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'''Nicoletto Giganti''' (Niccoletto, Nicolat) was an [[nationality::Italian]] soldier and [[fencing master]] around the turn of the [[century::17th century]]. He was likely born to a noble family in Fossombrone in central Italy,<ref name="Terminiello 9">Terminiello et al. 2013, p 9.</ref> and only later became a citizen of Venice.<ref>That he eventually became a Venetian citizen is indicated on the [[Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|title page]] of his 1606 treatise.</ref> Little is known of Giganti’s life, but in the dedication to his 1606 treatise he claims 27 years of professional experience, meaning that his career began in 1579 (possibly referring to service in the Venetian military, a long tradition of the Giganti family).<ref name="Terminiello 9"/> Additionally, the preface to his 1608 treatise describes him as a Master of Arms to the Order of Santo Stefano in Pisa, a powerful military order founded by Cosimo I de' Medici, giving some further clues to his career.
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'''Nicoletto Giganti''' (Niccoletto, Nicolat) was an [[nationality::Italian]] soldier and [[fencing master]] around the turn of the [[century::17th century]]. He was likely born to a noble family in Fossombrone in central Italy,<ref name="Terminiello 9">Giganti 2013, p 9.</ref> and only later became a citizen of Venice.<ref>That he eventually became a Venetian citizen is indicated on the [[Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|title page]] of his 1606 treatise.</ref> Little is known of Giganti’s life, but in the dedication to his 1606 treatise he claims 27 years of professional experience, meaning that his career began in 1579 (possibly referring to service in the Venetian military, a long tradition of the Giganti family).<ref name="Terminiello 9"/> Additionally, the preface to his 1608 treatise describes him as a Master of Arms to the Order of Santo Stefano in Pisa, a powerful military order founded by Cosimo I de' Medici, giving some further clues to his career.
  
In 1606, Giganti published a treatise on the use of the rapier (both single and with the dagger) titled ''[[Scola, overo teatro (Nicoletto Giganti)|Scola, overo teatro]]'' ("School or Theater"). It is dedicated to Cosimo II de' Medici. This treatise is structured as a series of progressively more complex lessons, and Tom Leoni opines that this treatise is the best pedagogical work on rapier fencing of the early 17th century.<ref>Leoni, p xi.</ref> It is also the first treatise to fully articulate the principle of the lunge.
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In 1606, Giganti published a treatise on the use of the rapier (both single and with the dagger) titled ''[[Scola, overo teatro (Nicoletto Giganti)|Scola, overo teatro]]'' ("School, or Theater"). It is dedicated to Cosimo II de' Medici. This treatise is structured as a series of progressively more complex lessons, and Tom Leoni opines that this treatise is the best pedagogical work on rapier fencing of the early 17th century.<ref>Giganti 2010, p xi.</ref> It is also the first treatise to fully articulate the principle of the lunge. Giganti also promised in this book that he would publish a second volume, a pledge he made good on in 1608.<ref>This treatise was considered lost for centuries, and as early as 1673 the Sicilian master [[Giuseppe Morsicato Pallavicini]] stated that this second book was never published at all. See ''[[La seconda parte della scherma illustrata (Giuseppe Morsicato Pallavicini)|La seconda parte della scherma illustrata]]''. Palermo, 1673. p V.</ref> Titled ''[[Libro secondo (Nicoletto Giganti)|Libro secondo di Niccoletto Giganti]]'' ("Second Book of Niccoletto Giganti"), it is dedicated to Christofano Chigi, a Knight of Malta, and covers the same weapons as the first as well as rapier and buckler, rapier and cloak, rapier and shield, single dagger, and mixed weapon encounters. This text in turn promises additional writings on the dagger and on cutting with the rapier, but there is no record of further books by Giganti ever being published.
  
In 1608, Giganti made good on the promise in his first book that he would publish a second volume.<ref>This treatise was considered lost for centuries, and as early as 1673 the Sicilian master [[Giuseppe Morsicato Pallavicini]] stated that this second book was never published at all. See ''[[La seconda parte della scherma illustrata (Giuseppe Morsicato Pallavicini)|La seconda parte della scherma illustrata]]''. Palermo, 1673. p V.</ref> Titled ''[[Libro secondo (Nicoletto Giganti)|Libro secondo di Niccoletto Giganti]]'' ("Second Book of Niccoletto Giganti"), it is dedicated to Christofano Chigi, a Knight of Malta, and covers the same weapons as the first as well as rapier and buckler, rapier and cloak, rapier and shield, single dagger, and mixed weapon encounters. This text in turn promises additional writings on the dagger and on cutting with the rapier, but there is no record of further books by Giganti ever being published.
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While Giganti's second book quickly disappeared from history, his first seems to have been quite popular: reprints, mostly unauthorized, sprang up many times over the subsequent decades, both in the original Italian and, beginning in 1619, in French and German translations. The 1622 edition of this unauthorized dual-language edition also included book 2 of [[Salvator Fabris]]' 1606 treatise ''[[Scienza d’Arme (Salvator Fabris)|Lo Schermo, overo Scienza d’Arme]]''<ref>It's possible that the 1619 did as well, but there are no surviving copies that include it so we have to assume it didn't.</ref> which, coupled with the loss of Giganti's true second book, is probably what has lead many later bibliographers to accuse Giganti himself of plagiarism.<ref>This accusation was first made by [[Johann Joachim Hynitzsch]], who attributed the edition to Giganti rather than Zeter and was incensed that he gave no credit to Fabris.</ref>
 
 
While Giganti's second book quickly disappeared from history, his first seems to have been quite popular: reprints, mostly unauthorized, sprang up many times over the subsequent decades, both in the original Italian and, beginning in 1619, in French and German translations. This unauthorized dual-language edition also included book 2 of [[Salvator Fabris]]' 1606 treatise ''[[Scienza d’Arme (Salvator Fabris)|Lo Schermo, overo Scienza d’Arme]]'' which, coupled with the loss of Giganti's true second book, is probably what has lead many later bibliographers to accuse Giganti himself of plagiarism.<ref>This accusation was first made by [[Johann Joachim Hynitzsch]], who attributed the edition to Giganti rather than Zeter and was incensed that he gave no credit to Fabris.</ref>
 
  
 
== Treatise ==
 
== Treatise ==
  
Giganti, like many 17th century authors, had a tendency to write incredibly long, multi-page paragraphs which quickly become hard to follow. Jacob de Zeter's 1619 dual-language edition often breaks these up into more manageable chunks, and so his version is used as the template for these concordances. Neither scans nor transcription of Giganti's [[Libro secondo (Nicoletto Giganti)|second book]] are yet available, so it cannot yet be included in the tables below.
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Giganti, like many 17th century authors, had a tendency to write incredibly long, multi-page paragraphs which quickly become hard to follow. Jacob de Zeter's 1619 dual-language edition often breaks these up into more manageable chunks, and in this concordance his paragraph breaks have also been applied to the Italian and English.
  
A [http://data.onb.ac.at/rep/109AF678 copy of the 1628 printing] that was extensively annotated by a contemporary reader now resides in the [[Österreichische Nationalbibliothek]]. Its annotations are beyond the scope of this concordance, but they have been [http://www.rapier.at/2018/07/20/a-transcription-of-annotations-in-the-onb-copy-211216-c-of-scola-overo-teatro-by-nicoletto-giganti/ transcribed] by [[Julian Schrattenecker]] and [[Florian Fortner]], and incorporated into [[Jeff Vansteenkiste]]'s translation in a [https://labirinto.ca/wp-content/uploads/2020/07/Giganti-Nicoletto-Scola-overo-teatro-1606-and-Marginalia-rev-2020-07-17.pdf separate document].
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A [http://data.onb.ac.at/rep/109AF678 copy of the 1628 printing] of the first book which now resides in the [[Österreichische Nationalbibliothek]] was extensively annotated by a contemporary reader. Its annotations are beyond the scope of this concordance, but they have been [http://www.rapier.at/2018/07/20/a-transcription-of-annotations-in-the-onb-copy-211216-c-of-scola-overo-teatro-by-nicoletto-giganti/ transcribed] by [[Julian Schrattenecker]] and [[Florian Fortner]], and incorporated into [[Jeff Vansteenkiste]]'s translation in a [https://labirinto.ca/translations/ separate document].
  
 
{{master begin
 
{{master begin
  | title = Introduction and Dedication
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  | title = First Book
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{{master subsection begin
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| title = Dedication
 
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{| class="master"
 
{| class="master"
 
|-  
 
|-  
! <p>Images<br/>from the 1606</p>
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! <p>Illustrations<br/>from the 1606</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>Italian (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>by [[Jeff Vansteenkiste]]</p>
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! <p>[[Scola, overo teatro (Nicoletto Giganti)|First Edition]] (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>Transcribed by [[Jeff Vansteenkiste]]</p>
! <p>German (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Jan Schäfer]]</p></p>
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! <p>German Translation (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>Transcribed by [[Jan Schäfer]]</p>
! <p>French (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Michael Chidester]]</p>
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! <p>French Translation (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
  
 
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| class="noline" | <p>'''By Nicoletto Giganti, Venetian, To The Most Serene Don Cosimo de’ Medici Great Prince Of Tuscany'</p>
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| class="noline" | <p>'''By Nicoletto Giganti, Venetian, To the Most Serene Don Cosimo de’ Medici, Great Prince of Tuscany'</p>
 
| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|2|lbl=-}}
 
| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|2|lbl=-}}
 
| class="noline" | {{section|Nicoletto Giganti/1644 German|2|lbl=-}}
 
| class="noline" | {{section|Nicoletto Giganti/1644 German|2|lbl=-}}
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| <p>With license and privilege of the Superiors</p>
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| <p>''With license and privilege of the Superiors''</p>
  
<p>'''In Venice'''<br/>Printed by Giovanni Antonio and Giacomo de Frenchesi. MDCVI</p>
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<p>'''In Venice,'''<br/>Printed by Giovanni Antonio and Giacomo de Frenchesi. MDCVI</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|3|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/5|3|lbl=-}}
 
| <p><br/></p>
 
| <p><br/></p>
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|-  
 
| [[File:Giganti Medici Heraldry.png|400x400px|center|Arms of the Medici Family]]
 
| [[File:Giganti Medici Heraldry.png|400x400px|center|Arms of the Medici Family]]
| <p>'''To the Most Serene Don Cosimo de Medici Great Prince of Tuscany''' my only Lord</p>
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| <p>'''To the Most Serene Don Cosimo de Medici, Great Prince of Tuscany,''' my only Lord</p>
  
<p>Just as iron extracted from the rough mines would be useless if it had not received shape suited to human armies from industrious art, thus the same in the hands of the strong soldier can be of little profit if, accompanied by studious and wise valour, the way is not made clear for every difficult and triumphant success. In this way to a point since the Good Shepherd welcomes the operation, because almost all the noblest things proceeding from our actions receive appropriate material from His hands, which, refined and dignified by the industry of the spirit, achieve miraculous and powerful effects. Now I say that this temperament is wonderfully demonstrated in the excellent and illustrious greatness of Your Most Serene Highness, who holds the natural greatnesses brought back to their peak from the invincible glorious works of your Ancestors, not only in the ancient and royal histories, but reflecting in yourself all the light of the present and past splendour, adorning them with your own virtues so that everyone admires the most divine tempers, and with wonderment says such a Most Serene Lord is no less fitting to that Most Serene State, than such a Most Serene State to that Most Serene Lord. But I will only say that this proposition, just as is demonstrated clearly in all the arts; so it is evidently perceived in exercising arms. Discussing the strength of iron, although it is exercised by a strong arm and agile body, if it is not tuned with observed rules and exercised study it is shown to be perilous and of little valour: Whereas if the art can be known by a wise captain, and he obeys it as a bold minister, they make marvelous prowess of it. You serve us as a clear example, who Heaven had to grant all height of perfect quality as in the most complete illumination of the present age. You who have in the noblest proportion stature, puissance, vigour joined to agility, promptness, and strength, in order to draw with your highest ingenuity the finesse of industry, advice, time, and art that can make you most a complete and Most Illustrious Captain, a Most Serene and most singular Prince.</p>
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<p>Just as iron extracted from the rough mines would be useless had it not received shape suited to human armies from industrious art, thus the same in the hands of the strong soldier can be of little profit if, accompanied by studious and wise valour, the way is not made clear for every difficult and triumphant success. In this way to a point, since the Good Shepherd welcomes the operation, and because almost all the noblest things proceeding from our actions receive appropriate material from His hands which, refined and dignified by the industry of the spirit, achieve miraculous and powerful effects. I am stunned to silence now that this tempering is wonderfully displayed in the excellence and illustrious greatness of Your Most Serene Highness. You retain the natural greatness returned to its peak from the invincible glorious works of Your ancestors, not only in the ancient and royal histories, but reflecting all the light of the present and past splendour in yourself, adorning them with your own virtues so that everyone admires that most divine temper, and with wonderment says that such a Most Serene Lord is no less fitting to that Most Serene State than such a Most Serene State to that Most Serene Lord. However, I will merely say that just as this proposition is demonstrated clearly in all the arts, so it is perceived evidently in exercising arms. Discussing the strength of steel, even if it is employed by a strong arm and agile body, if it is not conferred with observed rules and exercised study, it is shown to be perilous and of little valour, whereas if the art can be recognized as a wise captain and obeyed as a bold minister, they make marvelous prowess of it. Your testament serves as a clear example to us in which Heaven, needing to grant every level of perfect quality, as in the most complete illumination of the present age, has in the noblest proportion of stature, puissance, and vigour joined agility, promptness, and strength in order to draw with its highest ingenuity the finesse of industry, advice, time, and art that is able to make a Most Complete and Illustrious Captain a Most Serene and Singular Prince.</p>
 
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{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|7|lbl=iii|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|8|lbl=iv|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/9|1|lbl=v|p=1}}
 
{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|7|lbl=iii|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|8|lbl=iv|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/9|1|lbl=v|p=1}}
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| <p>Wherefore I, recognizing and admiring with humblest affection the mature splendour of your newly made and happy years, and reading in the face of the world the secure hopes and fruits of the future age, adoring that hand from which Italy and the entire world is taking safe rest and glorious protection, to that I offer and consecrate with humble dedication this small, I will certainly not say fruit, but work of my labours. Therefore, it only must please you, being of material welcomed by you which deigns to bend your Most Serene eye. To that end, let many of your highest rays pass over where the baseness of my ingenuity with the exercise of this art that I have dealt with for 27 years does not arrive. Let this work, in itself humble, present itself happily to the view of the World. It will be effected with the action of my devotion, together with the fruit of your Most Serene mercy, who serving being the full glory, I pray that Heaven makes me a worthy, even lowest servant. In Venice February 10, 1606</p>
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| class="noline" | <p>Wherefore I, recognizing and admiring with humblest affection the mature splendour of Your young and happy years, and reading in the face of the world the secure hopes and fruits of the future age, adoring that hand from which Italy and the entire world is taking safe rest and glorious protection, to that I offer and consecrate with humble dedication this small, I will certainly not say fruit, but work, of my labours, that will, therefore, have to please You, being on a subject You enjoy. In that, it will be dignified to bend Your Most Serene eye in order that many of your highest rays pass over where the baseness of my ingenuity with the exercise of this art that I have dealt with for twenty-seven years does not arrive. Let this work, humble in of itself, present itself happily to the view of the World. It will be effected with the action of my devotion, together with the fruit of your Most Serene mercy, who serving being the full glory, I pray that Heaven makes me a worthy, even lowest servant. In Venice February 10, 1606.</p>
  
 
:Of Your Most Serene Highness,
 
:Of Your Most Serene Highness,
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:::Nicoletto Giganti, Master of Arms
 
:::Nicoletto Giganti, Master of Arms
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/9|2|lbl=-}}
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| class="noline" | {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/9|2|lbl=-}}
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| class="noline" |
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{{master subsection end}}
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{{master subsection begin
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| title = Introduction
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| width = 150em
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{| class="master"
 +
|-
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! <p>Illustrations<br/>from the 1606</p>
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! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 +
! <p>[[Scola, overo teatro (Nicoletto Giganti)|First Edition]] (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>Transcribed by [[Jeff Vansteenkiste]]</p>
 +
! <p>German Translation (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>Transcribed by [[Jan Schäfer]]</p>
 +
! <p>French Translation (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>Transcribed by [[Michael Chidester]]</p>
  
 
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| [[File:Nicoletto Giganti portrait.png|400x400px|center|Nicoletto Giganti]]
 
| <p>'''To the Lord Readers, Almoro Lombardo,''' Son of the Most Renowned Lord Marco.</p>
 
| <p>'''To the Lord Readers, Almoro Lombardo,''' Son of the Most Renowned Lord Marco.</p>
  
<p>Desiring to write on the matter of arms, although the author does not mention that it is a science, to me it appears a necessary thing, Lord Readers, to treat with what share it has, and of which name it would adorn itself so that everyone knows its greatness, dignity, and privilege.</p>
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<p>Desiring to write on the subject of arms, although the author does not mention that it is a science, to me it appears a necessary thing, Lord Readers, to treat with what share it has, and of which name it should be adorned so that everyone knows its greatness, dignity, and privilege.</p>
  
<p>Whereupon first some students of this this most noble science read and discuss the most learned and easy observations of this valorous and knowledgeable professor Nicoletto Giganti, I, by observing the rule and general precept of a person who wants to address anything, will come to the definition, and then to the general division of this word Science, from which it will be possible for two things to finally be recognized by everyone, showing us that this beautiful profession is science.</p>
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<p>Thus, before any scholar of this most noble science reads and discusses the most learned and easy observations of the valorous and knowledgeable expert, Nicoletto Giganti, in order to observe the rule and general precept of a person who wants to address anything, I will come to the definition and then to the general division of this word “science”. From these two things it will finally be recognized by everyone that this beautiful profession shows us it is a science.</p>
  
