Technical hallmarks of the system are the following: • Visualization of an imaginary circle between the opponents to conceptualize distance and movement • Use of off-line footwork to obtain a favorable angle of attack • Avoidance of movement directly toward the opponent • Extension of the sword arm in a straight line from the shoulder to obtain maximum reach • Profiling of the body to increase reach and reduce target area • Use of an initial distance that is as close as possible, while remaining out of reach () • A conservative approach, using the (bind) to control the opposing weapon • Preference for downwards motion () in all fencing actions • Use of both cut () and thrust () • Use of a particular type of closing movement () to disarm the opponent Perhaps the most important distinction between and other contemporary schools of fencing is its approach to footwork. Over centuries, fencing throughout Europe generally moved towards linear footwork, similar to modern fencing. In contrast, doctrine taught that moving directly toward the opponent was dangerous, and specialized in off-line footwork to either the right or left side to gain a more favorable angle of attack. Another distinction is their approach to the relative value of cut versus thrust. The general lengthening of rapiers in Europe showed a clear preference for the thrust, relegating the cut to a distant second place. , on the other hand, refused to make such a distinction, maintaining that the cut could be as useful as the thrust depending on the situation, adapting their weapons accordingly. Although fencers from the Iberian Peninsula developed a reputation for using very long weapons, the weapons used in were generally shorter than the rapiers used elsewhere. Gradually, bladework in Europe was influenced by the works of
Camillo Agrippa and successors, focusing on the use of four primary hand and blade positions (, , , ), with an emphasis on the latter two. , on the other hand, focused almost exclusively on a hand position similar to (thumb at 12 o'clock). Throughout Europe, masters generally taught a much wider variety of guards than masters, who focused on the so-called "right angle", a position with the arm extended directly from the shoulder, forming a straight line from the point of the sword to the left shoulder. Generally, uses a finer graduation on the degrees of strength on the blade. Where other traditions generally recognized two degrees of strength (
forte and debole), eventually expanding this to three or four parts, authors wrote about 9, 10, or even 12 "degrees" or segments on the sword. masters paid close attention to the methods of their contemporary counterparts, both within the Iberian Peninsula and outside. Pacheco specifically argues against the works of many Italian authors in his text (The New Science). Likewise,
Thibault's work includes a section aimed at countering the techniques of
Salvator Fabris.
Francisco Lórenz de Rada's work also contains substantial coverage of how a should oppose an Italian opponent when using sword and dagger., fig. xiii, 1628 ==Primary sources==