‘Une piteuse bataille’: A trial by combat between commoners in Valenciennes, 1455

When Jacotin gouged out both of his opponent’s eyes, the broken man cried out for mercy from the Duke of Burgundy. Philippe le Bon could not fulfil this request and he let justice be done by the town, according to its franchise.[1] After Mahiot confessed his crimes to the priests, the executioner put an end to the misery of the murderer. This awful spectacle was watched by a large audience in the market of Valenciennes. The Duke of Burgundy was ashamed by that terrible spectacle according to his chronicler Olivier de la Marche. He promised that he would show the citizen of Valenciennes how chivalry was properly done that following year, by organising a tournament. Two knights fulfilled that promise by  performing an emprise d’armes in 1456, ‘properly armed for fighting on foot, with one throw of the lance and twenty-five blows with the axe’.[2]

The Plot

In Valenciennes (Hainault, Burgundian Low Countries), Jacotin Plouvier, a burgher of the town, accused Mahiot (Mahiénot) Coquel, a tailor from Tournai, of murdering one of his parents. A trial by combat that followed the town’s charters was agreed upon by the magistrate. Preparations lasted more than a year, and the combat finally took place in May 1455

Three chronicles relate the event, mostly depicting it as terrible, awful, and out of place.[3] The combatants, whose hair and nails were cut, wore a tightly fitted garment made of leather, covered in grease ‘so that they could not grapple each other’, their hands covered with ashes ‘so that they could handle their shield and mace’.[4] The maces are described as being made of hardwood (medlar for d’Escouchy – mellier bien nouteilleux and de la Marche – mesplier). After a few exchanges of bloody mace blows and throwing sand in the eyes, both men wrestled on the ground; one gouged out both his opponent’s eyes, and broke his limbs and back.

The ‘famous’ master-at-arms Hans, hired by the town

The town provided both the grounds and security for the combat, and took all necessary measures to ensure a fair fight. Both men were held in custody before their trial. The town supplied the weapons (wooden shield and mace) and installed barriers around the designated duel space. Each combatant was permitted to paint holy symbols on their shields at their own cost. Two masters at arms were hired to offer training to the combatants. The duration of this training for trials-by-combat (usually six weeks) is given by other contemporary sources.[5] The master attributed to Mahienot Coquel is named ‘Hans’ in the Chronique of Chastellain.[6] The other master was Jean de Bourges, apparently less experienced. We do not have any other information regarding these masters. With a little bit of imagination, one could argue that ‘Hans’ may have been Hans Talhoffer.[7] He was a contemporary fencing master active in Southern Germany who specialised in trial by combat and authored several fight books (Fig. 1).

Fig. 1: Detail of a trial by combat with mace and shield, Hans Talhoffer, Fight Book, 1448. Gotha, Forschungsbibliothek, Hs Chart A558, fol. 42r.

Trial by combat in towns at the end of the Middle Ages

Trial by combat is seen as an anachronistic procedure, gradually fading in oblivion at the end of the Middle Ages. The old-fashioned tradition of defending one’s honour by right of arms is cared for by the aristocracy, and mostly reserved for them in the late fourteenth and fifteenth centuries. However, it rivalled new judicial procedures at the end of the Middle Ages as the state developed more administration for its judicial apparatus, such as requiring combatants to present proofs. This is the picture painted by chronicles and the study of judicial and normative documents in places such as France, but neighbouring kingdoms and states also followed the same practices.[8] This representation is not always quite accurate, but it certainly followed the official position of the authorities, religious and secular alike. Several regions preserved this practice throughout the fourteenth and fifteenth century. trial by combat was still regulated by customary laws, especially in franchised towns. It can involve commoners, clergy men, and even women.

In Swiss towns there are also traces of judicial combat procedures. For example, the custom of Moudon ruled trial by combat in the towns of the Pays de Vaud (western part of Switzerland). By 1468, one noble and seventeen commoners (including one monk and one woman) had been implicated in the custom.[9] Apparently, most of these serious ventures were not seen through to the end. The authorities usually tried to force compromise upon the parties before trial by combat could take place. It was also a costly endeavour, and took a long time to plan. For the case of Valenciennes, it was a franchised town under the realm of the Duke of Burgundy. The Duke tried to avoid the practice for two years (a first schedule for the trial was August 1454), but was forced to allow it by law when the parties did not come to any agreement, despite concerted efforts to do so. After this episode, the Duke gradually revoked the privileges for the trial by combat in the towns of his duchy. We find contemporary descriptions of similar events in England as well, where chroniclers also showed disgust when relating any trial by combat involving commoners.[10] Duels were about to disappear, or at least undergo a profound transformation into ‘duels of honour’, which decimated both nobles and commoners alike across the next century.