<p>Science, therefore, is a certain and manifest knowledge of things that the intellect acquires. It is of two sorts, that is, Speculative and Practical. Speculative is a simple operation of the intellect around its own object. Practical only consists in the actual workings of the intellect.</p>
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<p>Science, therefore, is a certain and manifest knowledge of things that the intellect acquires. It is of two sorts—that is, speculative and practical. Speculative is a simple operation of the intellect around its appropriate object. Practical only consists in actual workings of the intellect.</p>
  
<p>Speculative is divided in two parts, that is, in Real Speculation and Rational Speculation. The Real aims at the reality of its object, which demonstrates its essence on its exterior. The Rational consists of those things that only the intellect administers and does not extend itself to other goals.</p>
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<p>Speculative is divided in two parts—that is, in real speculative and rational speculative. Real aims at the reality of its object, which shows its essence on its exterior. Rational consists in those things that only the intellect administers and does not extend itself further to other goals.</p>
 
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{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|11|lbl=vii|p=1}} {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/12|1|lbl=viii|p=1}}
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| <p>Physics is a Real Speculative Science that only aims at moving and natural things, like the elements. Mathematics is a Real Speculative Science that only extends itself to continuous and discrete quantity. Continuous like lines, circles, surfaces, the measures of which deal with Arithmetic.</p>
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| <p>Physics is a real speculative science that only aims at moving and natural things, like the elements. Mathematics is a real speculative science that only extends as far as the continuous and the discrete—continuous such as lines, circles, surfaces—the measures of which arithmetic deals with.</p>
  
<p>Grammar, Rhetoric, Poetry, and Logic are Rational Speculative Sciences.</p>
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<p>Grammar, rhetoric, poetry, and logic are rational speculative sciences. </p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/12|2|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/12|2|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|5|lbl=-}}
 
| {{section|Nicoletto Giganti/1644 German|5|lbl=-}}
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| <p>Practical Science is divided in two: Active and Workable. Active is Ethics, Politics, and Economics. Workable can be divided in seven others, called mechanical, which are these: Woolcraft, Agriculture, Soldiery, Navigation, Medicine, Hunting, and Metalworking.</p>
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| <p>Practical science is further divided in two: active and productive. Ethics, politics, and economics are active. Productive can be separated into seven others, called mechanical, which are woolcraft, agriculture, soldiery, navigation, medicine, hunting, and metalworking.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/12|3|lbl=-}}
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/12|3|lbl=-}}
 
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| <p>Now, coming to what I promised above about this noble science, I will go over its qualities and nature, discussing whether it is Speculative or Practical science. In my opinion I say that it is Speculative, and prove it with diverse reasons. That it is science there is no doubt, because it is not acquired if it is not mediated by the operation of the intellect, from which it is born. That it is Speculative is certain since it does not consist in anything other than simple knowledge of its object, as I will be discussing below.</p>
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| <p>Now, in order to come to what I promised above about this noble science, I will go over its qualities and nature, discussing whether it is speculative or practical science. I say that, in my opinion, it is speculative, and prove it with diverse reasons. There is no doubt that it is science because it is not acquired if not through the operation of the intellect, from which it springs. That it is speculative is certain, as it does not consist in more than the simple knowledge of its object, as I will further demonstrate below.</p>
  
<p>The object of this science is nothing more than parrying and wounding. The knowledge of those two things is a work of the intellect, and moreover with intelligence professors of this science do not extend it further than the knowledge of them, which cannot be understood at all unless one first has knowledge of tempi and measures, or rather, knowledge of Feint, Disengage, or resolution without knowledge of tempi and measures. These are all operations of the intellect, and moreover outside of this knowledge the intellect does not extend, because as I have said the aim of these professions is understanding parrying. We will see if it is Real Speculative or Rational Speculative.</p>
+
<p>The object of this science is nothing more than parrying and wounding. The knowledge of those two things is a work of the intellect, and experts of this science do not with intelligence extend it further than the knowledge of them. They cannot be understood at all unless one first has knowledge of ''tempi'' and measures, nor feints, disengages, or resolutions without knowledge of ''tempi'' and measures. These are all operations of the intellect. Moreover, the intellect does not reach beyond this understanding because, as I have said, the aim of this profession is understanding parrying and wounding. We will see whether it is real speculative or rational speculative science, however.</p>
  
<p>Considering this, it cannot be Rational, and the reason is this: because if it is indeed an operation of the intellect, nevertheless it spreads further, wherefore I find it to be Real Speculative. Real, because the knowledge of its aim is shown to us outwardly by the intellect. As the understanding of wounding and parrying, with tempi, measures, feints, disengages, and resolutions, even though they are operations of the intellect, they cannot be understood if not outwardly, and this exterior consists in the bearing of the body and of the Sword in the guards and counterguards, which all consist of circles, angles, lines, surfaces, measures, and of numbers.</p>
+
<p>Thinking on this, it cannot be rational, and the reason is this: Even though it is an operation of the intellect, it nevertheless extends further, wherefore I find it to be real speculative science. Real, because the knowledge of its aim is shown to us outwardly by the intellect, since the understanding of wounding and parrying, along with ''tempi'', measures, feints, disengages, and resolutions, despite being operations of the intellect, cannot be understood if outwardly. This outward expression consists in the bearing of the body and sword in the guards and counterguards, which all consist of circles, angles, lines, surfaces, measures, and of numbers.</p>
  
<p>These things, which must be observed, can be read about in Camillo Agrippa and in many other professors of this science. Note that just as those operations of the intellect without an exterior operation cannot be shown, so these exterior operations cannot be understood without the operations of the intellect first, in a manner that this science, which derives from the intellect, cannot be understood if not outwardly. Neither can one understand outwardly without operations of the intellect. These operations seek to understand the greatness, excellence, and perfection of this profession, and always come united. As there can never be Sun without day, nor day without Sun, never will there be those without these, nor these without those. In the end we see that it is Real Speculative Science.</p>
+
<p>These things, which must be observed, can be read about in Camillo Agrippa and in many other experts of this science. Note that, just as those operations of the intellect without an exterior operation cannot be shown, so these exterior operations cannot be understood without the prior operations of the intellect, in a way that this science, which derives from the intellect, cannot be understood if not outwardly. Neither can it be outwardly understood without operations of the intellect. These operations seek to understand the greatness, excellence, and perfection of this profession, and will always be seen united. As there will never be sun without day, nor day without sun, never will there be those without these, nor these without those. In the end we see that it is real speculative science.</p>
  
<p>This science of the Sword, or of arms, is a Real Speculative Mathematic Science, and Geometric, and Arithmetic. Geometric because it consists in lines, circles, angles, surfaces, and measures. Arithmetic because it consists of numbers. There is no motion of the body that does not make an angle or constraint. There is no motion of the Sword that does not travel in a line. There is neither guard nor counterguard that does not go by the number. The observations of these things all depend on knowledge of tempi and measures, whence I conclude that this most noble science is Real, Mathematic, Geometric, and Arithmetic, as I said a little above.</p>
+
<p>This science of the sword, or of arms, is a real speculative mathematical science—of geometry, and arithmetic. Of geometry because it consists in lines, circles, angles, surfaces, and measures, and of arithmetic because it consists in numbers. There is no motion of the body that does not produce an angle or constraint, no motion of the sword that does not travel in a line, no guard or counterguard that does not proceed by number. The observations of these things all depend on knowledge of ''tempi'' and measures, whence I conclude that this most noble science is speculative real mathematical—of geometry and arithmetic—as I said a little above.</p>
 
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| <p>Perhaps some inquisitive person arguing over this could say that the science of arms is a Practical Science with this reason: that being a Practical Science, a science which not only extends to the knowledge of its own object but to the operation of it, this science is therefore Practical, and not Speculative. To this objection I respond: all things have from nature their operation. Three are the sorts of their operations; some are internal, and these have their being in pure and simple intellect, and result from a Rational Speculative. Some are internal and external, and these have a commonality inside the intellect and outside, and are born from a Real Speculative. Some are completely external, and these have their being outside the intellect entirely and depend on a Practical Science, and are either Active or Workable. The Speculative Workable Real Science is no different from the Practical Science other than in this: the Real Speculative operates outwardly on its object and through the knowledge of that serves the intellect. The Practical Science not only cannot operate on its object if not outwardly, it cannot even come to the knowledge of it if not outwardly. The science of arms has the knowledge of its object in the intellect, and even though it operates outwardly, it cannot be said that it is Practical, but instead Speculative Real Science.</p>
+
| <p>Perhaps some inquisitive person arguing over this could say that the science of arms is a practical science with this reason: Practical science being a science that extends not only to the knowledge of its own object but to its operation, and the science of the sword being a science that applies not just to the knowledge of, but the operation of it, this science is therefore practical and not speculative. To this objection I respond: All things have some operation from nature. Our operations are of three sorts: Some are internal, and these exist in pure and simple intellect and derive from a rational speculative science. Some are internal and external, and these have a commonality inside and outside the intellect and arise from a real speculative science. Some are completely external, and these exist entirely outside the intellect and depend on a practical science. They are either active or productive.</p>
 +
 
 +
<p>Speculative productive real science is no different from practical science other than in this: Real speculative science, even though it operates outwardly in its object, it nevertheless furnishes the understanding of that in the intellect. Practical science not only cannot operate on its object if not outwardly, but also cannot even come to understand it if not outwardly. The science of arms obtains the knowledge of its object in the intellect and, even though it operates outwardly, cannot be said to be practical science. Rather, it is speculative real science.</p>
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| <p>We have therefore seen that it is a science and it is Mathematics, of Geometry and Arithmetic, since it consists of numbers, lines, and measures. The author does not make mention of this in his observations, so that from him learned persons and those with no study may acquire some profit. Therefore, from his present figures and noted lessons, without learning to understand the multiplicity of lines, circles, angles, surfaces which would rather confuse the minds of readers that do not have understanding of these studies, nor give them any instruction, without a doubt everyone will learn to understand without difficulty the tempi, measures, resolutions, feints, disengages, and the way of parrying and wounding.</p>
+
| <p>We have therefore seen that it is a science and that it is mathematics—of geometry and arithmetic—since it consists in numbers, lines, and measures. The author does not make mention of this in his observations so that learned persons and those with no study may acquire some profit from him. From these figures and his renowned lessons, therefore, without learning to understand the multiplicity of lines, circles, angles, and surfaces which would instead confuse the mind of the reader that does not understand these studies, giving him no instruction, everyone will without doubt or effort learn to understand ''tempi'', measures, resolutions, feints, disengages, and the method of parrying and wounding.</p>
 
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| <p>As for knowing how to understand the circles, lines, and other things mentioned above, every studious person will come to understand them with exercise. I will always advise everyone to apply themselves to the study of letters before this profession, because one that has studied in order to have understanding of the necessary things around this science will better profit and will make themselves more excellent and more perfect, with much more quickness of time for the acquisition, so that he can understand the aforesaid things of the guards, counterguards, covered just as uncovered. He that has not studied will not obtain it so easily, which, if he can learn it well, he will not therefore acquire understanding of this science without length of time and continuous exercise.</p>
+
| <p>As for learning circles, lines, and other things mentioned above, every studious person will come to understand them with practice. I will always advise everyone to apply himself to the study of letters before this profession, because someone who has studied to understand the necessary things around this science will better profit and become more excellent and perfect, greatly reducing his time to acquire the understanding of the aforesaid things: guards and counterguards, subtle and obvious. He who has not studied will not achieve so easily and, even though he can learn, will not acquire the understanding of this science without length of time and continuous exercise.</p>
 
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| <p>This profession is of so much dignity and consideration. What decorum does it seek? What reputation and how much honour must one give it? Under what obligation is one that carries the sword and makes a profession of it? I say its dignity and consideration derive totally from its qualities, and with the division of the same one can come to understand.</p>
+
| <p>How great is the dignity and esteem of this profession? What decorum does it seek? What reputation, and how much honour is it due? Under what obligation is someone who carries the sword and makes a profession of it? I say its dignity and consideration entirely derive from its qualities, by the division of which they can be understood.</p>
  
<p>This science of the sword is divided into three parts. The first is divided in two: Natural and Artificial.</p>
+
<p>This science of the sword is separated into three parts, and the first is divided in two: natural and artificial.</p>
 +
 
 +
<p>Natural is a demonstrative discourse man makes use of naturally in parrying and wounding, since he proceeds with those goals extracting what mother nature administers to him for his needs with his own ingenuity. This is what many men of courage and spirit have shown great measure of in their contentions with men of great art and knowledge.</p>
  
<p>Natural is a demonstrative discourse man makes use of naturally in parrying and wounding, since with his own ingenuity he proceeds with those goals extracting what mother nature administers to him for his needs. Here is what many men of courage and spirit have shown great measure of in their contentions with men of great art and knowledge.</p>
 
 
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| <p>The Artificial is that which finds with ingenuity and long use and exercise under short rules and impossible methods different manners of parrying and wounding with the above noted things. Accordingly, coming to some occasion the man extracts from this the real ends of his safety. In his lessons the author shows great understanding of those two qualities, and the reader will be fully satisfied with them.</p>
+
| <p>The artificial is that which with ingenuity and long use and practice finds different manners of parrying and wounding using the above noted things, encompassed by short rules and extraordinary methods. Accordingly, coming to some occasion, a man extracts the proper terms of safety from this. In his lessons, the author shows great understanding of those two qualities and the reader will be fully satisfied with them.</p>
 
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| <p>The second part is this: the Artificial science of the sword is divided in two, Demonstrative and Exercised. The Demonstrative is that which demonstrates the proper method, and aims at knowledge of parrying and of wounding, by firm foot just as with the pass, when one must bind the enemy and when one must draw back by way of those lines, circles, or circumstances you remember from above, for which the intellect governs and imparts the many and multiple postures and counterpostures of the body. The Exercise is the same as the Demonstrative which, since we have acquired it, we apply to the understanding of a thousand warnings. There is no difference between them, except that the Demonstrative is self-contained, and the Exercised extends to serve the understanding of different things.</p>
+
| <p>The second part is this: The artificial science of the sword is divided in two: demonstrative and practised. Demonstrative is that which shows the proper method and term of parrying and wounding, firm-footed just as with the pass, when one must bind the enemy, and when one must draw back by way of those lines, circles, or circumstances you remember from above, through which the intellect governs and imparts the various and multiple postures and counterpostures of the body. Practised is the same demonstrative which, now that we have acquired it, we apply to the understanding of a thousand warnings. There is no difference between them except that demonstrative is self-contained and practised serves the understanding of various things.</p>
 
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| <p>The third part is this: the Demonstrative science of the sword is divided in two: the first Demonstrative consists of uncomplicated ends, that is, in simple ends, or composite, that unite in themselves more ends for the same Demonstratives of various occurrences, such as being outside of measure with the arms open, the weapons high or low. These ends require incomplete ends, that is, ends not understood by the enemy. They are called simple because they are natural. They are called composite because they have in themselves many considerations, and these are divided into the first and the second concepts.</p>
+
| <p>The third part is this: The demonstrative science of the sword is divided in two: the first demonstrative consists of uncomplex terms—that is, simple terms—or composite, which combine multiple demonstrative terms of various circumstances, such as being outside of measure, with the arms open, the weapons high or low. These are called uncomplex terms—that is, terms not understood by the enemy. They are called simple because they are natural. They are called composite because they contain many considerations. These are divided into first and second concepts. </p>
  
<p>The first concepts are real things that are first learned from the intellect, like parrying and wounding, and these come in the first intention. The second concepts are formed from the intellect, and these make the second of our intentions, the knowledge in order to be able to wound and parry, and are made through the first, for the reason that immediately when our intellect has learned this aim of wounding and parrying, it soon discusses how this can be done in a different manner and with different methods.</p>
+
<p>First concepts are real things that are first grasped by the intellect, like parrying and wounding, and these function in first intention. Second concepts are formed by the intellect, and they produce our second intention, knowledge, in order to be capable of wounding and parrying. These are produced by means of the first, for as soon as our intellect has learned this aim of wounding and parrying, it immediately reasons out how it can be done in different manners and with different methods. </p>
  
<p>The second Demonstrative consists of the complex ends, that is, of ends that unite in themselves more ends for the same demonstratives, and these aims either united at measure or separate at a distance demonstrate their ends, like being in guard with the weapons closed demonstrates, either at a distance, or at measure with the posture of the body, or counterposture which is the aim of that, and how many things can be done with that working. For this reason, one sees of how much consideration this beautiful science is for its qualities, and for the aims it contains.</p>
+
<p>The second demonstrative consists in complex terms—that is, terms that combine multiple demonstrative terms—and these terms, either united at measure or separate at a distance, demonstrate their purpose, like how being in guard with the weapons closed demonstrates, either at a distance or at measure of the body’s posture (or counterposture, which is the point of that), how many things can be done with that. For this reason, it is seen how highly regarded this beautiful science is for its qualities and the terms it contains.</p>
 
