or near the pommel. This means that if you thrust from this position, you give an additional push on the pommel with your other hand. This gives the thrust greater strength.
The German Longsword
Meyer Frei Fechter Guild