[1] The Duke was forced to let this be carried out, according to Georges Chastelain in the manuscript additional fragments of his chronicle (London, British Library, MS 54156), edited by Jean-Claude Delclos, Chronique de Georges Chastellain. Les fragments du Livre IV (Geneva: Droz, 1991), p. 325.

[2] Olivier de la Marche, Mémoires, ed. by Henry Beaune and J. d’Arbaumont (Paris: Renouard, 1884), t. II, p. 406-7.

[3] Elodie Lecuppre-Desjardin, La villes des cérémonies. Essai sur la communication politique dans les anciens Pays-Bas bourguignon (Turnhout: Brepols, 2004), pp. 311-7. For a review of the historiography regarding the Valencienne case, see also Elodie Lecuppre-Desjardins, ‘Le Duel Judiciaire dans les villes des anciens Pays-Bas bourguignons: Privilège urbain ou acte de rébellion?’, in Agon Und Distinktion. Soziale Räume Des Zweikampfs Zwischen Mittelalter Und Neuzeit, ed. by Uwe Israel and Christian Jaser (Berlin: LIT Verlag, 2015),pp. 187-88, note 28.

[4] Ilz avoient les testes raises, les piedz nuz, et les ongles coppez des mains et des piedz; et au regard du corps, des jambes et des bras, ilz estoient vestuz de cuyr bouilly, cousu estroictement sur leurs personnes. Olivier de la Marche, ed. by Claude-Bernard Petitot (Paris: Foucault, 1825), vol. 9, p. 404. […] deux bassins plains de gresse, dont les habillemensfurent oingtz et engressez, affin que l’ung d’eulx ne peust prendre prinse sur l’autre. […] deux bassins de cendres, pour oster la gresse de leurs mains, afin qu’ilz puissent mieulx tenir leurs escuz et leurs bastons. Olivier de la Marche, p. 405.

[5] Daniel Jaquet, ‘Six Weeks to Prepare for Combat. Instruction and Practices from the Fight Books at the End of the Middle Ages, a Note on Ritualised Single Combats’, in Killing and Being Killed: Bodies in Battle Perspectives on Fighters in the Middle Ages, ed. by Jörg Rogge (Biefeld: Transcript, 2017), pp. 131–64.

   [6] Or ont eu ces deux gens-icy par longue espace leurs maistres emprès eux, qui leur ont appris leurs envayes et deffenses, et tout ce en quoy il les espèrerent à sauver, et avoit Mahienot empès lui un nommé Hans, le meilleur qu’on savoit en nul pays, […] Chastelain, ed. Kervyn de Lettenhove (Bruxelles: Heussner, 1863), pp. 44-5.

  [7] Eric Burkart, ‘Die Aufzeichnung Des Nicht-Sagbaren. Annäherung an Die Kommunikative Funktion Der Bilder in Den Fechtbüchern Des Hans Talhofer’, Das Mittelalter, 19.2 (2014), 253–301.

[8] Claude Gauvard, ‘De Grace Especial’: Crime, État et Société En France à La Fin Du Moyen Age (Paris: Publ. de la Sorbonne, 1991)

[9] Claude Berguerand, ‘Le Duel Judiciaire au Moyen Âge dans le Pays de Vaud au travers du duel d’Othon de Grandson’, in Duel et Combat Singulier en Suisse Romande: De l’Antiquité au XXe Siècle: Actes du colloque des 7 et 8 Mai 2010, ed. by Olivier Meuwly, Nicolas Gex, and Georges Andrey (Bière: Cabédita, 2012), pp. 59–67.

[10] Ariella Elema, ‘Trial by Battle in France and England’ (unpublished PhD thesis, University of Toronto, 2015). See also Jacob Deacon, ‘‘Falsely Accused by the Villain’?: A Fishy Trial by Combat in Fifteenth-Century London’, Martial Culture in Medieval Towns, 2019 <https://martcult.hypotheses.org/404> [accessed 20.08.2021].