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| <p>Therefore, just as it is of great dignity because it is real Speculative Mathematics of Geometry and Arithmetic, and for many parts found under itself, such decorum and reputation I say it requires. No other will be the decorum and reputation if not this. And also considering, o Readers, that this science for the most part is found in royal courts, and of every Prince, in the most famous Cities, studied by Barons, Counts, Knights, and persons of great quality, and for no other reason if not because just as it is noble, it excites and inflames our spirits to great things, to learn, and to heroic actions, to match of the virtue of the spirit, the valour of the body, the vigour of the strength, and the skill of the person. This always seeks parity, and does not allow any blemish to it. It wants to be understood and learned, but not to be professed for every folly one takes up. It flees the disputes of villainous persons. It does not do all that it can. It shows itself at the time and place. It avoids the practices of excess. It is of few words. It desires a serious comportment, an alert eye, an honoured dress, and a noble practice. This is enough about its decorum and reputation.</p>
+
| <p>And so, this is of great dignity because it is real speculative mathematics—of geometry and arithmetic—and for the many qualities it is found to contain. Thus, I say that it requires decorum and reputation matching its own. It is also to be considered, o Readers, that this science is predominantly found in royal courts and with every prince, studied in the most famous cities by barons, counts, knights, and persons of great quality. This is for no other reason than because, just as it is noble, it excites and inflames our spirits to great things, to heroic feats and actions to measure up to the virtue of the spirit, the valour of the body, the vigour, the strength, and the skill of the person. It always requires an equal match and allows no impugnment of them. It wants to be understood and learned, but not professed, not taken up for every folly. It avoids the disputes of villainous persons. It does not do all that it can but shows itself at the time and place. It shirks the practices of excess and is of few words. It desires a serious comportment, an alert eye, an honoured dress, and a noble practice. This is enough about its decorum and reputation.</p>
 
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| <p>In regard to the honour that it requires, advising that the observance of all the said things is honour to this profession, it remains only to be said what obligation one who carries the sword is under.</p>
+
| <p>In regard to the honour it is due, it is to be noted that the observance of all said things is an honour to this profession. It remains only to say what obligation someone who carries the sword is under.</p>
  
<p>We will pass by the aims of these Duellists who, just as they have badly learned the said profession, so I say with many of their propositions they degrade it and have reduced it to such an unhappy state that it not only casts aside the virtuous life which demands such a science, and human discourse, and every reason, but forgetting the great God, and themselves as a consequence, their unjust aims can only possess it for the damnation of their spirits, postponing the divine church for their diabolical thoughts.</p>
+
<p>We will pass over the terms of these “duellists” who, along with having badly understood said profession, I say that with many of their propositions they also degrade it and have reduced it to such an unhappy state that it not only casts aside the virtuous life, human discourse, and every reason that such a science demands but, forgetting the great God, and themselves as a consequence, their unjust aims only possess it for the damnation of their spirits, abandoning the divine church for their diabolical thoughts.</p>
 
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| <p>This profession, o Readers, puts one who practises it under obligation to learn, and considering this wants to be used in four occasions: the first for Faith, then for Country, for defence of one’s own life, and finally for honour. It always wants to be a defender of reason, never taken hold of in order to do wrong, and one who does so makes an injury to this profession. Neither will a man of honour have held onto a wrong in order to fight, but will only do so for the said things. It is necessary to have occasion because fighting without one is a thing of the foolish and drunk.</p>
+
| <p>This profession, o Readers, places someone who practises it the under obligation to understand that it desires to be used in four occasions: The first for faith, then for country, for defence of one’s own life, and finally for honour. It always wishes to be a champion of reason, never taken hold of in order to do wrong, and someone who does so injures this profession. Neither will a man of honour ever have held onto a wrong in order to fight but will only do so for the said things. It is necessary to have occasion because fighting without one is a thing of the foolish and drunk.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/18|1|lbl=xiv}}
 
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| <p>Some as soon as they have acquired some beginning of this mock, putting the Sword at their side, and using a thousand insolences, either stop or wound someone, and at such time kill some miserable person, believing themselves to have acquired honour and fame. They do evil, because other than making an outrage to the nobility of this which must not be put in use without reason, they offend the just God and themselves.</p>
+
| class="noline" | <p>Some, as soon as they have acquired some beginning of this, are wont to put the sword at their side and, using a thousand insolences, detain, wound, or sometimes kill some miserable person, believing themselves to have acquired honour and fame. They do evil because, more than harming the nobility of this, which must not be employed without reason, they offend the just God and themselves.</p>
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<p>In order not to become tedious I will not continue, but only exhort each person to study such a noble and real science, beseeching him to heed the underwritten observations of our noble expert and to practise them, because with a short period of time no small profit will be acquired, observing how much this befits his own honour, glory, and greatness.</p>
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| class="noline" | {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/9|2|lbl=-}}
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{{master subsection end}}
  
<p>In order to not come to tedium I will not continue, but only exhort each to study such a noble and real science, begging him to keep in mind the underwritten observations of our noble professor, and practise in it, because with brevity of time one can acquire no small profit, observing how much it suits honour, glory, and greatness themselves.</p>
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{{master subsection begin
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/18|2|lbl=-}}
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| title = Clearance and copyright
| {{section|Nicoletto Giganti/1644 German|18|lbl=-}}
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/9|2|lbl=-}}
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{| class="master"
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|-
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! <p>Illustrations<br/>from the 1606</p>
 +
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 +
! <p>[[Scola, overo teatro (Nicoletto Giganti)|First Edition]] (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>Transcribed by [[Jeff Vansteenkiste]]</p>
  
 
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| <p>'''COPY</p>
 
| <p>'''COPY</p>
  
<p>The underwritten Most Excellent Lord Captains of the most Illustrious Council of Ten have belief from the Lord Reformers of the Studio of Padua by report of the two elected, that is, of the Reverend Father Inquisitor and of the Secretary of the Senate Zuane Maravegia, with oath, that in this book titled School, or Theatre by Nicoletto Giganti, Venetian, nothing contrary to the law is found. It is worthy of print, granted licence, and may be printed in this city.</p>
+
<p>The underwritten Most Excellent Lord Captains of the most Illustrious Council of Ten have belief from the Lord Reformers of the Studio of Padua through the report of the two elected for such, that is, of the Reverend Father Inquisitor and of the Secretary of the Senate Zuane Maravegia, with oath, that in this book titled School, or Theatre by Nicoletto Giganti, Venetian, nothing contrary to the law is found, it is worthy of print, and they grant it licence to be printed in this city.</p>
  
 
:Dated the 31st of October, 1605.
 
:Dated the 31st of October, 1605.
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::D. Santo Balbi<br/>D. Gio. Giacomo Zane<br/>D. Piero Barbarigo
 
::D. Santo Balbi<br/>D. Gio. Giacomo Zane<br/>D. Piero Barbarigo
  
:::Most Illustrious Council of X. Secretary, Barth. Cominus.
+
:::Most Illustrious Council of X. Secretary,<br/>Barth. Cominus.
  
 
:October 3, 1605
 
:October 3, 1605
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:::Giovanni Francesco Pinardo, Secretary
 
:::Giovanni Francesco Pinardo, Secretary
 
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| class="noline" | <p>December 23, 1605 in Senate</p>
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| class="noline" | <p>December 23, 1605, in Senate</p>
  
<p>The power is granted to our faithful Nicoletto Giganti, Venetian, that other than him or one at his behest, it is not permitted for the space of the next thirty years to venture to print in this City, nor any other City, Land, or place of our Domain, nor printed elsewhere to conduct or sell in Our Domain the book composed by him, titled School, or Theatre, under pain of losing the printed or conducted works, which are by the aforesaid Nicoletto Giganti, and being obliged to observe what is required by our law in matters of Printing, of paying three hundred ducats: a third to our Arsenal, a third to the Magistrate that makes the execution, and the other third to the complainant.</p>
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<p>The power is granted to our faithful Nicoletto Giganti, Venetian, that other than him or someone at his behest, it is not permitted for the space of the next thirty years to venture to print in this city, nor any other city, land, or place of our domain, nor printed elsewhere to conduct or sell in our domain the book composed by him, titled School, or Theatre, under pain of losing the printed or conducted works, which are by the aforesaid Nicoletto Giganti, and being obliged to observe what is required by our law in matters of printing, of paying three hundred ducats: A third to our arsenal, a third to the magistrate that makes the execution, and the other third to the complainant.</p>
 
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{{master begin
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! <p>Images<br/>from the 1606</p>
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! <p>Illustrations<br/>from the 1606</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>Italian (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>by [[Jeff Vansteenkiste]]</p>
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! <p>[[Scola, overo teatro (Nicoletto Giganti)|First Edition]] (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>Transcribed by [[Jeff Vansteenkiste]]</p>
! <p>German (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Jan Schäfer]]</p>
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! <p>German Translation (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>Transcribed by [[Jan Schäfer]]</p>
! <p>French (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Olivier Delannoy]]</p>
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! <p>French Translation (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>Transcribed by [[Olivier Delannoy]]</p>
  
 
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| [[File:Nicoletto Giganti portrait.png|400x400px|center|Nicoletto Giganti]]
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| <p>[1] '''Guards and Counterguards'''</p>
 
| <p>[1] '''Guards and Counterguards'''</p>
  
<p>It is necessary for someone wanting to become a professor of the science of arms to understand many things. To give my lessons a beginning, I will first begin to discuss the guards and counterguards, or postures and counterpostures, of the sword. This, because coming to some incident of contention it is first necessary to understand this to be able to secure oneself against the enemy. To place oneself in guard then, many things must be observed, as can be seen in my figures: standing firm over the feet, that are low and the foundation of the entire body, in a just pace, restrained rather than long in order to be able to increase it, holding the sword and dagger strongly in the hands, the dagger now high, now low, now extended, the sword now high, now low, now on the right side, ready to parry and wound so that the enemy throwing either a thrust or cut can be parried and wounded in the same tempo, with the vita disposed and ready because lacking the disposition and readiness of that it will be an easy thing for the enemy to put it into disorder with a dritto, a riverso, a thrust, or in another manner, and even if such a person parried they would remain in danger. It is advised to let the dagger watch the enemy’s sword, because if the enemy throws it will parry that. Always aim the sword at the uncovered part of the enemy so that the enemy is wounded when throwing. This is all the artifice of this profession. Moreover, one must note that all the motions of the sword are guards to one who knows them, and all guards are good to one who practises, as on the contrary no motion is a guard to one who does not understand, and they are not good for one who does not know how to use them.</p>
+
<p>It is necessary for someone wishing to become an expert on the science of arms to understand many things. To give my lessons a beginning, I will first begin to discuss guards and counterguards, or postures and counterpostures, of the sword. This because, coming to some incident of contention, it is first necessary to understand this to be able to secure oneself against the enemy. To position oneself in guard, therefore, many things must be observed, as seen in my figures: Standing firm over the feet, which are the base and foundation of the entire body, in a just pace, restrained rather than long in order to be able to extend, holding the sword and dagger strongly in the hands, the dagger now high, now low, now extended, the sword now high, now low, now on the right side, in place in order to parry and wound so that the enemy, throwing either a thrust or cut, can be parried and wounded in the same ''tempo'', with the ''vita'' disposed and ready because lacking its disposition and readiness it will be an easy thing for the enemy to put it into disorder with a ''dritto'', a ''riverso'', a thrust, or in some other manner, and even if such a person were to parry, they would remain in danger. It is advised that the dagger should guard the enemy’s sword because if the enemy throws, it will parry that, and that the sword should always aim at the uncovered part of the enemy so that he is wounded when throwing. This is all the artifice of this profession. Moreover, it must be noted that all motions of the sword are guards to those who know them, and all guards are good for the practised person, as, on the contrary, no motion is a guard to those who do not understand any, and they are not good for those who do not know how to use them.</p>
 
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| <p>[2] This profession does not require more than science and exercise, and this exercise presents the science. Placing oneself uncovered in guard is artifice and done because the enemy disorders themselves when throwing and ends up in danger. Placing oneself covered is also artifice because in binding the enemy can be wounded. In this way it is understood that every guard aids one who has skill and understands, and no guard is valuable to he who does not have skill or understanding. This is enough about the guards.</p>
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| <p>[2] This profession requires nothing more than science and practice. Practised, it bestows the science. Placing oneself uncovered in guard is artifice and done so that the enemy disorders himself when throwing and ends up in danger. Placing oneself covered is also artifice because, binding the enemy, it is possible to wound. In this way, it can be understood that every guard aids those who understand and know, and no guard is valuable to those who do not understand or know. This is enough about guards.</p>
 
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| <p>[3] As for the counterguards, be advised that one who has knowledge of this profession will never place themselves in guard, but will seek to place themselves against the guards. <ref name="counterguard">In a counterguard.</ref> Wanting to do so, be warned of this: one must place oneself outside of measure, that is, at a distance, with the sword and dagger high, strong with the vita, and with a firm and balanced pace, then consider the guard of the enemy. Afterwards approach him little by little with your sword binding his for safety, that is, almost resting your sword on his so that it covers it because he will not be able to wound if he does not disengage the sword. The reason for this is that in disengaging he performs two actions. First he disengages, which is the first tempo, then wounding, which is the second. While he disengages, in that same tempo he can come to be wounded in many ways before he has time to wound, as one will see in the figures of my book. If he changes guard for the counterguard it is necessary to follow him along with the sword forward and the dagger, always securing his sword, because in the first tempo he will always have to disengage the sword and end up wounded. It will never be possible for him to wound if not with two tempi, and from those parrying will always be a very easy thing. This is enough about guards and counterguards.</p>
+
| <p>[3] As for counterguards, it is advised that someone who has knowledge of this profession will never position himself in guard but will seek to position himself in a counterguard. Wanting to do so, know this: One must position oneself outside of measure—that is, at a distance—with the sword and dagger high, strong with the ''vita'', with a firm and stable pace, then consider the guard of the enemy. Afterwards, approach him little by little, binding with the sword to be safe—that is, almost resting your sword on his so that it covers it—because he will not be able to wound if he does not disengage the sword. The reason for this is that in disengaging he performs two actions: First, he disengages, which is the first ''tempo'', then wounding, which is the second. While he disengages, he can come to be wounded in many ways in the same ''tempo'' before he has time to wound, as will be seen in the figures of my book. If he changes guard due to the counterguard, it is necessary to follow him with the sword forward, with the dagger alongside always securing his sword, because in the first ''tempo'' he will always have to disengage the sword and necessarily ends up wounded. Neither will it ever be possible for him to wound if not with two ''tempi'', and from those parrying will always be a very easy thing. This is enough about guards and counterguards.</p>
 
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| <p>[4] '''Tempo and Measure'''</p>
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| <p>[4] '''''Tempo'' and Measure'''</p>
  
<p>One cannot know how to place oneself in guard, or against the guard, <ref name="counterguard"/> nor how to throw a thrust, an imbroccata, a mandritto, or a riverso, nor how to turn the wrist, nor how to carry the body well, or to best control the sword, or say one understands parrying and wounding, but by understanding tempo and measure which, of one who does not understand, even though they parry and wound, it could not be said that they understand parrying and wounding, because such a person in parrying as in wounding can err and incur a thousand dangers.</p>
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<p>It is not through knowing how to position oneself in a guard or counterguard, nor how to throw a thrust, an ''imbroccata'', a ''mandritto'', or a ''riverso'', nor how to turn the wrist, nor how to carry the body well, nor how best to control the sword, that a person can be said to know how to parry and wound. Rather, it is by understanding ''tempo'' and measure. Someone who does not understand these, even though he parries and wounds, could not be said to understand how to parry and wound, because such a person can err and incur a thousand dangers in parrying as in wounding. </p>
 
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| <p>[5] Therefore, having discussed the guards and counterguards it remains to discuss tempo and measure in order to know how to, then to accommodate an understanding of when one must parry and wound.</p>
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| <p>[5] Having therefore discussed guards and counterguards, it remains to discuss ''tempo'' and measure in order to then know how to accommodate a recognition of when one must parry and wound.</p>
 
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| <p>[6] Therefore, measure means when the sword can reach the enemy. When it cannot it is called being out of measure.</p>
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| <p>[6] Measure, then, means when the sword can reach the enemy. When it cannot, it is called being out of measure.</p>
 
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| <p>[7] Tempo is understood in this way: if the enemy is in guard, one needs to place oneself outside of measure and advance with one’s guard, securing oneself from the enemy’s sword with one’s own, and put one’s mind on what he<ref name="the enemy">The enemy.</ref> wants to do.</p>
+
| <p>[7] ''Tempo'' is recognized in this way: If the enemy is in guard, one needs to position oneself outside of measure and advance with one’s guard, securing oneself from the enemy’s sword with one’s own, and put one’s mind on what he wishes to do.</p>
 
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| <p>[8] If he disengages, in the disengagement one can wound him, and this is a tempo. If he changes guard, while he changes is a tempo. If he turns, it is a tempo. If he binds to come to measure, while he walks before arriving at measure is a tempo to wound him. If he throws, parrying and wounding in a tempo also is a tempo. If the enemy stays still in guard and waits and you advance to bind him and throw where he is uncovered when you are at measure, it is a tempo, because in every motion of the dagger, sword, foot, and vita such as changing guard, is a tempo in such a way that all these things are tempi: because they contain different intervals, and while the enemy makes one of these motions, he will certainly be wounded because while a person moves they cannot wound. It is necessary to understand this in order to be able to wound and parry. I will be demonstrating more clearly how one must do so in my figures.</p>
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| <p>[8] If he disengages, in the disengagement he can be wounded, and this is a ''tempo''. If he changes guard, while he changes is a ''tempo''. If he turns, it is a ''tempo''. If he binds to come to measure, while he walks before he arrives at measure is a ''tempo'' to wound him. If he throws, parrying and wounding in one ''tempo'' is also a ''tempo''. If the enemy stands still in guard in order to wait and you advance to bind him and throw where he is uncovered when you are at measure, it is a ''tempo''. This is because in every motion of the dagger, sword, foot, and ''vita'', such as changing guard, is a ''tempo'' in the way that all these things are ''tempi''—because they contain different intervals. While the enemy makes one of these motions, he will certainly be wounded because while one moves one cannot wound. It is necessary to learn this in order to be able to wound and parry. I will be demonstrating more clearly how one must do so in my figures.</p>
 
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| [[File:Giganti 01.png|400x400px|center|Figure 1]]
 
| [[File:Giganti 01.png|400x400px|center|Figure 1]]
| <p>[9] '''The method of throwing the stoccata'''</p>
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| <p>[9] ''The method of throwing the ''stoccata</p>
  
<p>Now that we have discussed the guards, counterguards, measures, and tempi, it is a necessary thing to demonstrate and give knowledge of how to hold the vita in order to throw a stoccata and escape since wanting to learn this art it is first necessary to understand how to carry the vita and throw stoccate that are long, as seen in this figure, and all is in throwing brief, strong, and immediate stoccate, withdrawing backward outside of measure. To throw the long stoccata, one must place themselves in a just and strong pace, short rather than long in order to be able to extend, and in throwing the stoccata stretch the sword arm, bending the knee as much as possible. The proper method of throwing the stoccata is after placing oneself in guard, it is necessary to throw the arm first, then extend forward with the vita in one tempo so that the stoccata arrives and the enemy does not perceive it. If the vita were brought forward first the enemy could notice it and, availing himself of the tempo, parry and wound in one tempo.</p>
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<p>Now that we have discussed guards, counterguards, measures, and ''tempi'', it is necessary to demonstrate and make understood how one must carry the ''vita'' in order to throw a ''stoccata'' and escape, since, wishing to learn this art, it is first necessary to know how to carry the ''vita'' and throw long ''stoccate'', as seen in this figure. All lies in throwing long, brief, strong, and immediate ''stoccate'', withdrawing backward outside of measure. To throw the long ''stoccata'', one must position oneself in a just and strong pace, short rather than long in order to be able to extend and, in throwing the ''stoccata'', stretch the sword arm, bending the knee as much as possible. The proper method of throwing the ''stoccata'' is, after being positioned in guard, it is necessary to throw the arm first, then extend forward with the ''vita'' in one ''tempo'' so that the ''stoccata'' arrives and the enemy does not perceive it. If the ''vita'' were brought forward first, the enemy could notice it and, availing himself of the ''tempo'', be able to parry and wound in one ''tempo''.</p>
 
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| <p>[10] In withdrawing backward one must first carry back the head because behind the head will follow the vita, and afterwards the foot. Carrying the foot back first and leaving the head and vita forward keeps them in great danger.</p>
+
| <p>[10] In withdrawing backward, one must first bring back the head, since behind the head will follow the ''vita'', and afterwards the foot. Bringing the foot back first and leaving the head and ''vita'' forward keeps them in great danger.</p>
 
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| <p>[11] Therefore, to learn this art well one must first practise throwing this stoccata. Knowing it one will learn the rest easily, and not knowing it the contrary. Be advised, Lord Readers, that I will place this method of throwing the stoccata many times in my lessons at appropriate times. This I know makes the lessons better understood. It is not said of me that I say one thing many times.</p>
+
| <p>[11] Therefore, to learn this art well, one must first practise throwing this ''stoccata''. Knowing this, the rest will be learned easily, and not knowing it, the contrary. Be advised, Lord Readers, that in my lessons I will place this method of throwing the ''stoccata'' many times where appropriate. This I know makes the lessons better understood. It is not said of me that I say one thing many times.</p>
 
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| <p>[12] '''Why begin with the single sword'''</p>
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| <p>[12] ''Why begin with the single sword''</p>
  
<p>In my first book of arms I proposed to discuss only two kinds of weapons, that is, the single sword and sword and dagger, setting aside discussion of certain others. If it pleases my Lord, I will illuminate all sorts of weapons as soon as possible. Because the sword is the most common and most used weapon of all I wanted to begin with it, since one who understands playing with the sword well will also understand the handling of almost every other kind of weapon. Since it is not usual in every part of the world to carry the dagger, targa, or rotella, and as fighting with single sword occurs many times, I urge everyone to first learn to play with the single sword, despite everything one might have in frays, such as the dagger, the targa, or the rotella, since occurring as it many times does that the dagger, targa, or rotella falls from his hand, a man would have to defend himself and wound the enemy with the single sword, and because one who practises playing with the single sword will understand just as well how to parry and wound as one who has sword and dagger.</p>
+
<p>In this, my first book of arms, I intended to discuss only two kinds of weapons—that is, the single sword and the sword and dagger— setting aside discussion of some others. If it pleases the Lord, I will publish on all sorts of weapons as soon as possible. Because the sword is the most common and frequently used weapon of all, I wanted to begin with it, since one who understands playing with the sword well will also know a little of how to handle every other kind of weapon. Since it is not customary in every part of the world to carry the dagger, targa, or rotella, and as fighting with the single sword often occurs, I urge everyone to learn to play with the single sword first, in spite of everything that one might have in frays, such as the dagger, targa, or rotella, since occurring, as it many times does, that the dagger, targa, or rotella falls from his hand, it would be possible for a man to defend himself and wound the enemy with the single sword, and because one who is practised in playing with the single sword will know how to parry and wound just as well as if he had sword and dagger.</p>
 
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| [[File:Giganti 02.png|400x400px|center|Figure 2]]
 
| [[File:Giganti 02.png|400x400px|center|Figure 2]]
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[[File:Giganti 03.png|400x400px|center|Figure 3]]
 
[[File:Giganti 03.png|400x400px|center|Figure 3]]
 
| <p>[13] '''Guards, or Postures'''</p>
 
| <p>[13] '''Guards, or Postures'''</p>
  
<p>Many are the guards of the single sword, and many still the counterguards. In my first book I will not teach any other than two sorts of guards and counterguards, of which you will be able to avail yourself for all lessons of the figures of this book. Therefore, before coming to do what you desire, you must go to bind the enemy outside of measure, securing yourself from his sword by placing your sword over his in a way that he cannot wound you if not with two tempi: one will be the disengage of the sword, and the other the wounding of you. In this way you will accommodate yourself against all the guards, either high or low, according to how you see your enemy accommodated, always taking care to not give opportunity and occasion to the enemy to be able to wound you in a single tempo. You will do this if you take care that the point of his sword is not toward the middle of your vita, so that pushing his sword forward quickly and strongly it will not be possible for him to wound you. Therefore, cover the enemy’s sword with yours as you see in this figure, so that the enemy’s sword is outside of your vita and he cannot wound you if he does not disengage his sword. You will settle yourself with your feet strong, stable with your vita, with your sword arm extended and strong in order to parry and wound, as the figure shows you. If you were to see the enemy in a high or low guard and did not place yourself in a counterguard and secure yourself from his sword you would be in danger even if your enemy had lesser science and lacked practice compared to you, since you could produce an incontro and both wound each other, or he could place you on the defensive, or rather, in obedience, with feints or disengages of the sword or other things that are possible. If you secure yourself from the enemy’s sword as I have said above he will not be able to move nor do any action that you will not see and have opportunity to parry.</p>
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<p>Many are the guards of the single sword, and many still the counterguards. In my first book I will teach no more than two sorts of guards and counterguards, which you will be able to avail yourself of for all lessons of the figures of this book. Therefore, before coming to do what you desire, you must go to bind the enemy outside of measure, securing yourself from his sword by placing your sword over his in a way that he cannot wound you if not with two ''tempi'': One will be the disengage of the sword, the other wounding you. You will arrange yourself in this way against all the guards, either high or low, according to how you see your enemy arranged, always taking care not to give him ease and opportunity to wound you in a single ''tempo''. You will do this if you take care that the point of his sword is not toward the middle of your ''vita'' so that, pushing his sword forward quickly and strongly, he cannot wound you. Therefore, cover the enemy’s sword with yours as you see in this figure so that the enemy’s sword is outside of your ''vita'' and he cannot wound you if he does not disengage his sword. Arrange yourself with your feet strong, stable with your ''vita'', with your sword arm extended and strong in order to parry and wound, as the figure shows you. If you were to see the enemy in a high or low guard and did not position yourself in a counterguard and secure yourself from his sword, you would be in danger even if your enemy had lesser science and lacked practice compared to you, since you could produce an ''incontro'' and both wound each other, or he could put you on the defensive, or rather, in obedience, with feints or disengages of the sword or other things that are possible. If you secure yourself from the enemy’s sword as I said above, he will not be able to move or perform any action that you will not perceive and be able to defend from with ease.</p>
 
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| <p>[14] These figures here are two guards with the swords forward, and two counterguards covering the sword. One is made going to bind the enemy on the inside and the other going outside, as these figures show you, and as I will go about showing you in the subsequent lessons.</p>
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| <p>[14] These figures here are two guards with the swords forward and two counterguards covering the sword. One is made going to bind the enemy on the inside and the other going outside, as these figures show you and as I will go about showing you in the subsequent lessons.</p>
 
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| rowspan="2" | [[File:Giganti 04.png|400x400px|center|Figure 4]]
 
| rowspan="2" | [[File:Giganti 04.png|400x400px|center|Figure 4]]
| <p>[15] '''Explanation of Wounding in Tempo'''</p>
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| <p>[15] '''Explanation of Wounding in ''Tempo'''''</p>
  
<p>This figure teaches you to wound your enemy in the tempo he disengages his sword. You do this by approaching to bind the enemy outside of measure, placing your sword over his to the inside as the figure of the first guard shows you<ref>Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.</ref> so that he will not be able to wound you if he does not disengage the sword. Then, in the same tempo that he disengages to wound you, push forward your sword, turning your wrist in the same tempo so that you wound him in the face as is seen in the figure. In the case that you were to parry and then wound it would not be successful, since the enemy would have tempo to parry and you would be in danger, but if you enter immediately forward with your sword in the tempo he disengages his, turning your wrist and parrying, the enemy will have difficulty parrying.</p>
+
<p>This figure teaches you how to wound your enemy in the ''tempo'' that he disengages his sword. You will do this by approaching to bind the enemy outside of measure, placing your sword over his to the inside as the figure of the first guard shows you<ref>Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.</ref> so that he will not be able to wound you if he does not disengage the sword. Then, in the same ''tempo'' that he disengages to wound you, push forward your sword, turning your wrist in the same ''tempo'', so that you wound him in the face as seen in the figure. In the case that you were to attempt to parry and then wound, it would not be successful, since the enemy would have time to parry and you would be in danger, but if you enter immediately forward with your sword in the ''tempo'' that he disengages his, turning your wrist and parrying, the enemy will have difficulty defending himself.</p>
 
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| <p>[17] In the case that the enemy does not disengage his sword to wound you, I want you to advance to bind him outside of measure and immediately throw him a thrust where he is uncovered, returning backward outside of measure and resting your sword over his.</p>
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| <p>[17] In the case that the enemy does not disengage his sword in order to wound you, I want you to advance to bind him inside of measure and immediately throw a thrust at him where he is uncovered, returning backward outside of measure and resting your sword over his.</p>
 
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| <p>[18] '''The Proper Method of Going to Bind''' the Enemy and Strike Him while he disengages the sword</p>
 
| <p>[18] '''The Proper Method of Going to Bind''' the Enemy and Strike Him while he disengages the sword</p>
  
<p>From this figure you learn that if your enemy is in a guard with the sword on the left side, high or low, you approach him to bind him outside of his sword outside of measure, with your sword over his so that it barely touches it, with a just and strong pace, with your sword ready to parry and wound, with an alert eye, as you see in the second figure of the guards and counterguards.<ref>Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.</ref> You being accommodated in this way, your enemy will not be able to wound you with a thrust if he does not disengage the sword. While he disengages, turn your wrist and in the same tempo throw a stoccata at him as the fourth figure teaches you. Having thrown this stoccata, immediately in the same tempo return backward outside of measure, resting your sword over his so that if he wants to disengage anew, you will return to throw to him the same stoccata, turning your wrist as above, returning outside of measure. As many times as he disengages, that many times you will use the same method of turning your wrist and throwing the stoccata at him.</p>
+
<p>From this figure you learn that if your enemy is in a guard with the sword on the left side, high or low, you approach him to bind him on the outside of his sword from outside of measure, with your sword over his so that it barely touches it, with a just and strong pace, with your sword ready to parry and wound, and with an alert eye, as you see in the second figure of the guards and counterguards.<ref>Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.</ref> You being arranged in this way, your enemy will not be able to wound you with a thrust if he does not disengage the sword. While he disengages, turn your wrist and in the same ''tempo'' throw a ''stoccata'' at him as the fourth figure teaches you. Having thrown this ''stoccata'', in the same ''tempo'' immediately return backward outside of measure, resting your sword over his so that if he were to attempt to disengage anew, you will throw the same ''stoccata'' at him again, turning your wrist as above and returning outside of measure. As many times as he disengages, that many times you will use the same method of turning your wrist and throwing the ''stoccata'' at him.</p>
 
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| <p>[19] To perform this game well much practice is necessary, since from this one learns to parry and wound with skill and great speed. Take care to always be balanced with your vita and to parry strongly with the forte of your sword because if your enemy throws strongly at you, parrying strongly will make him disconcerted and you will be able to wound him where he is uncovered. This must be the first lesson that one learns with the single sword, since all the others that I have placed in this book arise from it. Knowing how to do this in the tempo teaches you to parry all the cuts and resolute thrusts that can come for the head, which I will teach hand in hand in the subsequent lessons.</p>
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| <p>[19] Much practice is required to perform this play well, since from this one learns to parry and wound with great skill and speed. Take care to always be balanced with your ''vita'' and to parry strongly with the ''forte'' of your sword because, if your enemy throws strongly at you, parrying strongly will make him disconcerted and you will be able to wound him where he is uncovered. This must be the first lesson that one learns with the single sword, since all the others that I have placed in this book arise from it. Knowing how to do this in ''tempo'' teaches you to parry all the cuts and resolute thrusts that can come for the head, which I will teach hand in hand in the subsequent lessons.</p>
 
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| <p>[20] '''The Proper Method of Disengaging the Sword'''</p>
 
| <p>[20] '''The Proper Method of Disengaging the Sword'''</p>
  
<p>The two figures that were placed here above taught to wound the enemy while he disengages his sword. Because I would not leave a thing in my lessons that is not more than clear, I want to show you the method of disengaging the sword. But note that your enemy being settled in whichever sort of guard he wants, you having gone to bind him, throw a stoccata at him where he is uncovered and if he knows as much as you, you will always be with your swords equal. I want you then to disengage the sword under the hilt of that of the enemy, quickly turning your wrist and throwing a thrust in the same tempo where you find him uncovered. This is the proper and safe method to disengage the sword and wound in one tempo. If you were to disengage your sword without turning your wrist you would give a tempo and place to the enemy to wound you, as you will see quite well in exercising and trying it yourself. If the enemy were to parry return to disengage in the aforesaid way, always turning your wrist. As many times as he parries, disengage as many other times in the above way, which is safest, then throw the stoccata at him in the tempo that you disengage. This method of disengaging is no less necessary than what we taught in the explanation of the previous figure of the method of parrying, since this is the main thing that one seeks in knowing how to manage the single sword. Therefore I exhort everyone to practise well in these two things, since being at measure against the enemy, as soon as it is the tempo to disengage the sword one would know how to disengage quickly and well, and as soon as it is the tempo of parrying to understand parrying similarly well.</p>
+
<p>The two figures placed above taught to wound the enemy while he disengages his sword. Because I would not leave a thing in my lessons that is not more than clear, I want to show you the method of disengaging the sword. Note, however, that your enemy being positioned in whichever sort of guard he wants, you having gone to bind him, throw a ''stoccata'' at him where he is uncovered and, if he knows as much as you, your swords will always be equal. I want you then to disengage the sword under the hilt of that of the enemy, quickly turning your wrist and throwing a thrust where you find him uncovered in the same ''tempo''. This is the proper and safe method to disengage the sword and wound in one ''tempo''. If you were to disengage your sword without turning your wrist, you would give the enemy a ''tempo'' and place to wound you, as you will see quite well in practising and trying it yourself. If the enemy were to parry, disengage again in the aforesaid way, always turning your wrist. As many times as he parries, disengage just as many other times in the above way, which is safest, then throw the ''stoccata'' at him in the ''tempo'' that you disengage. This method of disengaging is no less necessary than what was taught in the explanation of the previous figure on the method of parrying, since this is the main thing required in handling the single sword. Therefore, I exhort everyone to practise these two things well since, being at measure against the enemy, as soon as it is the ''tempo'' to disengage the sword, one should know how to disengage quickly and well, and as soon as it is the ''tempo'' of parrying, know how to parry similarly well.</p>
 
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| [[File:Giganti 06.png|400x400px|center|Figure 6]]
 
| [[File:Giganti 06.png|400x400px|center|Figure 6]]
| <p>[21] '''The Inside Counterdisengage of the Sword'''</p>
+
| <p>[21] '''The Counterdisengage Inside of the Sword'''</p>
  
<p>In this figure<ref>Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.</ref> another method of parrying and wounding by way of counterdisengage is represented and shown to you, which is done in this way: having covered the sword of your enemy so that if he wants to wound you he must disengage, while he disengages I want you to also disengage so that your sword returns to its first position, covering that of the enemy. But in the disengaging that you do, availing yourself of the tempo, throw a stoccata at him where he is uncovered, turning your body a little toward the right side and holding your arm stretched forward so that if he comes to wound you he will wound himself of his own accord. Having thrown the stoccata, return backward outside of measure.</p>
+
<p>In this figure,<ref>Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly, the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.</ref> I depict and show you another method of parrying and wounding—by way of counterdisengage. It is done in this way: Having covered your enemy’s sword so that if he wishes to wound you, he must disengage, while he disengages, I want you also to disengage so that your sword returns to its first position, covering that of the enemy. But, in disengaging, availing yourself of the ''tempo'', throw a ''stoccata'' at him where he is uncovered, turning your ''vita'' a little toward the right side and holding your arm stretched forward so that if he comes to wound you, he will wound himself of his own accord. Having thrown the ''stoccata'', return backward outside of measure.</p>
 
