Inigo: “You are using Bonetti’s defence against me, huh?”
MIB: “I thought it fitting considering the rocky terrain.”
Inigo: “Naturally, you must expect me to attack with Capoferro!”
MIB: “Naturally. But I find that Thibault cancels out Capoferro.”
Inigo: “Unless your enemy has studied his Agrippa!” [does great big somersault] “Which I have!”
Thus inspiring a legion of potential historical fencers to look up Bonetti, Capoferro, Thibault and Agrippa. Huzzah!
However, the actual choreography turns out on further study to bear no resemblance whatsoever to the fencing methods of the historical masters in question. This should come as no surprise, given that the goals of stage and screen combat are that no-one should die, and everyone should see what is happening: and the goals of real combat are to kill the enemy, which is best accomplished if no-one can see what’s going on. There are skills common to both, of course, such as control of measure and weapons handling, but the core intent could not be more different.
So, from the 1998 edition (pp 130-135) here are the actual references:
They touched swords, and the man in black immediately began the Agrippa defence, which Inigo felt was sound, considering the rocky terrain, for the Agrippa kept the feet stationary at first, and made the chances of slipping minimal. Naturally, he countered with Capo Ferro, which surprised the man in black, but he defended well, quickly shifting out of Agrippa and taking the attack himself, using the principles of Thibault.
Inigo had to smile. No one had taken the attack against him in so long, and it was thrilling! He let the man in black advance, let him build up courage, retreating gracefully between some trees, letting his Bonetti defence keep him safe from harm.
Quite different, I’m sure you’ll agree. But this was 40 years ago, long before the resurgence of historical swordsmanship in the 90s: where was Goldman getting his information? The next reference is also interesting:
“Inigo…was not entirely familiar with the style of the attack; it was mostly McBone, but there were snatches of Capo Ferro thrown in…”
I assume McBone is McBane (though why the change when the other masters are spelled normally: a little joke, perhaps?); has Goldman read Aylward’s The English Master of Arms?
That’s Guy Windsor, author of The Duellist’s Companion: A training manual for 17th century Italian rapier, who produced a short video on the topic: