The earliest depiction of swordplay is a relief in the temple of Medīnat Habu (Madīnat Habu), near Luxor in Egypt, built by Ramses III about 1190 BC. This relief must depict a practice bout or match, as the sword points are covered and the swordsmen are parrying with shields strapped to their left arms and are wearing masks (tied to their wigs), large bibs, and padding over their ears. Swordsmanship, as a pastime and in single combat and war, was also practiced widely by the ancient Persians, Babylonians, Greeks, and Romans, as well as by the Germanic tribes.

The Romans (ancient Rome) brought sword combat to a highly systematic art that was taught to both their legions and gladiators. Gladiators (gladiator) were trained in schools (ludi) by professional instructors (doctores). Beginners practiced with a wooden sword called a rudis. More advanced training took place with weapons that were somewhat heavier than those used in actual combat.

From the time of the fall of Rome through the Middle Ages, the practice of sword fighting continued unabated, although sword training became less uniform and began instead to reflect the ideas of the individual masters-at-arms. At this time, schools of sword fighting also developed a somewhat unsavoury quality, attracting members from the criminal element of society who wanted to learn the skilled use of weapons. Many communities found that the only way to deal with this problem was to outlaw fencing schools within their boundaries. For example, in London in 1286 King Edward I passed an edict that decried “the most unheard of villainies” perpetrated by swordsmen and threatened swift justice for teaching sword-related skills. Despite such laws, fencing schools flourished.

Among the nobility of Europe during the Middle Ages, the adept handling of a sword was hindered by the use of armour, which was virtually the only means of protection. Swords were heavy and used primarily to broach the protective armour. With the introduction of gunpowder in the 14th century, however, armour fell into disuse (musket balls easily pierced the armour, rendering it ineffective in battle). The sword was still the only weapon that could be worn on the body for self-defense, but the demise of armour required that the wearer learn to manipulate a sword skillfully—a matter that grew to be of paramount importance both in times of war and in a gentleman's daily life.

By the 15th century, guilds of fencing masters were formed throughout Europe, the most notable of which was the Marxbrüder (the Association of St. Marcus of Löwenberg), which was granted letters patent by the Emperor Frederick III in 1480. Early fencing methods as taught by the guilds were somewhat rough-and-tumble and included wrestling moves. The guilds jealously guarded their secret moves so that they could make use of the unexpected to defeat an enemy. Fencing was first supported in England by Henry VIII, who, sometime before 1540, granted letters patent to several fencing masters that allowed them to teach there. The early English style of fighting with a cutting sword and a buckler (a small shield worn on the free arm) ultimately gave way to the continental European rapier combat.

The Italians (Italy) discovered the effectiveness of the dexterous use of the point rather than the edge of the sword. By the end of the 16th century, their lighter weapon, the rapier, and a simple, nimble, and controlled fencing style, emphasizing skill and speed rather than force, spread throughout Europe. Most of the wrestling tricks were abandoned, the lunge was developed and adopted, and fencing became established as an art.

The long rapier was beautifully balanced, excellent in attack, and superb for keeping an opponent at a distance, but it was too heavy for all the movements of combat. Defense when fighting with a rapier was effected by parrying with the left hand, which was protected by a gauntlet or cloak or equipped with a dagger. Opponents' thrusts were often avoided by ducking or sidestepping.

In the latter half of the 17th century, the sword and swordsmanship changed dramatically with a change in gentlemen's dress. In France the court of Louis XIV set the fashion of silk stockings, breeches, and brocaded coats, which replaced that of the doublet and hose, top boots, and cloaks. As the long, trailing rapier was unsuited to the new form of dress, fashion decreed the wearing of a light, short court sword. The French style set in throughout Europe as the Italian style had done earlier.

Although at first derided, the court sword was soon recognized as an ideal light weapon which allowed for a multitude of offensive and defensive movements that would have been impossible with heavier weapons. Its light weight permitted the sword to be used by itself, without the use of daggers, cloaks, or the free hand. Hits on the opponent were made with the point of the sword only, defense was effected by the wielding of the blade (fending off the opponent's blade with one's own sword), and what is now recognized as modern fencing came into being. At this time the French style fully displaced the Italian as the most practiced form of sword combat.

The French school of sword fighting was an academic form, with much emphasis on strategy and form. Conventions and rules were adopted to teach this form of swordplay. Additionally, the foil, or practice sword, was used to create a safe training environment. To further enhance safety, a mask was designed in the 18th century by the French fencing master La Boëssière and the celebrated duelist the Chevalier de St. Georges.

While fencing with the foil was becoming increasingly stylized, dueling (duel) with swords still continued. The complexities of foil fencing as practiced under the ideal conditions of the schools, or salles, with reverence for the set rules and conventions, produced a game that became an art of absorbing interest. But this orthodox, controlled swordplay was of little account on a cold gray morning on greensward or gravel path when one faced a determined opponent with a sharp and heavier weapon who disregarded all conventions. Ironically, however, by the mid-18th century, when fencing had reached its peak in technique and theory, dueling with the sword had virtually disappeared because of the growing accuracy of firearms. From this time on, fencing took on the nature of a sport, and in form the swordplay of this time differed little from the modern sport of fencing.

For those few who continued to follow the sword as a method of resolving conflict, the épée de combat was created in the second half of the 19th century. The practice version of this weapon was a regulation, though blunted, dueling sword, and it was used without limitation of target or other conventions. Except for the use of protective clothing, épée fencing closely approximated the conditions of a duel.

The last of the modern fencing weapons appeared in the late 18th century, when the Hungarians introduced a curved sabre (adapted from the Eastern scimitar) for the use of their cavalry. The sabre was soon adopted by other European armies. The heavy military sabre (and its counterpart, the naval cutlass) was used in fencing schools until the end of the 19th century, when the Italians introduced a light sabre that was soon accepted universally as a sport weapon.

Fencing became an increasingly organized competitive sport late in the 19th century. Basic conventions were first collected and set down in the 1880s by the French fencing master Camille Prevost. Officially recognized fencing associations also began to appear: the Amateur Fencers League of America was founded in 1891, the Amateur Fencing Association in Great Britain in 1902, and the Fédération des Salles des Armes et Sociétés d'Escrime in France in 1906.

Meanwhile, fencing for men had been part of the Olympic Games with their revival in 1896. In 1900 the épée joined the foil and sabre as individual events in the Olympic program. Team competition in the foil was introduced in the 1904 Games, followed by the sabre and épée in 1908. By the early 20th century, numerous disputes had arisen over various fencing rules. For instance, at the 1912 Olympic Games, France withdrew its entire team over a dispute regarding the target area for foil, and the Italians refused to fence in the épée events because of a rejected request to increase the allowed length of the épée blade. As a result, in 1913 the Fédération Internationale d'Escrime was founded and thereafter was the governing body of international fencing for amateurs, both in the Olympic Games and in world championships. Events for women fencers have been added to the Olympic contest over the years: individual foil for women was first included in the 1924 Olympic Games, and a team event for women was introduced in the 1960 Games. Women's team and individual épée made their Olympic debut in the 1996 Games.

From the end of the 19th century until after World War II, épée and foil competitions were dominated by the French and Italians; thereafter, as fencing became more popular worldwide, the Soviet and Hungarian fencers became dominant. Especially in sabre, the Hungarians dominated for much of the 20th century.

In 1936 the electrical (electricity) épée was adopted for competition, eliminating the sometimes inaccurate determinations by fencing officials; the arrival and judgment of hits is completely registered by the electrical apparatus. In 1955 electrical scoring was introduced for foil competitions, making its Olympic debut at the 1956 Games, but judges are still required to interpret the priority of the arrival of hits. Electrical scoring for the sabre became part of the Olympic program at the 1992 Games. The electrical system used in fencing works on the same principle as the door bell. Fencers wear clothing made of lamé interlaced with copper threads; the lamé is sensitive to the electrical weapon. In épée the entire suit is sensitive, as the entire body is the target in that fencing variant; in foil, only the vest worn by the fencer is sensitive; in sabre the vest and mask are sensitive. Cords are connected to the fencer's clothing, to the weapon, and to the scoring box. (The cords connected to the fencer coil into a reel that is spring-loaded to take up any slack in the cords and prevent the fencer from tripping.) When a weapon touches the fencer with a small amount of pressure, a circuit is created and the scoring box reflects a hit. In Olympic fencing, the first fencer to record 15 points wins the bout. Bouts can also be of a predetermined duration, in which case the fencer with the highest score wins.

One of fencing's most recent developments is that of wheelchair fencing. German-born English neurosurgeon Sir Ludwig Guttman introduced wheelchair fencing at Stoke Mandeville Hospital in Aylesbury, England. Fencing was one of many sports therapies introduced by Guttman for WWII veterans who had suffered spinal cord injuries. In 1948 Guttman inaugurated Olympic-type competitions for disabled athletes at the Stoke Mandeville Games, and wheelchair fencing became a regular fencing event in Europe soon after. The first international wheelchair fencing tournament took place in the 1950s. Wheelchair fencing has been a part of the Paralympic Games since 1960. This unique form of fencing was introduced into the United States in the 1960s but was not actively developed until the early 1990s.

The fencing takes place in special frames designed to keep the wheelchairs stable. Wheelchair fencers go for five touches, as in standard fencing, but they cannot advance or retreat. Wheelchair technique includes ducking, making half turns, and leaning forward and backward to achieve or avoid touches; however, all touches must be generated without the athlete rising from the chair seat. While many beginning wheelchair fencers rely on muscle and aggressive methods of fencing, more advanced competitors develop technique and timing as their strong points. All three fencing weapons are included in the wheelchair game.

Sword fighting in the movies (motion picture) has been a primary source of the modern public's awareness of fencing. In 1920 Douglas Fairbanks's (Fairbanks, Douglas) silent film The Mark of Zorro gave the world a fresh image of the heroic swordsman. From this moment on, fencing was associated with swashbuckling adventure. Before Zorro, movie fencing consisted of some fairly primitive blade whacking. Fairbanks was the first to ask a fencing master to advise on a production, creating the first movie swordplay that actually resembled fencing. Fairbanks's best fencing films include The Three Musketeers (1921), Don Q, Son of Zorro (1925), The Black Pirate (1926), and The Iron Mask (1929). Other silent-film actors who fenced in their films with varying degrees of success include Ramon Novarro, Rudolph Valentino (Valentino, Rudolph), and John Barrymore (Barrymore, John). The leading fencing masters working in films of this period were Henry Uttenhove and Fred Cavens.

The next wave of movies to feature fencing came in 1935, spurred on by Errol Flynn (Flynn, Errol)'s Captain Blood. In Captain Blood the fencing was more intricate and expertly staged than in earlier, silent films. Some of the most popular swashbuckling films of this era—and the actors who starred in them—include Ronald Colman (Colman, Ronald) in The Prisoner of Zenda (1937); Errol Flynn in The Adventures of Robin Hood (1938), The Sea Hawk (1940), and The Adventures of Don Juan (1949); Tyrone Power (Power, Tyrone) in a remake of The Mark of Zorro (1940), and The Black Swan (1942); and Douglas Fairbanks, Jr., in The Corsican Brothers (1941). The most successful fencing masters working in Hollywood at this time were Fred Cavens, Ralph Faulkner, and Jean Heremans.

There were few large-scale films featuring fencing in the 1950s and '60s, as Hollywood shifted its primary focus to realism and psychological drama. The few popular sword-fighting films of this time were Cyrano de Bergerac (1950), featuring José Ferrer (Ferrer, José); Scaramouche (1952) and a remake of The Prisoner of Zenda (1952), both of which starred Stewart Granger; and At Sword's Point (1952) with Cornel Wilde. Cavens, Faulkner, and Heremans were still the major fencing masters in film at the time.

The third and most recent incarnation of swashbuckling films arrived in the mid-1970s, beginning with director Richard Lester (Lester, Richard)'s The Three Musketeers (1973). At this juncture movie fencing began to reflect directors' desire for historical accuracy, and the action took on a more realistic look. Films highlighting fencing in this period include Lester's sequel to his Three Musketeers, entitled The Four Musketeers (1974); Ridley Scott (Scott, Ridley)'s The Duellists (1977); Highlander (1985), featuring Sean Connery (Connery, Sir Sean); the comedy The Princess Bride (1987); The Lord of the Rings trilogy (2001–03); and the Pirates of the Caribbean trilogy (2003–07), starring Johnny Depp (Depp, Johnny). Also of note were the films in the Star Wars trilogy (1977, 1980, and 1983), which featured a kendo-type of fencing with sabres that had blades of light.

It should be noted, however, that movie fencing remains a poor representation of actual fencing technique. Sword fighting for the movies requires broad, flashy, and easily followed actions to produce a dramatic effect. The art and sport of fencing, on the other hand, requires precise and economical actions to be successful.