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| <p>[22] '''The Counterdisengage of the Sword on the Outside'''</p>
 
| <p>[22] '''The Counterdisengage of the Sword on the Outside'''</p>
  
<p>This method of wounding<ref>This lesson’s text refers to Figure 6.</ref> by way of outside counterdisengage is similar to the inside counterdisengage, only there is a difference: that your enemy being in guard and you coming to bind, being outside of measure you must place yourself against his guard,<ref name="counterguard"/> securing yourself from his sword outside and making the enemy resolve himself to disengage. While he disengages, in the same tempo you will again disengage, turning the point of your sword under his together with your wrist, resting the forte of the edge of your sword and going along the edge of it, holding your arm long and extended, loosening the vita and lengthening the pace, as is seen in the figure, so you come to wound him without him sensing it.</p>
+
<p>This method of wounding<ref>This lesson’s text refers to Figure 6.</ref> by means of an outside counterdisengage is similar to the inside counterdisengage, only there is a difference: Your enemy being in guard and you coming to bind, being outside of measure, you must position yourself in a counterguard, securing yourself from his sword on the outside and making the enemy resolve himself to disengage. While he disengages, you disengage again in the same ''tempo'', turning the point of your sword under his along with your wrist, resting the ''forte'' of the edge of your sword and going along its edge, holding your arm long and extended, loosening the ''vita'' and lengthening the pace, as seen in the figure, so that you come to wound him without him perceiving it.</p>
 
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| <p>[23] But be advised that if the enemy throws the sword strongly and you want to disengage yours so that the enemy does not reach and wound you, you need to hold your vita back in your disengage so that you stay safe. Supposing the enemy had thrown strongly, he would disconcert himself and come to wound himself on your sword. Then you will stay superior to him, being able to wound him where you parry, taking care to always hold your sword outside of your vita so that he cannot wound you.</p>
+
| <p>[23] Be advised, though, that if the enemy throws the sword strongly, wishing to disengage yours so that the enemy does not reach and wound you, you must hold your ''vita'' back in your disengage so that you stay safe. Supposing the enemy had thrown strongly, he would disconcert himself and come to be wounded on your sword and you will stay superior to him, being able to wound him where you see fit, taking care to always hold your sword outside of your ''vita'' so that he cannot wound you.</p>
 
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| <p>[24] '''Explanation of the Feint,''' ''Making a show of disengaging the sword with your wrist''</p>
 
| <p>[24] '''Explanation of the Feint,''' ''Making a show of disengaging the sword with your wrist''</p>
  
<p>The ways of wounding are various and consequently my lessons are also various. But do not expect at all that I will tell all the things that are possible to do in this profession because, those being infinite, my work would be too long and would bring tedium to the Readers. However, I will untangle those things that to me appear most beautiful, most artificial, and most useful, from which arise many others easier and less artificial. </p>
+
<p>The ways of wounding are various and, consequently, my lessons are also various. Do not at all expect me to recount all things that are possible in this profession, however. Those being infinite, my work would be too long and bring tedium to its Readers. However, I will untangle those things that to me appear most beautiful, artificial, and useful, from which arise many others easier and less artificial.</p>
 
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| <p>[25] Therefore, among all the methods of wounding artificially the feint, in my opinion, exceeds all others. This is nothing more than hinting at doing one thing and doing another. It is done in different ways, and they are these: I want you to place yourself on your feet, on the right side with the sword forward, with the right arm extended in order to give your enemy occasion to come to bind you. As he comes to measure with you, watch if he wants to wound you from fixed feet or instead with a pass. You will know at the disengage you make with the sword. Disengage the sword with your wrist and feint a thrust at his face, but throw wide of the enemy’s sword so that it does not find yours. If the enemy does not parry throw it resolutely so that you wound him. If he parries, in his parrying redisengage the sword and wound as you see in this figure, where the enemy carelessly wounds himself. Take care that in redisengaging you do not let the sword be found because then your plan could be in vain, and in disengaging bring the head and vita back a little in order to see what the enemy does, because if he were to throw and you had not withdrawn backward, he could produce an incontro and you would wound each other. Moreover, you are advised to run with the right edge of your sword along the edge of the enemy’s sword, turning the inside of your wrist upwards in wounding with your sword over the debole of that of the enemy. As soon as the stoccata is given, either resolute or feinted, return backward outside of measure, securing yourself as shown to you above.</p>
+
| <p>[25] Therefore, among all the methods of wounding with artifice, in my opinion the feint exceeds all others. This is nothing more than hinting at doing one thing and doing another. It is done in different ways, and they are these: I want you to position yourself standing on the right side, with the sword forward and your right arm extended in order to give your enemy occasion to come bind you. As he comes to measure with you, observe whether he wants to wound you from a firm foot or instead with a pass. You will recognize this at the disengage you perform with the sword. Disengage the sword with your wrist and feign throwing a thrust at his face but throw wide of the enemy’s sword so that it does not find yours. If the enemy does not parry, throw it resolutely so that you wound him. If he parries, in his parrying redisengage the sword and wound as you see in this figure, where the enemy carelessly wounds himself. In redisengaging, take care that you do not let the sword be found because then your plan would fail, and, in disengaging, bring the head and ''vita'' back a little in order to see what the enemy does because if he were to throw and you had not pulled back, he could produce an ''incontro'' and you would wound each other. Moreover, you must be advised to run with the right edge of your sword along the edge of the enemy’s sword, turning the inside of your wrist upwards in wounding with your sword over the ''debole'' of that of the enemy. As soon as the ''stoccata'' is given, either resolute or feinted, return backward outside of measure, securing yourself as I showed you above.</p>
 
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| <p>[26] The feint is therefore performed in this way: first one displays the sword to either the face or chest of the enemy, and then one lengthens the arm without stepping. If the enemy parries, disengage the sword in the same tempo, accompanying it forward with the step so that you wound him unawares.</p>
+
| <p>[26] The feint is therefore performed in this way: First the sword is presented to either the face or chest of the enemy, then the arm is extended without stepping. Whence, if the enemy attempts to parry, you disengage the sword in the same ''tempo'', accompanying it forward with the step so that you wound him unawares.</p>
 
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| <p>[27] If he does not parry, increase the step and strike him. This is the method of wounding by feint.</p>
+
| <p>[27] If he does not attempt to parry, extend the pace and strike him. This is the method of wounding by feint.</p>
 
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| <p>[28] Although they appear similar, the following two figures are nevertheless different from each other since they contain different methods of feinting. Although they contain almost the same goal of wounding, and although it would have sufficed to give you a single figure to discuss and teach different methods of feinting in order to wound, to show clearly the different ways of feinting I wanted to put two of them here that differ widely from one other, which is shown to you in their explanations.</p>
+
| <p>[28] Even though they appear similar, the following two figures are nevertheless different from each other because they contain different methods of feinting. Although they contain almost the same end to their wounding, and it would have sufficed to place a single figure with which to discuss and teach different methods of feinting in order to wound, in order to show clearly the different ways of feinting I wanted to put two of them here that differ widely from each other, which I show you in their explanations.</p>
 
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| [[File:Giganti 09.png|400x400px|center|Figure 9]]
 
| [[File:Giganti 09.png|400x400px|center|Figure 9]]
| <p>[29] '''Method of Wounding in the Chest with the Single Sword When They<ref>The two fencers.</ref> Are At''' measure with the swords equal</p>
+
| <p>[29] '''Method of Wounding the Chest with the Single Sword When They<ref>The two fencers.</ref> Are At''' measure with the swords equal</p>
  
<p>The present figure is an artificial way of wounding the enemy in the chest and securing oneself from his sword so that he cannot offend while you pass to wound him. It is done in this way: one needs to place themselves in guard with the sword forward on the left side and if the enemy comes to bind you and cover your sword with his let him come until he finds himself at measure with you. When he is at measure with you disengage, putting your sword inside of his, straightening the point against the enemy’s face. If he does not go to parry, wound him resolutely, going as I have said above with the right edge of yours on the edge of his, turning your wrist and carrying the body across a bit. But if the enemy comes to parry and wound you while you disengage do not throw the thrust but hold it a little outside, and in the same tempo that he wants to parry and wound, redisengage your sword under the hilt of his, done aiming at the chest of the enemy so that you strike him in the chest safely, increasing a little with the sword, as you see in the present figure,</p>
+
<p>The present figure is an artificial way of wounding the enemy in the chest and securing oneself from his sword so that he cannot offend while you pass to wound him. It is done in this way: It is necessary to place oneself in guard with the sword forward on the left side and, if the enemy comes to bind you and cover your sword with his, let him come until he is at measure with you. Disengage when he is at measure with you, putting your sword inside of his and directing the point toward the enemy’s face. If he does not attempt to parry, wound him resolutely, running with the right edge of your sword on the edge of his as I said above, turning your wrist and bringing your body across somewhat. If the enemy comes to parry and wound you while you disengage, however, do not throw the thrust but hold it a little outside, and in the same ''tempo'' that he wants to parry and wound, redisengage your sword under the hilt of his, aiming at the enemy’s chest so that you strike him there safely, extending a little with the sword as you see in the present figure,</p>
 
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| <p>[30] taking care to disengage and redisengage it in the same tempo, never holding it still so that the enemy does not find it. In the movement he makes to parry, pass to him with your vita on the outside, taking care to place your hand on the hilt of the sword. This pass makes this effect: he takes the chance to wound you and you can wound him how and where you like and please.</p>
+
| <p>[30] taking care to disengage and redisengage it in the same ''tempo'', never holding it still so that the enemy does not find it. In the movement he makes in order to parry, pass to him with your ''vita'' on the outside, taking care to place your hand on the hilt of his sword. This pass produces this effect: It removes his ability to wound you and you can wound him how and where you wish and please.</p>
 
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| [[File:Giganti 10.png|400x400px|center|Figure 10]]
 
| [[File:Giganti 10.png|400x400px|center|Figure 10]]
| <p>[31] '''The Pass With Feint at a Distance'''</p>
+
| <p>[31] '''''The Pass by Means of Feint at a Distance'''''</p>
  
<p>This is an artificial way of passing at the enemy so that he does not perceive it, and it is of great consideration for the effect it shows, as is seen in the present figure, where one passes with a feint and wounds the enemy. It is done in this way: you need to see in what guard your enemy places himself and how he is accommodated. Go to bind him in guard, directing the point of your sword at his face, and when you find yourself almost at measure, if you see that he stays waiting and doesn’t move, throw a thrust at his face strongly as figure number [7].<ref>The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.</ref> shows and if he does not parry strongly you make the effect of figure number [8].<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.</ref> not having to make other feints, but if he parries you will both be with the swords equal. Immediately return backward outside of measure and put yourself in the same first guard, and when you are almost at measure feint throwing the same thrust at his face. While he goes to parry it, disengage the point of your sword underneath the hilt of the enemy’s sword with your wrist, making sure you keep the enemy sword outside your vita. Then in the same tempo pass, going with your sword over the furnishings of his, accompanying it with the left hand, and immediately put it<ref>Your hand.</ref> over the hilt of the enemy sword so that he cannot give you a riverso in the face, so that without doubt you wound him if he does not see your goal. This done, leap outside of measure and replace the sword within that of the enemy, securing yourself in the above way, and beating his sword, return to wound him with two or three resolute and irreparable thrusts.</p>
+
<p>This is a way of passing at the enemy with artifice so that he does not perceive it, and it is highly regarded for the effect it illustrates, as seen in the present figure where one passes with a feint and proceeds to wound the enemy. It is done in this way: It is necessary to see in which guard your enemy positions himself and how he is arranged and go to bind him in guard, directing the point of your sword at his face. If you see that he stays waiting and doesn’t move when you find yourself almost at measure, strongly throw a thrust at his face as figure number [7]<ref>The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7. </ref> shows. If he does not parry strongly, you produce the effect of figure number [8]</ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 8.</ref> and have no need to perform other feints, but if he parries, you will both be with your swords equal. Immediately return backward outside of measure and put yourself in the same guard as at first and, when you are almost at measure, feign throwing the same thrust at his face. While he attempts to parry it, disengage the point of your sword under the hilt of the enemy’s with your wrist, being sure to keep the enemy’s sword outside of your ''vita''. Then, in the same ''tempo'', pass, running with your sword over the hilt of his, accompanying it with the left hand and immediately putting it over the hilt of the enemy sword so that he cannot give you a riverso in the face, so that without doubt you will wound him, since he does not see your goal. This done, leap out of measure and replace the sword within that of the enemy, securing yourself in the above way and, beating his sword, you will wound him again with two or three resolute and irreparable thrusts.</p>
 
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| <p>[32] '''The pass with feint over the point of the sword'''</p>
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| <p>[32] ''The pass by means of feint over the point of the sword''</p>
  
<p>This is another kind of disengage and feint not commonly used, which produces the effect of the previous two figures. It is done so: one must put oneself in guard with the sword to the left side, with the arm extended and long. Letting the enemy come to bind you in the described way, when he is at measure disengage your sword over the point of his and if you see that he does not parry throw at him strongly and resolutely, as I have said to you, so that you will not make other feints. But if he parries, do not stop with the sword but avoid the guard of the enemy sword and pass in the above way and wound him in the chest, withdrawing yourself then as was said.</p>
+
<p>This is another, not commonly used, kind of disengage and feint which produces the effect of the previous two figures. It is done so: One must put oneself in guard with the sword to the left side, with the arm extended and long. Letting the enemy come to bind you in the described way, disengage your sword over the point of his when he is at measure. If you see that he does not parry, throw at him strongly and resolutely, as I have said to you, which will not require other feints. If he parries, though, do not stop the sword but avoid the guard of his sword, pass in the above way, and wound him in the chest, withdrawing afterwards as said.</p>
 
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| <p>[33] '''The Feint to the Face at a Distance'''</p>
 
| <p>[33] '''The Feint to the Face at a Distance'''</p>
  
<p>This feint is no different from the other except that the first has its disengage under the hilt of the sword and this has it over in order to throw at the enemy’s face. This stoccata becomes a feint if he parries and is resolute if he does not parry. In the rest then, the same guards, distances, and measures are observed, and one carries the vita equally, as is seen in the figure, and immediately returns outside of measure as soon as the thrust is thrown. The most important thing is knowing how to make the feint natural so that it cannot be distinguished from the resolute, which is done in this way. One presents the point (for example) over the outside at his face, and in going with point underneath the hilt of the enemy sword in order to wound him inside, it must be done so that the thrust wounds his face or chest with the disengage. This is what is meant by “natural feint”. But be advised that you never perform a feint if the enemy does not parry resolutely, because you would be in danger of wounding each other and you would end up in danger.</p>
+
<p>This feint is different only in that the previous feint completes its disengage under the hilt of the sword and this does so over it in order to throw at the enemy’s face. This ''stoccata'' becomes a feint if he parries and is resolute if he does not. Then the same guards, distances, and measures are observed in the rest. One likewise carries the ''vita'' and sword as seen in the figure and immediately returns outside of measure as soon as the thrust is thrown. The most important thing is knowing how to make the feint natural so that it cannot be distinguished from resolute, which is done in this way: The point is turned (for example) upward on the outside at his face and, in advancing with the point underneath the hilt of the enemy sword to wound him inside, it is necessary that the thrust wounds his face or chest with the disengage. This is what is meant by “natural feint”. However, you are advised never to perform a feint if the enemy does not parry resolutely, because you would be in danger of both wounding each other and end up in danger.</p>
 
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| <p>[34] '''The Proper Method to Give a Thrust with the Single Sword while the Enemy Throws''' a cut</p>
 
| <p>[34] '''The Proper Method to Give a Thrust with the Single Sword while the Enemy Throws''' a cut</p>
  
<p>This figure teaches you to avail yourself of the tempo in order to give your enemy a stoccata to the face while he raises the sword, if he can be given a stoccata while his sword is in the air, and before he reaches you. Note how this is done. After having placed yourself in whichever guard you like, go to bind your enemy and when you are at measure if the enemy throws a cut toward your head, in the raising of the sword you make use of the tempo, enter forward, and throw the sword at his face so that without doubt you wound him while the enemy sword is in the air, as you see in the figure. But, in throwing turn the inside of your wrist and the right edge of the sword upwards, holding your arm long and high, and make the guard of your sword cover your head so that if the enemy disengages his sword he would find you covered and it will not be possible to offend you.</p>
+
<p>This figure teaches you to avail yourself of the ''tempo'' in order to give your enemy a ''stoccata'' to the face while he throws a cut at your head—when he raises his sword, he can be given a ''stoccata'' while it is in the air and before it reaches you. Note how this is done. After having positioned yourself in whichever guard you like, go to bind your enemy. When you are at measure, if the enemy throws a cut toward your head, make use of the ''tempo'' in the raising of his sword, enter forward, and push the sword at his face so that you will without doubt wound him while his sword is in the air, as you see in the figure. But, in throwing, turn your wrist and the right edge of the sword upwards, holding your arm long and high, and make the guard of your sword cover your head so that if the enemy drops his sword, you are covered and he cannot offend you.</p>
 