Sociology of duels in French-speaking Switzerland: 16th and 17th centuries

This article deals with the number of cases of duels and the social distribution of duellists in French-speaking Switzerland in the sixteenth and seventeenth centuries.

Traité sur les duels d’Henri Basnage de Beauval, 1740  [Private collection]

The number of cases of duels noted in the sources is to be considered as an indication. This is a recurring factor in the history of crime, with many crimes escaping justice. Laws and admonitions, notably from the Geneva Consistory, or the comments sometimes-accompanying draft Fribourg laws effectively suggest that the duels were more than what the sources suggest. However, the information provided by the latter remains sufficient to represent the protagonists of these events, the reasons or the rituals in force.

Thirty-two duelling cases were recorded for the sixteenth and seventeenth centuries in the cantonal archives of Geneva, Fribourg, Lausanne, Bern, Neuchâtel and Sion, as well as in the archives of the former Bishopric of Basel. As it is to be expected, it is the documents concerning legal proceedings, which mainly preserve the memory of these duels, although the Manuals of the Council of State of Neuchâtel, the Registers of the Council of Geneva or the Accounts of the Treasurer of Fribourg also testify to cases of armed confrontation.

The distribution of the number of registered cases is not homogeneous, testifying in this manner to fluctuating social violence but also to uneven population densities and controls whose effectiveness and rigor differed greatly from one region to another. It was in Geneva, subject to the Savoy Wars at the end of the sixteenth century, was inhabited or visited by many reformed foreign noblemen and whose urban context facilitated both tensions and a coercive organization more attentive than in the countryside than the number of duels was most important with eighteen cases.[1] In comparison, Fribourg has only seven[2], the Pays de Vaud five[3], Neuchâtel two[4] and Valais only one[5] case. The Jura, meanwhile, has no case of duel listed in its archives to our knowledge.

Fig. 1: Sociology of duels in Geneva. Segments respectively translate as: foreign nobles, patricians of Geneva, common people, soldiers, students.

Geneva seems to occupy a special place, since more than half of the duels listed in French-speaking Switzerland take place within its walls or generally in what can be considered as the grounds of the city. Of the eighteen cases of duels or challenges to a duel noted in Geneva, seven concern nobles including six foreigners, seven involved Geneva patricians, five common people, craftsmen or small traders, four involved soldiers, and one theology students.

Fig. 2: Sociology of duels in different French-speaking Swiss regions. Segments respectively translate as: nobles, foreigners, the bourgeois, soldiers, common people, students.

The thirty-three cases of duels or duel challenges recorded in the various regions of French-speaking Switzerland also give us ten examples involving nobles, seven foreigners, eleven the bourgeois, nine the soldiers, five common people, and one students .

The upper class, nobility or bourgeoisie, thus seems to be the main group involved in duels. However, these do not necessarily take place only between nobles or between bourgeois. Both meet indiscriminately from their social class, the latter being a just cause for battle.

[1] They take place in 1580, 1598, two duels (no dates, early seventeenth century), 1603, 1611, 1616, 1652, 1657, 1657, 1658, 1659, 1660, 1664, 1665, 1666, 1681 and 1684. AEG, R. C., 1580, vol. 75, f. 115 v ; 1598, vol. 93, f. 108 ; 1611, vol. 111, f. 113 ; 1652, vol. 151, f. 322 ; 1657, vol. 157, f. 131 ; 1658, vol. 158, f. 76 – 77 ; 1660, vol. 160, f. 102v ; 1664, vol. 161, f. 104 ; 1681, vol. 158, f. 28 ; 1684, vol 184, f. 162 – 163 ; 1684, vol. 184, f. 167 – 168 ; 1684, vol. 184, f. 167 – 168, 178 – 179 ; 1685, vol. 185, f. 12 – 13, 16, 25 – 26, 75, 82. AEG, P. C., 1ère série, No. 3600 et 2ème série, No 2097, 2693. AEG, Minutes des Registres du Conseil, 1659, vol. 58, f. 80v – 81v ; 1664, vol. 59, f. 68v ; 1665, vol. 59, f. 178v. AEG, R. Cons., 1684, vol. 65, f. 224. Voir également Louis Dufour-Vernes, Les Défenseurs de Genève à l’Escalade, dans M.D.G., tome VIII, 1902, p. 64, 109. Journal d’Esaie Colladon, mémoires sur Genève 1600-1605, Genève, 1883, p. 77. Lucien Faggion, Points d’honneur, poings d’honneur, violences quotidiennes à Genève au XVIIème siècle, 1656–1667, dans Revue du Vieux – Genève, 1989, pp. 15 – 25. Eugène-Louis Dumont, En 1684, un duel met en émoi la ville : le fils d’un premier ministre anglais et un Genevois tirent l’épée à la Taconnerie, dans Revue du Vieux – Genève, 1976, pp. 81 – 83.

[2] 1561, 1612, 1625, 1646, 1648, 1664, one duel (no date, end of the seventeenth century). AEF, Cmpte. Très., No. 317, 1561, f. 4 : Amende du secrétaire Yblet qui a défié (qqn.) en duel, 10 livres. AEF, Cmpte. Très., No. 420, 1625, f. 119. AEF, R. M., No. 197, 1646, f. 30 : Renvoi de femmes néerlandaises avec leurs enfants à cause des duels de leur mari. 6 livres ; No 197, 1646, f. 30 ; No 197, 1646, f. 30 ; No 199, 1648, f. 265 ; No 215, 1664, f. 293. Voir également Tobie De Raemy, Le chancelier Techtermann, dans Archives de la société d’Histoire du canton de Fribourg, No 10, Fribourg, 1915, p. 416. Philippe Cyrice Bridel mentions a duel at Charmey at the end of the seventeenth century in his travel account.

[3] 1624, one duel (no date, seventeenth century), 1651, 1662. ACV, Bh4. 4. Bb 25/8, f. 152. Ba 33/4, f. 57-58. AEB, A II, 419 (RM 108), 217.

[4] 1576, 1644. AEN, Manuel du Conseil d’Etat, 1576-1584, f. 31 v. Manuel du Conseil d’Etat, 1639-1645, f. 162 v.

[5] ABS, 245/2, liasse 2, No 29.

“A true son of Mars”: Ascanio della Corgna’s urban duels


Sixteenth century Italy was a place of constant conflict and shifting political and military balances. Men of status such as Prospero Colonna, Francesco Maria I della Rovere and Ferrante Gonzaga, often served as condottieri, hired military commanders, and became renowned for their martial exploits. This was also the case for Ascanio della Corgna, a noble from Perugia and nephew to Pope Julius III. Ascanio became famous serving as a condottiero in numerous battles, for his ingenuity as a tactician and military engineer, and for his competence with arms both in battle as well as in tournaments.[1] His military career earned him the title of the marquis of Castiglione del Lago. An anonymous poet, contemporary to Corgna, referred to him as “vero figluol di Mars”, a true son of Mars, which highlighted his martial prowess and fierceness as a warrior, as well as his recognition as such.[2] His temper also led to his involvement in several judicial duels of honour.[3] Two of them gave and boosted his reputations as a lethal fencer: the first against Ugo di Carpegna and the second against Giovanni Taddei.

Against the Count of Carpegna

Ascanio’s first famous duel was fought against Ugo, Count of Carpegna in the city centre of Bologna. The Count was the general of the military force that Ascanio had served in since 1535. A series of events caused offense to Ascanio, who then challenged his leader. The duel was conducted in the marble-laid yard above the step of the church of San Petronio. The choice of the location served as an elevated platform where the fighters would be visible to the large crowd of city dwellers and soldiers that had gathered at the base of the steps of San Petronio to watch the duel.  The two fighters brought seconds, and Pietro Strozzi, another wealthy commander, acted as a referee to the duel. Both Ascanio and the Count of Carpegna were already experienced, skilled fencers, with the first having the advantage of youth and the latter of further experience. Each duelist fought with a sidesword and a slightly shorter one handed sword. The duel was bloody and lasted several rounds. Strozzi stopped the duel several times, usually because the Count was injured and enquired if satisfaction had been achieved for della Corgna. The duelists exchanged insults, with the Count of Carpegna accusing Ascanio he challenged him to gain fame and that Ascanio’s requests for him to yield were impossible because they were beneath his status. Eventually with the intervention of the referee and their seconds, the two men reached a compromise and the Count apologised. Ascanio had just defeated his commander, a man of notable status and martial fame in front of the town of Bologna.