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| <p>[35] It is necessary, however, to throw this thrust quickly. When it is not made quickly the enemy could parry it and wound you. After you have thrown, quickly withdraw yourself backward outside of measure, securing yourself with your sword against that of the enemy.</p>
+
| <p>[35] It is necessary, however, to throw this thrust quickly. If it were not performed quickly, the enemy would parry it and wound you. After you have thrown, quickly withdraw backward outside of measure, securing yourself with your sword against that of the enemy.</p>
 
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| <p>[36] I did not want to put all the ways of parrying the cuts, which are many, in my first book, but I have placed this alone for you, this appearing to me most useful and commodious for understanding the tempo and making use of it, which is necessary to understand in every occasion.</p>
+
| <p>[36] I did not want to put all the methods of parrying cuts, which are many, in my first book. Rather, I have placed this alone for you, it appearing to me most useful and commodious for learning how to recognize the ''tempo'' and make use of it—something necessary to understand at all times.</p>
 
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| [[File:Giganti 13.png|400x400px|center|Figure 13]]
 
| [[File:Giganti 13.png|400x400px|center|Figure 13]]
| <p>[37] '''The Proper Way to Safely Wound''' with the single sword using both hands</p>
+
| <p>[37] '''''The Proper Way to Safely Wound''' with the single sword using both hands''</p>
  
<p>This figure shows you a method of safely wounding the enemy which is impossible to parry. It is done in two manners. First one needs to find the occasion to have your sword equal with the enemy’s, having yours outside, then affront your sword toward the enemy’s face which, if not parried strongly, strikes him in the face as is seen in the fourth figure. If he parries well and strongly, increase with your left foot, putting your left hand over your sword, driving strongly with both hands, straightening the point against the enemy’s chest and lowering the hilt of your sword as is seen in the present figure, taking care to do all these things in one tempo.</p>
+
<p>This figure shows you a method of safely wounding the enemy which is impossible to parry. It is done in two ways: First, it is necessary to find occasion to have your sword equal with the enemy’s, yours on the outside. You then shove your sword at the enemy’s face which, if not parried strongly, strikes him in the face as seen in the fourth figure. If he parries well and strongly, extend with your left foot, putting your left hand over your sword, pressing strongly with both hands, directing the point toward the enemy’s chest and lowering the hilt of your sword as seen in the present figure, taking care to do all these things in one ''tempo''.</p>
 
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| <p>[38] Next,<ref>This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.</ref> accommodated in guard in the aforesaid way but with your sword inside, I want you to disengage the sword in place to wound outside, and in the same tempo that you disengage the sword, place your left hand over your sword and with the strength of both hands beat the enemy sword with yours. That beaten away, immediately pass with your left foot forward as seen in the figure. So that this succeeds well, it is necessary to take care to do all these things in one tempo. That is, disengaging the sword, placing your hand over and beating the enemy sword with yours, and passing forward with the left foot. Not doing these things in one tempo you would not succeed and be in danger, as you would be with some valiant men that know how to disengage the sword quickly and well. Therefore, so that you succeed at this you must do it quickly and suddenly.</p>
+
| <p>[38] Next,<ref>This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.</ref> arranged in guard in the aforesaid way but with your sword on the inside, I want you to disengage the sword as if to wound on the outside and, in the same ''tempo'' that you disengage the sword, place your left hand over your sword and beat the enemy sword with yours using the strength of both hands. That beaten away, immediately pass forward with your left foot as seen in the figure. For this to turn out well for you, be aware that it is necessary to do all these things in one ''tempo''—that is, disengaging the sword, placing your hand on it, beating the enemy’s sword with yours, and passing forward with the left foot. Not doing these things in one ''tempo'', you could fail and be in danger, as you would be with certain valiant men who know how to disengage the sword quickly and well. Therefore, to succeed at this, you must do it quickly and suddenly.</p>
 
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| [[File:Giganti 14.png|400x400px|center|Figure 14]]
 
| [[File:Giganti 14.png|400x400px|center|Figure 14]]
| <p>[39] '''The Proper Way to Parry the Cut''' or Riverso, that Comes at the Leg</p>
+
| <p>[39] '''The Proper Method to Defend Against the Cut''' or ''Riverso'' that Comes at the Leg</p>
  
<p>In this lesson, in which we reflect on the mandritto or riverso cut to the leg, I cannot say anything further on parrying and wounding the enemy in one same tempo. Rather, I will say why the enemy ends up offending himself on the point of your sword, except to say that the enemy dropping a dritto or riverso to your leg, it is necessary that he lengthen his step, and his vita, and carry his face forward. While the enemy drops to wound you, you then carry the front leg, lifting it backward, and in the same tempo throw a thrust at his face that is impossible to parry. He wounds himself, neither can you then be wounded. You then (as I have said other times) return backward outside of measure.</p>
+
<p>In this lesson, wherein we will discuss the ''mandritto'' or riverso cut to the leg, it is not possible for me to say anything further to teach parrying and wounding the enemy in the same ''tempo''. Rather, I will say why the enemy ends up offending himself on the point of your sword. The enemy dropping a ''dritto'' or riverso at your leg, though, it is necessary that he lengthen his step and ''vita'' and bring his face forward. While the enemy drops to wound you, you then move your front leg, lifting it backward, and in the same ''tempo'' throw a thrust at his face so that he wounds himself of his own accord without the ability to parry, nor can he then wound you. Then (as I have said other times) return backward outside of measure.</p>
 
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| <p>[40] And since the present lesson is very artificial it is necessary to learn it in order to be able to make use of it in such occasions as the figure clearly demonstrates to you.</p>
+
| <p>[40] And, since the present lesson is very artificial, it is necessary to learn it in order to be able to make use of it in such an occasion as the figure clearly shows you.</p>
 
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| rowspan="2" | [[File:Giganti 15.png|400x400px|center|Figure 15]]
 
| rowspan="2" | [[File:Giganti 15.png|400x400px|center|Figure 15]]
| <p>[41] '''The Inquartata''' or Slip of the Vita</p>
+
| <p>[41] '''The ''Inquartata''''' or Slip of the Vita</p>
  
<p>Knowing the inquartata, or slip, is necessary in order to master the body. But this not ordinarily used in the schools, except by the French in order to exercise the body. In truth many are these slips, or inquartate, but I judged in my first book to show only three of them, in my judgement the safest and most beautiful, as appears in the present figure. </p>
+
<p>Knowing the ''inquartata'', or slip, is necessary for mastering the body. However, this is not ordinarily used in schools, except by the French in order to exercise the ''vita''. Truthfully, many are these slips, or ''inquartate'', but I decided to show only three of them in this, my first book—in my view the safest and most beautiful, as revealed in the present figure.</p>
 
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| <p>[42] The first of these is done putting yourself in guard outside of measure with the right foot forward, with the sword long and the arm extended, standing strongly on the right side, holding the point of the sword at the face of the enemy. Let the enemy come to bind you, and when he is almost at measure disengage the sword in a feint a little wide, and in the tempo the enemy parries, redisengage it, returning it to its first position, running along the edge of his sword with the disengage in a way that as soon as you have disengaged you have wounded the enemy, because if you were to disengage the sword and then wound you would be in danger, since there would be two tempi. Carry the left leg and equally the left shoulder across, turning, and make the effect, giving him (as is seen in the figure) a thrust either in the face or chest without him perceiving the aim, holding the arm stiff, and with the hilt of your sword covering you, far from the sword of the enemy. Keep your eye on his face, taking care not to turn your face with the vita as some do,<ref>[[Camillo Agrippa]] (1553), for example, recommends turning the face away.</ref> because you would find yourself in danger and not see your action. After this immediately return back out of measure with your sword over his, securing yourself as above.</p>
+
| <p>[42] The first of these is performed by positioning yourself in guard outside of measure with the right foot forward, with the sword long and the arm extended, standing strongly on the right side, holding the point of the sword toward the enemy’s face. Let the enemy come to bind you and when he is almost at measure, disengage the sword a little wide as a feint. In the ''tempo'' the enemy attempts to parry, redisengage the sword, returning it to its first position, running along the edge of his sword with the disengage in a way that no sooner have you have disengaged than you have wounded the enemy, because if you attempt to disengage the sword and then wound, you would be in danger, since there would be two ''tempi''. Bring both the left leg and shoulder crosswise and, turning, produce the effect, giving him (as seen in the figure) a thrust in either the face or chest without him perceiving your goal, holding your arm stiff, with the hilt of your sword covering you, far from the sword of the enemy. Keep your eyes on his face, taking care not to turn your face with your ''vita'', as some do, <ref>[[Camillo Agrippa]] (1553), for example, recommends turning the face away.</ref> because you would find yourself in danger and not see your action. After this, immediately return backward out of measure with your sword over his, securing yourself as above.</p>
 
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| <p>[43] '''The inquartata, or slip of the vita'''</p>
+
| <p>[43] ''The ''inquartata'', or slip of the vita''</p>
  
<p>This is no different from the other inquartata from before, except in the way in which it wounds. That is, having regard in going to the edge of the enemy sword, approaching to wound him under the pommel of his sword, lifting the arm with the wrist, as seen in the figure, and after having turned your person, stopping yourself and not passing upon the enemy in order to not come to grips, because you would go into danger, compared to returning outside of measure and securing yourself from that. This inquartata is very difficult to parry, in fact I will say impossible, when it is done judiciously.</p>
+
<p>This ''inquartata'' is no different from the first except in the way in which it wounds—that is, taking care in running along the edge of the enemy’s sword to go to wound him under the pommel of his sword, lifting the arm with the wrist, as seen in the figure, and after having turned your person, to stop yourself and not pass onto the enemy in order not to come to grips, because you would be in danger of being unable to return outside of measure and secure yourself from him. This ''inquartata'' is very difficult to parry. In fact, I will say it is impossible when it is done judiciously.</p>
 
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| <p>[44] '''The Third Inquartata,''' or slip of the vita</p>
+
| <p>[44] '''''The Third ''Inquartata'',''' or slip of the vita''</p>
  
<p>This third inquartata is the most beautiful and safest of all, which is done in this way. Placing yourself in guard, as in the other two, holding the sword to the right side with the arm extended and firm, as the enemy comes to bind you with his sword over yours and you are at measure, disengage the sword with the turn of your wrist. If he does not parry, strike him in the face and make the effect of the figure, nor should you do more. But if he parries, you find yourself with the swords equal. Affront his sword strongly with yours so that he affronts, and as he affronts disengage, going with the disengage under the hilt of his sword, turning your body as above, wound him in the chest, which he will not perceive, and do the effect of the present figure. Then return outside of measure, securing yourself as in the other lessons.</p>
+
<p>This third ''inquartata'' is the most beautiful and safe of all. It is done in this way: Place yourself in guard as in the other two, holding the sword along the right side with your arm extended and firm. While the enemy comes to bind you with his sword over yours, disengage the sword with a turn of your wrist when you are at measure. If he does not parry, strike him in the face and produce the effect of the figure without needing to do more. If he parries, though, you find yourself with your swords equal. Strongly affront your sword onto his so that he also affronts and, disengaging as he does, run under the hilt of his sword with the disengage, turning your body as above, and wound him in the chest, which he will not perceive. The effect of the present figure produced, you will return outside of measure, securing yourself as in the other lessons.</p>
 
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| <p>[45] '''An artificial way to strike in the chest, affronting the swords'''</p>
+
| <p>[45] ''An artificial method to strike the chest, affronting the swords''</p>
  
<p>In the previous lessons I demonstrated the method of the inquartate, that is, how one would affront the swords outside in order to come to wound the enemy inside. Now I will briefly say how one would carry the swords inside and wound outside. As you meet with the enemy, affront strongly with the edge of your sword, holding the point at his face, with the forte over the enemy sword. If he is weaker than you, give him a stoccata, either in the face or chest that he cannot parry. If he is stronger than you, feeling how much your sword is affronted disengage the sword under the hilt of his so that his falls downward, and he equally takes a thrust from which there is no defense. In the same tempo pass without any danger and put your left hand on his hilt, wounding him with three or four thrusts that cannot be avoided. Then return outside of measure, securing yourself as above.</p>
+
<p>In the previous lessons I showed the method of the ''inquartate''—that is, how the swords are affronted on the outside in order to come to wound the enemy on the inside. Now I will briefly say how the swords are carried on the inside and wound on the outside. As you meet with the enemy, affront strongly with the edge of your sword, holding the point toward his face with your ''forte'' over the enemy’s sword. If he is weaker than you, give him a ''stoccata'' in either the face or chest that he cannot parry. If he is stronger than you, feeling how much your sword is affronted, disengage your sword under his hilt so that his falls downward and he similarly takes a thrust from which he cannot defend himself. In the same ''tempo'', pass without any danger and, placing your left hand on his hilt, wound him with three or four thrusts that cannot be avoided. Then, return outside of measure, securing yourself as above.</p>
 
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| <p>[46] '''The way of playing single sword against single sword with resolute thrusts'''</p>
+
| <p>[46] ''The method of playing single sword against single sword with resolute thrusts''</p>
  
<p>Many are those in the schools that when they assail the enemy come resolutely throwing thrusts, imbroccate, and cuts, nor do they give any tempo, throwing always with fury and very great impetus. These things ordinarily mess up and disorder every beautiful player and fencer. Accordingly, in such occasions it is necessary to know how to defend oneself.</p>
+
<p>In schools, there are many who resolutely come throwing thrusts, ''imbroccate'', and cuts when they assail the enemy, giving no ''tempo'' and always throwing with fury and very great impetus. These things ordinarily confound and disorder every beautiful player and fencer, for which reason it is necessary to know how to defend oneself in such an occasion.</p>
 
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| <p>[47] It is necessary that you place yourself to the guard of the enemy sword with yours ready to defend, outside the measure, in a pace that is restrained rather than long, and in the tempo that he throws a thrust, imbroccata, stoccata, or other similar blow, beat the enemy sword with the forte of yours and immediately lengthen your pace, and throwing him a thrust wound him in the chest or face and quickly return backward with the lead foot to where you were before, resting your sword on his in order to secure yourself from it, in a way that he cannot wound if he does not disengage. Turning your wrist inside, return to beat the enemy sword with the forte of yours, lengthening your pace throw him a thrust and wound him and quickly return backward with the foot as above, likewise securing yourself from his sword with yours. If he returns anew to redisengage, always return and do the same.</p>
+
| <p>[47] It is necessary that you place yourself in guard against the enemy sword with yours ready to defend, outside of measure, in a pace that is restrained rather than long. In the ''tempo'' that he throws a thrust, ''imbroccata'', ''stoccata'', or other similar blow at you, beat his sword with the ''forte'' of yours and, immediately lengthening your step, throw him a thrust and wound him in the chest or face and quickly return backward with the lead foot to where you were before, resting your sword on his in order to secure yourself from it, in a way that he cannot wound if he does not disengage. If the enemy disengages, turning your wrist to the outside, beat his sword again with the ''forte'' of yours and, lengthening your pace, throw him a thrust and wound him, then quickly return backward with the foot as above, likewise securing yourself from his sword with yours. If he redisengages again, always repeat doing the same.</p>
 
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| <p>[48] This lesson is more useful than beautiful and contains two tempi which you can make before the enemy has time to make one of them. The first of which is the parry, the other is the wound. Which, as has been observed, you have understood.</p>
+
| <p>[48] This lesson is more useful than beautiful and contains two ''tempi'' which you can make before the enemy has time to make one of them: the first is the parry, the other the wound. Since they have been examined, you have understood.</p>
 
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| [[File:Giganti 16.png|400x400px|center|Figure 16]]
 
| [[File:Giganti 16.png|400x400px|center|Figure 16]]
| <p>[49] '''Parrying Stoccate''' that Come at the Chest with the Single Sword</p>
+
| <p>[49] '''Parrying ''Stoccate''''' that Come at the Chest with the Single Sword</p>
  
<p>Seen in this figure is the safe method of parrying thrusts that come at your chest, wounding the chest. It is done in different ways because some may pass at a distance, others stay at measure, and others inside the measure, but one who has understanding of tempo and knows how to parry well as my figure demonstrates will parry all the methods. From which you note that, being with your enemy with the swords equal and he passes in order to wound you in the chest, by necessity in that same tempo follow his sword with yours, lowering, however, the point of yours and raising your wrist, parrying with the same and passing with your left foot toward his right side, taking yourself away from his sword wound him in the chest, holding your left hand over the hilt of his sword. Then, the stoccata given, disengage the sword in the way described above, returning backward outside of measure.</p>
+
<p>Seen in this figure is the safe method of parrying thrusts that come at your chest and then wounding the chest. It is done in different ways because some pass at a distance, others stand at measure, and others inside the measure, but someone who understands ''tempo'' and knows how to parry well, as my figure shows you, will defend against all these methods. Therefore, note that being with your enemy with your swords equal, if he passes in order to wound you in the chest, it is necessary to follow his sword with yours in the same ''tempo'', lowering, however, the point of yours by raising your wrist, parrying with the same and passing with your left foot toward his right side, taking yourself away from his sword. Wound him in the chest, holding your left hand over the hilt of his sword, and then, the ''stoccata'' given, disengage the sword in the way described above, returning backward outside of measure.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|63|lbl=43}}
 
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| [[File:Giganti 17.png|400x400px|center|Figure 17]]
 
| [[File:Giganti 17.png|400x400px|center|Figure 17]]
| <p>[50] '''The Thrust in the Face''' Turning Your Wrist<br/><br/></p>
+
| <p>[50] '''The Thrust to the Face''' Turning Your Wrist<br/><br/></p>
  
<p>With this figure you are taught a very beautiful method of wounding your enemy’s face, and it consists entirely of seizing the occasion of being with the swords equal, causing your enemy to be in the motion of parrying by giving him suspicion that you want to disengage the sword. In the same tempo, turn your wrist, put your left hand on the guard of his sword, and increase with the foot in one tempo so that you strike him in the face, as you see. Doing it properly it cannot be parried. Having given that, increase with your left hand over the hilt of the enemy sword and redisengaging the sword you can give him two or three stoccate where you like. Then return backward outside of measure, always holding your sword over theirs, as above.</p>
+
<p>With this figure you are taught a very beautiful method of wounding your enemy’s face. It consists entirely in seizing the occasion of being with the swords equal and causing your enemy to be in the motion of parrying by giving him the suspicion that you want to disengage the sword. In the same ''tempo'', turning your wrist, put your left hand on the guard of his sword and extend with the foot in one ''tempo'' so that you strike him in the face, as you see. Performing it properly, it cannot be parried. Having struck, extend with your left hand over the hilt of the enemy’s sword and, redisengaging the sword, you can give him two or three ''stoccate'' wherever you wish. Then, return backward outside of measure, always holding your sword over theirs, as above.</p>
 
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| [[File:Giganti 18.png|400x400px|center|Figure 18]]
 
| [[File:Giganti 18.png|400x400px|center|Figure 18]]
----
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[[File:Giganti 19.png|400x400px|center|Figure 19]]
 
[[File:Giganti 19.png|400x400px|center|Figure 19]]
 
| <p>[51] '''The Counterdisengage at a Distance'''</p>
 
| <p>[51] '''The Counterdisengage at a Distance'''</p>
  
<p>This<ref>The two preceding figures.</ref> is one and the same counterdisengage at a distance against one who has their left foot forward and wants to pass by inquartata. I wanted to demonstrate to you with this figure the postures and wound so that it is possible to comprehend it well for the sake of necessity (when one is coming to bind you with their left foot forward). Stand in guard as you see in this figure, giving occasion to your enemy to throw at your chest. If he is a valiant man he will pass with his foot quickly and strongly turn his wrist in the manner of the inquartata in order to defend himself from your sword. In the same tempo that he passes, redisengage the sword under the hilt, lowering your vita as you see in the present figure so that you wound him in the face before he wounds you. In fact, while he carries his foot forward in order to pass it is not possible to parry. At times it is necessary to make the effect of this figure. Exercise well these two figures placed before.</p>
+
<p>These<ref>The two preceding figures.</ref> are one and the same counterdisengage at a distance against someone who has their left foot forward and wishes to pass with an ''inquartata''. With these figures I wanted to show you the postures and the wound so that it can be thoroughly understood. It is necessary (when someone is coming to bind you with their left foot forward) that you stand in guard as you see in this figure, giving your enemy a chance to throw at your chest. If he is a valiant man, he will quickly pass with his foot and strongly turn his wrist in the manner of the ''inquartata'' in order to defend himself from your sword. In the same ''tempo'' that he passes, redisengage the sword under the hilt, lowering your ''vita'' as you see in the present figure so that you wound him in the face before he wounds you. In fact, he is unable to parry while he carries his foot forward to pass. In order to produce the effect of this figure on occasion, it is necessary to practise well the two figures placed above.</p>
 
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{{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|68|lbl=48|p=1}} {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|69|lbl=49|p=1}}
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| [[File:Giganti 20.png|400x400px|center|Figure 20]]
 
| [[File:Giganti 20.png|400x400px|center|Figure 20]]
| <p>[52] '''Method of Playing with the Single Sword,''' while the enemy has sword and dagger</p>
+
| <p>[52] '''''The Method of Playing with the Single Sword,''' while the enemy has sword and dagger''</p>
  
<p>With this figure I will demonstrate parrying and wounding to you, you with the single sword against an enemy who has sword and dagger. You will stand with your right foot forward with a just pace, with your vita back, holding the sword forward ready to parry and wound when there is a tempo. It is necessary you not be first to throw because you will be in danger, since in throwing your enemy could parry your stoccata with the dagger and if he were a valiant man you would not be able to parry his. If you stay in guard as I have said above, ready to parry, showing fear of him so that he throws disconcerted. While he throws parry strongly with the forte of your sword and throw the stoccata at his face, because he will throw at you strongly and long and while throwing his dagger will remove itself so you can strike him safely. That given, immediately return backward outside of measure, holding your sword in his in the way described above. As many times as he throws, you will wound the same, taking care however not to throw at his chest, which would not be safe, since the one that has sword and dagger will be much bolder than one who finds themselves with the single sword, and thus thinking to give you as many stoccate as he likes, he will come to be disconcerted at throwing forward at you, not thinking of anything else. If you stand in guard judiciously you can parry safely and strongly and wound your enemy, always in the face, returning safely outside of measure with your sword over his. If your enemy were to disengage the sword to the inside, turn your wrist and parry and throw strongly as I have said.</p>
+
<p>With this figure, I will show you parrying and wounding with the single sword against an enemy who has sword and dagger. Stand with your right foot forward in a just pace, with your ''vita'' back, holding the sword forward, ready to parry and wound when there is a ''tempo''. It is necessary that you are not first to throw because you would be in danger, since, in throwing, your enemy could parry your ''stoccata'' with his dagger and, if he were a valiant man, you would not be able to parry his. If you stand in guard as I said above, however, ready to parry, showing fear of him so that he throws in disarray, when he throws you will parry strongly with the ''forte'' of your sword and throw the ''stoccata'' at his face because he will throw at you strongly and long and, while throwing, his dagger will remove itself so that you can strike him safely. Having struck, immediately return backward outside of measure, holding your sword in his in the way described above. Do the same as many times as he throws, taking care, however, not to throw at his chest, which would not be safe because someone who has sword and dagger will be much bolder than someone who has the single sword, and thus, thinking to give you as many ''stoccate'' as he likes, he will disconcert himself in order to throw at you first, not thinking of anything else. If you stand in guard judiciously, though, you can parry safely and strongly and always wound your enemy in the face, then safely return outside of measure with your sword over his. If your enemy were to disengage the sword to the inside, turn your wrist and parry and throw strongly, as I said.</p>
 
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| <p>[53] If you see that he wants to fly upon you, pull yourself backward and throw at him in the tempo that he moves to come forward. If you were to find yourself in guard with your sword in his and he would like<ref>The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text</ref> to first parry with the dagger and then wound, in the tempo you see that he lowers the dagger in order to parry, immediately disengage the sword above the dagger in the way described in figure number [21].<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.</ref> Immediately after return outside of measure with your sword over his.</p>
+
| <p>[53] If you see that he wants to fly upon you, pull yourself backward and throw at him in the ''tempo'' that he moves to come forward. If you were to find yourself in guard with your sword in his and he would like<ref>The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text.</ref> to first parry with the dagger and then wound, in the ''tempo'' that you see him lower the dagger in order to parry, immediately disengage the sword above the dagger in the way described in figure number <ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.</ref> Immediately afterward, return outside of measure with your sword over his.</p>
 
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| class="noline" | <p>[54] Take care, however, not to throw if he stays in guard if by chance you do not see some tempo that when you throw he cannot wound you, as described above when tempo and measure were discussed. If he stands in guard waiting, either out of fear, or rather with art in order to deceive you, stay outside of measure with your sword over his and seek to parry and wound safely according to the occasion.</p>
+
| class="noline" | <p>[54] Take care, however, not to throw if he stays in guard and you do not by chance see some ''tempo'' which allows you to do so without him wounding you, as described above when ''tempo'' and measure were discussed. If he stands in guard waiting, either out of fear or, instead, with art in order to deceive you, stay outside of measure with your sword over his and seek to parry and wound safely according to the occasion.</p>
 
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{{master begin
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{{master subsection begin
 
  | title = Rapier and Dagger
 
  | title = Rapier and Dagger
 
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{| class="master"
 
{| class="master"
 
|-  
 
|-  
! <p>Images<br/>from the 1606</p>
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! <p>Illustrations<br/>from the 1606</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
! <p>Italian (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>by [[Jeff Vansteenkiste]]</p>
+
! <p>[[Scola, overo teatro (Nicoletto Giganti)|First Edition]] (1606){{edit index|Scola, overo teatro (Nicoletto Giganti) 1606.pdf}}<br/>Transcribed by [[Jeff Vansteenkiste]]</p>
! <p>German (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Jan Schäfer]]</p>
+
! <p>German Translation (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>Transcribed by [[Jan Schäfer]]</p>
! <p>French (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>by [[Olivier Delannoy]]</p>
+
! <p>French Translation (1619){{edit index|Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf}}<br/>Transcribed by [[Olivier Delannoy]]</p>
  
 
|-  
 
|-  
 
| [[File:Giganti 21.png|400x400px|center|Figure 21]]
 
| [[File:Giganti 21.png|400x400px|center|Figure 21]]
| <p>[55] '''Method of Parrying the Stoccata that Comes''' at the face from the right side with sword and dagger</p>
+
| <p>[55] '''The Method of Parrying the ''Stoccata'' that Comes''' at your face from the right side with sword and dagger</p>
  
<p>To achieve the effect of the present figure, it is necessary to stand in guard as you will learn. I say it is necessary to stand in a just pace, strong, holding the weapons ready to parry and wound, with the dagger toward the guard of the enemy sword and your sword ready to wound where it is most convenient. If you see that your enemy wants to wound you with a thrust to your face, parry with the edge of the dagger and wound the enemy in the right shoulder in the same tempo, so that doing it in one tempo it will be difficult to parry. To make the effect so that he cannot parry, it is not enough to only understand these things, but also necessary to know how to put them into effect. That is, in the same tempo to stand strongly in guard, with the right foot forward, with the left foot strong on the ground supporting all the body, holding the right foot back as in various other lessons in order to increase quickly forward and back according to the occasion, always holding the point of your sword at the face or chest of the enemy, the dagger high in proportion to the enemy sword, inclining the vita back rather than forward, standing with an alert and vigilant eye, with a bold heart, and without one bit of fear of the enemy. If (while you stand in this guard) your enemy comes to throw a thrust or imbroccata at your face, then parrying with the edge of the dagger throw him a stoccata in the same tempo so that you make the effect of the figure. Take heed that you parry strongly and safely, turn your head and vita a little, and while he throws at you, parrying strongly, throw your stoccata in the same tempo. If you were to parry first then throw it would not be possible, since your enemy could withdraw his arm and body and would be in tempo to parry, and your life would be in danger. But if you parry and wound in the same tempo, give him the stoccata under the flank of the sword while he comes forward so you do it justly and in tempo and it is difficult for him to parry. Taking heed that when you have thrown the stoccata you hold your left foot on the ground firmly and strongly and as soon as you have thrown carry your vita backward, returning outside of measure.</p>
+
<p>To achieve the effect of the present figure, it is necessary to stand in guard as you will learn. I say it is necessary to stand in a just and strong pace, holding the weapons ready to parry and wound, with the dagger guarding against the enemy sword and your sword ready to wound where it is most convenient. If you see that your enemy wishes to wound you with a thrust to your face, parry with the edge of the dagger and wound the enemy in the right shoulder in the same ''tempo''. Doing so in one ''tempo'', it will be difficult for him to parry. In order to produce the effect that he cannot parry, it is not enough to simply understand these things, but it is also necessary to know how to put them into effect—that is, in the same ''tempo'' to stand strongly in guard with the right foot forward, the left foot strong on the ground supporting all the body, as always holding the right foot back in order to quickly extend forward and backward according to the occasion, always holding the point of your sword toward the face or chest of the enemy, the dagger’s height in proportion to the enemy sword, inclining the ''vita'' back rather than forward, standing with an alert and vigilant eye, a bold heart, and without one bit of fear of the enemy. If (while you stand in this guard) your enemy comes to throw a thrust or ''imbroccata'' at your face, throw a ''stoccata'' at his face, parrying with the dagger in the same ''tempo'' so that you produce the effect of the figure. Be sure that you parry strongly and safely, turn your head and ''vita'' a little, and while he throws at you, parrying strongly, throw your ''stoccata'' in the same ''tempo''. If you were to parry first, then throw, it would not be possible because your enemy could withdraw his arm and body and be in ''tempo'' to parry, and your life would be in danger, but if you parry and wound in the same ''tempo'', you give him the ''stoccata'' under the flank of the sword while he comes forward. It is difficult for him to parry when you do it justly and in ''tempo'', taking care that when you throw the ''stoccata'' you keep your left foot firmly and strongly on the ground, and that you bring your ''vita'' backward as soon as you have thrown, returning outside of measure.</p>
 
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| <p>[56] Having thrown, to return backward safely it is necessary to first bring the head, then the vita backward, then the leg will come by itself. If you were to pull your leg first your head would go forward, your life would be in danger, and you would not be able to return outside of measure. Throwing a long and strong stoccata without knowing how to return backward with the vita is worthless.</p>
+
| <p>[56] Having thrown, to return backward safely it is first necessary to bring the head, then the ''vita'' backward, then the leg will come of its own accord. If you were to pull your leg first, your head would go forward, your life would be in danger, and you would not be able to return outside of measure. Throwing a long and strong ''stoccata'' without knowing how to return backward with your life is worthless.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/73|2|lbl=-}}
 
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| <p>[57] In order to make the effect of the figure it is necessary to practise, so that when you see that your enemy wants to throw, you throw in that tempo so that your stoccata will arrive before his, although he is first to throw.</p>
+
| <p>[57] In order to produce the effect of the figure, it is necessary to practise so that when you see that your enemy wishes to throw, you throw in that ''tempo'' so that your ''stoccata'' arrives before his, even if he is first to throw.</p>
 
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| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/73|3|lbl=-}}
 
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| [[File:Giganti 22.png|400x400px|center|Figure 22]]
 
| [[File:Giganti 22.png|400x400px|center|Figure 22]]
| <p>[58] '''The Proper Method of Parrying the Stoccata''' That Comes Toward Your Left Flank</p>
+
| <p>[58] '''The Proper Method of Parrying the ''Stoccata''''' That Comes Toward Your Left Flank</p>
  
<p>In the present figure it is necessary to place yourself like in that above. If your enemy intends to throw at your left flank, stand with your dagger toward the guard of his sword and in the tempo that he throws parry with the edge of the dagger and wound the enemy in the sword shoulder in the same tempo. Nay, throw yours sooner than he throws his stoccata, staying alert with your eye and mind, collected in the vita, and in the tempo you see he wants to throw his throw yours at his shoulder and parry his in that tempo, so that he cannot parry yours because you wound in that tempo he comes forward, as is seen in the figure. The stoccata thrown, return backward outside of measure in the same way as the first figure of sword and dagger.<ref name="f21">Figure 21.</ref></p>
+
<p>In the present figure, it is necessary to place yourself like in that above should your enemy intend to throw at your left flank. Stand with your dagger guarding against his sword and, in the ''tempo'' that he throws, parry with the edge of the dagger and wound him in the sword shoulder in the same ''tempo''. In fact, throw your ''stoccata'' quicker than he throws his so that, keeping your eye and mind alert and your ''vita'' withdrawn, in the ''tempo'' you see that he wants to throw his, you throw your own at his shoulder and parry his in that ''tempo''. He will not be able to parry yours because you wound in the ''tempo'' that he comes forward, as seen in the figure. The ''stoccata'' thrown, return backward outside of measure in the same way as in the first figure of sword and dagger.<ref name="f21">Figure 21.</ref></p>
 
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|-  
 
| [[File:Giganti 23.png|400x400px|center|Figure 23]]
 
| [[File:Giganti 23.png|400x400px|center|Figure 23]]
| <p>[59] '''Method of Parrying a Thrust that Comes''' at Your Right Flank with Sword and Dagger</p>
+
| <p>[59] '''The Method of Parrying a Thrust that Comes''' at Your Right Flank with Sword and Dagger</p>
  
<p>As you see in this figure, if you are in this same guard described above and your enemy were to come to bind with the sword low in order to wound you in the right flank it would be necessary for you to raise your sword arm and stand in third guard<ref>The guard Giganti refers to here is unclear.</ref> for an imbroccata with the point of your sword toward his face or chest, with the dagger a little low and the arm to the guard of the enemy sword. As the enemy throws the thrust at your flank, parry and throw an imbroccata at the enemy sword shoulder in the same tempo so that you see the effect of the figure. In fact, it would be better when you see your enemy wants to throw the thrust to throw yours forward so that you will more easily wound him. The stoccata or imbroccata given, immediately return backward outside of measure.</p>
+
<p>As you see in this figure, if you are in the same guard described above and your enemy comes to bind you with the sword low in order to wound you in the right flank, it is necessary that you raise your sword arm and stand in third guard<ref>The guard Giganti refers to here is unclear.</ref> for an ''imbroccata'' with the point of your sword toward his face or chest, with the dagger a little low and the arm extended to guard against the enemy sword. As the enemy throws the thrust at your flank, parry and throw an ''imbroccata'' at his sword shoulder in the same ''tempo'' so that you see the effect of the figure. Actually, when you see you see that your enemy intends to throw the thrust, it would be better to throw yours earlier so that you wound him more easily. The ''stoccata'', or rather, ''imbroccata'', given, immediately return backward outside of measure.</p>
 
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| <p>[60] These are the four kinds of wounding and parrying stoccata and imbroccata, and they proceed in the same way, that is, parrying and wounding in the same tempo and in carrying the feet always taking care as you throw the stoccata to increase a little with your right foot, keeping the left foot strongly on the ground. Be advised that keeping the left foot on the ground will appear difficult to you at first, but with practice you will succeed easily.</p>
+
| <p>[60] These are the four kinds of wounding and parrying with the ''stoccata'' and ''imbroccata'', and they proceed in the same way—that is, parrying and wounding in the same ''tempo'', in carrying the feet always taking care to extend a little with the right foot as you throw the ''stoccata'' and to keep the left strong on the ground. Be advised that keeping the left foot on the ground will seem difficult to you at first, but with practice you will easily succeed.</p>
 