The “duel of the century”

Ascanio della Corgna’s second duel took place in Pitigliano, near Perugia, on 26 May 1546.[4] The fight was so ferocious and attracted so much attention that was popularized already by contemporary and early modern historians as “il duello del secolo”, the duel of the century. Ascanio challenged one of his military subordinates to a duel, a younger Florentine noble named Giovanni Taddei. The reason behind Ascanio’s challenge was an insult by Taddei, either for refusing to follow an order or for insulting him in front of other officers who afterwards reported it to their leader. Therefore, in many ways this encounter found Ascanio in a reversed role compared to his first famous duel: he had to fight a younger military subordinate of his who was already a skilled fighter and who would make a name for himself if he defeated the seasoned commander, much like in the case of him and the Count of Carpegna. The preparations of the duel lasted two months, during which time officials were appointed and weapons were chosen. This preparation time allowed the news of the duel to spread in the area and reach great publicity. The two combatants would once again fight with two swords each. The Count of Pitigliano that had allowed the duel appointed himself as the referee.

On the day of the duel the crowd of the city and soldiers gathered outside the city walls. Two elevated stages were erected for the more illustrious guests, invited either by the two men or by the city officials, demonstrating the importance of the event as a social spectacle. Weapons were provided for the combatants sealed, most likely in boxes or other wrapping, to ensure that each fought with the same weapon and had no unfair advantage against the other. The combat was ferocious, but in this case Ascanio emerged swiftly as a clear winner. Taddei first received two thrusts to his right arm, which would have hindered the effective use of his sword, and eventually was killed by a third thrust to his torso.

Niccolò Circignani, The duel of Ascanio della Corgna and Giovanni Taddei, fresco, Pallazo della Corgna.

A case of swords

One of the matters worth further discussion in both of Ascanio’s duels is the choice of weapons for each participant: a pair of single handed swords. This is not an instance of sword and dagger, but two similar swords, one longer and one slightly shorter. Considering the period of their use, it is safe to assume that the swords, or at least the longer one, used were what is commonly referred to today as sideswords.[5] In the fresco of the Palazzo della Corgna depicting this duel, the duelists are also seen wearing some type of glove on their left hand. The glove reaches all the way to the elbow, and it is safe to speculate that it would offer partial protection and was therefore made of leather or most likely mail.

In his Opera Nova, arguably the earliest European to record a nearly complete martial arts system and contemporary to the duels discussed here, Achille Marozzo wrote that the use of a case of sideswords is an excellent and strong choice of weapons that few know how to use, and they should not be used by those who do not know how to fence.[6] In his book, Marozzo treated the use of various weapons such as the two-handed sword, the partisan, the spiedo, the bill, and the sidesword alone or paired with the cloak and the dagger. However, nowhere in his exhaustive treatment of these weapons their use becomes abundantly clear as being something as advanced as in his initial statement regarding the use of the paired sideswords. This is a testament to the martial skills particularly of Ascanio, as well as of his opponents. It is safe to assume that besides his military experience and training, Ascanio was taught how to fence with a fencing master because of his status and chosen profession, most likely with a variety of weapons. Della Corgna’s connection to Achille Marozzo extends beyond the geographical and chronological frame and the use of weapons. Ascanio first served under the command of Guido Rangone as a standard bearer and then as a captain.[7] Rangone was mentioned by Marozzo as another student of his own fencing master, Guido Antonio de Lucca, for whose school Marozzo wrote in his dedication that “it produced more warriors than the belly of the Trojan horse”. Finally, it is worth mentioning that in the sketch and fresco depicting his duel with Taddei both combatants are also using a glove on their left hand, most likely with mail exterior.

His success and overwhelming victories in both duels reinforce the profile of a skilled and experienced fencer. This is especially the case considering that in of the duel against Taddei Ascanio was considerably older and that in the cases of both duels discussed here he was missing his right eye (lost in the battle of Casale Monferrato in 1536), a handicap that would normally weigh in in favour of Taddei because of the dexterity needed in the use of weapons and especially paired arms, his feat becomes even greater.    

Achille Marozzo, Opera Nova (Modena: Bergolae, 1536),
cap. 76.

Urban spaces and fame

A common denominator in both of Ascanio’s duels is the crowd that gathered to watch. The bloody, and in the case of the second duel lethal, fights were transformed into a spectacle for the residents of the cities that hosted them. The crowd in the rooftops and balconies around the church of San Petronio in Bologna hosted part of the spectating crowd, and the elevated landing outside the church served as a stage that allowed citizens to observe the violent spectacle.

In the case of the duel against Taddei the fight was conducted outside the city walls of Pitigliano. Crowds from the city was gathered to watch as well as several of Ascanio’s soldiers. Shopkeepers and homeowners with windows and roofs that overlooked the grounds of the duel rented them out.[8] Not many details regarding the space are given in any of the contemporary accounts. However, it is interesting to highlight some of the details in the fresco of the fight. The duelists are depicted fighting in some form of enclosure much like those used in foot combat tournaments. Additionally, a judge is present holding a staff, which also reflects the same tournament practice. These elements match the descriptions of the narratives of the duel but add some extra depth and detail aligned to the trends of the time of the event. The variety in the garments of the crowd present is fascinating, with colours and outfits that hint to people of different statuses and from various life stratas.

A comparison of the descriptions of the ‘duel of the century’ and the duel of Ascanio against the Count of Carpegna leaves the modern reader with the impression that the latter was a far more interesting spectacle, particularly because of the setting. This might be because of the lack of detail on the combat between of Ascanio and Taddei. However, it is worth considering that their duel was so memorable because of the two-month buildup that led to it. Both men were skilled fighters and had both won famous duels prior to their encounter, with Taddei even winning in one with Ascanio acting as his second. This created an intricate and appealing narrative that most likely excited the public in a period that judicial honour duels were not uncommon.[9]


Among other exploits of his illustrious military career, Ascanio fought against the Ottoman Empire in the Siege of Malta (1565), and acted as one of the commanders of the force that defeated the Ottoman navy in Lepanto (1571). Shortly after the Battle of Lepanto, Ascanio died of fever in Rome. Scenes of his life and his victories are celebrated in the frescoes of the Palazzo della Corgna in Castiglione del Lago, including his record as an undefeated swordsman. Ascanio embodied the finest martial qualities of Italian nobility in the sixteenth century, and his skill helped his reputation reach heroic heights during and after his lifetime. The two duels discussed here helped in the creation of his personal myth –perhaps partially justifying the accusations by the Count of Carpegna – and highlight a martial aspect of the civic life of a military man. 

Acknowledgements: I would like to thank Moreno dei Ricci, Jacopo Penso and ‘Opera Nova’ for their bibliographical assistance and help studying Ascanio. Grazie ragazzi.

[1] Guido Lana, Ascanio I della Corgna ed il suo tempo (Castiglione del Lago: Nuova Stampa, 1999), p. 13.

[2] Ettore Calzorale, ‘Ascanio della Corgna, I combattenti umbri e il gran “soccorso” di Malta nella canzone di un anonimo coevo’, Bolletino della Deputazione di storia, Patria per l’Umbria, 94 (1997), 173.

[3] For an overview of the types of duels in sixteenth century Italy as well as of the context that cultivated their practice see Fredrick Bryson, The Sixteenth-Century Italian Duel; a Study in Renaissance Social History (Chicago:  The University of Chicago Press, 1938).

[4] Ariodante Fabretti, Le biografie dei capitani venturieri dell’ Umbria (Montepulciano: Angiolo Fumi, 1842), pp. 603-604.

[5] Roberto Gotti, Daniel Jaquet and Iason-Eleftherios Tzouriadis, Roberto Gotti, Daniel Jaquet and Iason-Eleftherios Tzouriadis, European Martial Arts: From Vulcan’s Forge to the Arts of Mars (Botticino: Gairethinx, 2019), p.218

[6] Achille Marozzo, Opera Nova, ( Modena: Bergolae, 1536), cap. 76.

[7] Giovanni Tarcagnota, Delle historie del mondo, vol. 4 (Venice: Giunti, 1592), pp. 188-189.

[8] Bruce Ware Allen, The Great Siege of Malta: The Epic Battle Between the Ottoman Empire and the Knights of St. John (Lebanon: ForeEdge, 2015), p. 221.

[9] Marco Cavina, Il sangue dell’onore: Storia del duello (Rome: Laterza, 2005).

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