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| [[File:Giganti 24.png|400x400px|center|Figure 24]]
 
| [[File:Giganti 24.png|400x400px|center|Figure 24]]
| <p>[61] '''Method of Parrying the Thrust of Sword''' and Dagger at Your Face</p>
+
| <p>[61] '''The Method of Parrying the Thrust of Sword''' and Dagger at Your Face</p>
  
<p>In order to put into effect that which is shown to you by this figure it is necessary that you stand in the same guard, and seeing the enemy coming to throw a stoccata at your face, parrying with the edge of the dagger, to push forward the stoccata at his flank in one tempo so that you make this effect. Be advised, however, when you see the enemy’s thrust at your face, to hold the dagger a little wide from it, giving him occasion to throw at you, and when he throws at you parry with the dagger and turn your head a little in order to pull it away from his sword. In the tempo you parry, wound him with a thrust in the flank that is uncovered and closest to wound. As soon as you have wounded, return backward in the described way.</p>
+
<p>In order to put into effect everything that is shown to you by this figure, it is necessary that you stand in the same guard and, seeing the enemy coming to throw a ''stoccata'' at your face, parrying with the edge of your dagger, to push the ''stoccata'' at his flank earlier, in one ''tempo'', so that you produce this effect. Take care, however, when you see the point of your enemy’s sword toward your face, to hold the dagger a little wide from it, giving him occasion to throw at you, and to parry with the dagger and turn your head a little in order to pull it away from his sword when he throws. In the ''tempo'' that you parry, wound him with a thrust in the flank that is uncovered and closest to wound. As soon as you have wounded, return backward in the described way.</p>
 
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| [[File:Giganti 25.png|400x400px|center|Figure 25]]
 
| [[File:Giganti 25.png|400x400px|center|Figure 25]]
| <p>[62] '''Method of Parrying the Cut''' on the Head with Sword and Dagger</p>
+
| <p>[62] '''The Method of Parrying the Cut''' on the Head with Sword and Dagger</p>
  
<p>As you see, one learns from this figure to parry the cuts with the dagger that come at the top of your head. It is necessary to place oneself in the guard of the first lesson,<ref>First lesson of sword and dagger – Figure 21.</ref> and if your enemy comes throwing you a cut on the head meet it with your dagger edge, in that same tempo throwing the thrust to the enemy’s face and increasing forward a little with your right foot. Do these three things together so that you see the effect of the figure. For a great cut that comes it would be better to kill it so that it does not have half the strength. While your enemy lifts the sword to throw the cut, throw your stoccata at his face so that he will need to withdraw his head a little backward. He will clamp his eyes and you will take the strength of the cut. To make this effect, it is necessary to be bold, to not be afraid of the sword or of the enemy, to understand parrying with the dagger well, and to understand how to throw a straight and long stoccata well. Watch that you do not parry the cut with the flat of the dagger, as a strong cut would cast the dagger from your hand and wound you on the head. If you parry with the edge holding the arm extended there will be no danger. Having thrown the thrust return backward outside of measure, as above.</p>
+
<p>As you see, from this figure one learns to parry cuts that come at the top of the head with the dagger. It is necessary to position oneself in the guard of the first lesson<ref name="f21"/> and, if your enemy comes throwing a cut upon your head, to meet it with your dagger edge and in the same ''tempo'' throw a thrust at the enemy’s face, extending forward a little with your right foot. Do these three things together so that you see the effect of the figure. For a great cut, it would be better to kill it so that it does not have half the strength. While your enemy lifts the sword to throw the cut, throw your ''stoccata'' at his face so that he must draw his head back a little and clamp his eyes shut, and you will remove the strength of the cut. To produce this effect, it is necessary to be bold and unafraid of the sword or the enemy, to understand parrying with the dagger well, and to understand how to throw a straight and long ''stoccata'' well. Watch that you do not parry the cut with the flat of the dagger, as a strong cut would cast it from your hand and wound you on the head. If you parry with the edge, holding the arm extended, there will be no danger.69 Having thrown the thrust, return backward outside of measure, as above.</p>
 
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| rowspan="2" | [[File:Giganti 26.png|400x400px|center|Figure 26]]
 
| rowspan="2" | [[File:Giganti 26.png|400x400px|center|Figure 26]]
| <p>[63] '''Method of Parrying a Riverso''' with the Dagger</p>
+
| <p>[63] '''The Method of Parrying a ''Riverso''''' with the Dagger</p>
  
<p>As you see, one learns from this figure how to parry a riverso that comes at your face. It is necessary to place oneself in guard of the first lesson<ref name="f21"/> with the dagger high and strong, and when you see the riverso come go to meet it with the edge of the dagger. In the same tempo increase a little with your right foot, throwing the stoccata at his uncovered flank so that you see the effect of the figure.</p>
+
<p>As you see, from this figure one learns how to parry a riverso that comes at the face. It is necessary to place oneself in the guard of the first lesson<ref name="f21"/> with the dagger high and strong. When you see the riverso coming, go to meet it with the edge of the dagger and, in the same ''tempo'', extend a little with the right foot, throwing the ''stoccata'' at his uncovered flank so that you see the effect of the figure.</p>
 
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| <p>[64] Be aware that all six of these figures<ref name="f21-6">Figures 21-26.</ref> are of one manner, but it is necessary to parry and wound in one tempo. If you were to delay an instant from parrying to wounding, you would not create the effect. To create the effect it is necessary to exercise, to practise, and the stoccata given, to immediately return backward outside of measure.</p>
+
| <p>[64] Be aware that all six of these figures<ref name="f21-6">Figures 21–26.</ref> are one and the same method. It is necessary to parry and wound in one ''tempo'', however. If you were to delay an instant from parrying to wounding, you would not produce the effect. In order to produce the effect, it is necessary to drill and practise, and, the ''stoccata'' given, to immediately return backward outside of measure.</p>
 
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| <p>[65] Be advised that these six lessons are the most important and the most beautiful that are found in fencing, but it is necessary to perform them well holding the dagger strongly, and when you see the sword come against you, with the thrust as with the cut, go to meet it with the dagger and in that same tempo throw the stoccata where the enemy is uncovered.</p>
+
| <p>[65] Be advised that these six lessons are the most important and beautiful in fencing, but it is necessary to perform them well, to hold the dagger strongly, and when you see the sword come against you, with the thrust as with the cut, to meet it with the dagger and in the same ''tempo'' throw the ''stoccata'' where the enemy is uncovered.</p>
 
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| <p>[66] '''Thrust Thrown at the Chest with the Sword''' and Dagger<br/><br/></p>
 
| <p>[66] '''Thrust Thrown at the Chest with the Sword''' and Dagger<br/><br/></p>
  
<p>The first quality that one who delights in making a profession of arms must have is the knowledge of how to approach to bind the enemy, give a stoccata to him, and return in guard outside of measure. To do this it is necessary to have understanding of the counterguards and know how to throw the stoccata where you see the enemy is uncovered. If he were a little uncovered in the chest it would be necessary to approach to bind him slowly, with the sword low, holding the point toward the enemy’s chest with the dagger to the guard of his sword, and when you are at measure throw the sword first, then the vita, and after the foot so that you see the effect of this figure. This is because if you throw the sword arm and then the vita you will give him the stoccata in the chest and he will not perceive it. Otherwise, if you were to move the vita first and then throw the stoccata, since he could see it and be able to parry and respond in the same tempo you would then be in danger. Having thrown the stoccata, immediately retreat outside of measure, standing in guard with your weapons ready to parry and wound because the enemy seeing himself wounded will become disconcerted enough to throw either a thrust or cut at you. You will then parry and wound in one tempo as described in the first six figures. <ref name="f21-6"/> The importance of this figure consists (after having thrown) in knowing how to return outside of measure. In order to return safely it is necessary (as has been said above) to carry your head back first so that the vita will come, and the leg, because if you were to pull your leg first you would be in danger either of falling or of your enemy wounding you since your head would go forward. This one of the principal things that you learn.</p>
+
<p>The first quality that someone who delights in the profession of arms must have is the knowledge of how to approach to bind the enemy, give a ''stoccata'' to him, and return to guard outside of measure. To do this, it is necessary to understand the counterguards and to know how to throw the ''stoccata'' where you see your enemy is uncovered. If his chest were slightly uncovered, it would be necessary to approach slowly to bind him, with the sword low, holding the point toward the enemy’s chest, the dagger guarding against his sword. When you are at measure, throw the sword first, then the ''vita'', and after the foot so that you see the effect of this figure. This is because if you throw the sword arm and then the ''vita'' you will give him the ''stoccata'' in the chest and he will not perceive it. Otherwise, if you were to move the ''vita'' first and then throw the ''stoccata'', you would be in danger, since he could see it and be able to parry and respond in the same ''tempo''. Having thrown the ''stoccata'', immediately pull yourself back outside of measure, standing in guard with your weapons ready to parry and wound because the enemy, seeing himself wounded, will disconcertedly throw either a thrust or cut at you. You will then parry and wound in one ''tempo'' as described in the first six figures.<ref name="f21-6"/></p>
 +
 
 +
<p>The importance of this figure consists in (after having thrown) knowing how to return outside of measure. In order to do so safely, it is necessary (as has been said above) to bring your head back first so that the ''vita'' will come, and the leg, because if you were to pull your leg first, you would be in danger of either falling or your enemy wounding you, since your head would go forward. This is one of the principal things that you should learn.</p>
 
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| [[File:Giganti 28.png|400x400px|center|Figure 28]]
 
| [[File:Giganti 28.png|400x400px|center|Figure 28]]
| <p>[67] '''Throwing the Stoccata While the Enemy''' Moves<br/><br/></p>
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| <p>[67] '''Throwing the ''Stoccata'' While the Enemy''' Moves<br/><br/></p>
  
<p>In fencing the principal things are understanding measure and tempo, which we discuss in this figure. When you have the sword in hand so that you go against your enemy, go to bind him with an alert eye, with the weapons ready to parry and wound. In that tempo take heed of whether he wants to be the first to wound or not. If you see that he wants to be first give a tempo to him so that he throws and meanwhile you, going to the parry, throw at him in the same tempo as above. But if you see that he is timid and stays in guard in order to wait approach him little by little to bind on the side where he is uncovered, and when you are at measure, holding the dagger forward to the guard of his sword, first throw the point, then the vita, and after the foot, always holding the dagger forward, so that if the enemy throws in that same tempo you are able to parry so that he does not produce an incontro and strike both of you. Having thrown, return backward outside of measure in the described way. It is necessary when you approach to bind him that he do one of these three things: either he throws, stays firm in order to parry, or he moves himself to one side or another in order to take himself outside. Therefore, it is necessary whether he throws or stays firm when you are at measure that you do it in the way described in the present lesson, but if he were to move himself, either withdrawing himself or here, there, or in whichever way, throw the stoccata at him strongly and quickly while his foot is moving, because while he moves you can wound him there in the tempo that you throw. Then return outside of measure as usual.</p>
+
<p>The principal things in fencing are the recognition of measure and ''tempo'', which we discuss in this figure. As soon you have the sword in hand when you go against your enemy, go to bind him with your eyes alert and the weapons ready to parry and wound. In that ''tempo'', take heed of whether he wishes to be the first to wound or not. If you see that he wants to be firstgive him a ''tempo'' so that he throws and throw at him while parrying in the same ''tempo'', as above. If you see that he fears you and stands in guard in order to wait, however, approach him little by little to bind on the side where he is uncovered and when you are at measure, holding the dagger forward to guard against his sword, first throw the point, then the ''vita'', and after the foot, always holding the dagger forward so that if the enemy were to throw in the same ''tempo'' you are able to parry and he does not produce an ''incontro'', striking you both. Having thrown, return backward outside of measure in the described way. When you approach to bind him, it is necessary that he does one of three things: Either he throws, stands solidly in order to parry, or moves to one side or another in order to take himself outside of measure. If he throws or holds firm when you are at measure, it is therefore necessary to perform it in the way described in the present lesson. If he were to move, though, either withdrawing, or here, or there, or in any way he wishes, throw the ''stoccata'' at him strongly and quickly while his foot is in the air<ref>The original text uses the words “in varia”, or “in varying”. This is likely an error in the text which should read “in aria”, or “in the air”, and has been corrected here.</ref> because while he moves, he cannot wound you in the ''tempo'' that you throw. Then return outside of measure as usual.</p>
 
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| <p>[68] '''Thrust Thrown Over the Dagger'''</p>
 
| <p>[68] '''Thrust Thrown Over the Dagger'''</p>
  
<p>To give a stoccata to someone who holds the dagger low it is necessary (as one sees in this figure) to approach him to bind on the side of the dagger, and when you are at measure first throw the sword, and then the vita, raising your wrist a little so that you make the effect. Then return backward in the way described in Figure ……<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.</ref></p>
+
<p>In order to strike someone who holds the dagger low with a ''stoccata'', it is necessary (as seen in this figure) to approach to bind him on the dagger side, and when you are at measure first throw the sword, then the ''vita'', raising your wrist a little as you see in the figure in order to produce the effect. Then, return backward in the way described in Figure [21]<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.</ref></p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/89|1|lbl=69}}
 
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| <p>[69] It is very difficult to defend oneself from one who is practised at first throwing the sword, then the vita, and after this quickly returning backward in the way described in lesson [27],<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.</ref> who understands approaching to bind with tempo, and when he is at measure throwing where the enemy is uncovered, since it is necessary that he<ref name="the enemy"/> is uncovered somewhere, as the sword and dagger cannot cover everything and where he is uncovered it is necessary to approach him to bind in the described way.</p>
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| <p>[69] It is very difficult to defend against someone who is practised at first throwing the sword, then the ''vita'', afterwards quickly returning backward in the way described in lesson [27],<ref>The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.</ref> who knows how to approach to bind with ''tempo'', throwing where the enemy is uncovered when at measure. This is because he is necessarily uncovered somewhere, as the sword and dagger cannot cover everything, and it is necessary to approach to bind him in the described way where he is uncovered.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/89|2|lbl=-}}
 
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| <p>[70] </p>
 
| <p>[70] </p>
  
<p>Many are the guards that can be made, because every method of holding the sword is a guard, as has been said, and all the guards are good to one who understands tempo and measure. In war one who knows how to make guards with artifice will always deceive the enemy.</p>
+
<p>Many are the guards that can be made, because every method of holding the sword is a guard, as has been said, and all the guards are good to someone who recognizes ''tempo'' and measure. In battle, someone who knows how to make guards with artifice will always deceive the enemy.</p>
 
| <p><br/></p>
 
| <p><br/></p>
  
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| <p>[71] '''Artificial Guard Uncovering''' the Left Side</p>
 
| <p>[71] '''Artificial Guard Uncovering''' the Left Side</p>
  
<p>The artificial guards are infinite, but I will only place three of them in my first book, which for those who understand will be a light and road to making as many guards as they wish.</p>
+
<p>The artificial guards are infinite, but I will only place three of them in this, my first book, so that it will be a light and path for the learned to make as many guards as they wish.</p>
 
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| <p>[72] The proper and first method of standing in artificial guard is this: uncovering a part of the body while the other parts are completely covered, so that the enemy cannot wound you if not in one part alone, as you see in this figure where all of the left shoulder is uncovered. This is done so the enemy will intend to wound you in the uncovered part, and when he sets out to wound he will be in danger, since as he aims to throw at you either with a thrust or cut you can parry and wound him in the same tempo, increasing with the foot so that it accompanies the sword while you parry. As soon as the stoccata is thrown return outside of measure as above.</p>
+
| <p>[72] The proper and first method of standing in guard with artifice is this: Uncovering one part of the body while the others are completely covered so that the enemy can only wound you in one part alone, as you see in this figure where the entire left shoulder is uncovered. This is done so that the enemy will attempt to wound you in the uncovered part, and when he sets out to do so he will be in danger, since when he attempts to throw either a thrust or cut you can parry and wound him in the same ''tempo'', extending with the foot so that it accompanies the sword while you parry. As soon as the ''stoccata'' is thrown, return outside of measure as above.</p>
 
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| <p>[73] These artificial guards are for studious men that understand tempo and measure and have practised well, because many things can be done in these guards. Most of all in this first one can approach to bind the enemy, and when you are at measure, that same enemy waiting, it is possible to wound him in the part that is uncovered. If he throws you are able to do many things, such as parry and wound in one tempo, parry and make a feint, a pass, or all that you know how to do in other guards in which you are practised. If your enemy standing in guard throws disconcerted you parry and wound in one tempo, or rather, disconcerted, and return immediately backward out of measure. This guard deceives many of those that know and do not know playing at weapons. Seeing you uncovered, he will throw at that uncovered part, and you easily parrying and wounding in the way described above in the first lessons of sword and dagger will strike him safely and easily.</p>
+
| <p>[73] These artificial guards are for experienced and studious men who understand ''tempo'' and measure, because many things can be done in these guards. In this first especially, it is possible to approach to bind the enemy and, when at measure, that same enemy waiting, wound him where he is uncovered. If he throws, you can do many things, such as parry and wound in one ''tempo'', parry and perform a feint, a pass, or anything that you know how to do in other guards and with which you are practised. If your enemy, standing in guard, were to throw disconcertedly, parry and wound in one ''tempo'', or instead discordantly, and return immediately backward out of measure. This guard deceives many of those that know and do not know playing at arms because, seeing you uncovered, he will throw at that uncovered part and you, easily parrying and wounding in the way described above in the first lessons of sword and dagger, will strike him safely and easily.</p>
 
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| <p>[74] '''Artificial Guard Uncovering the Right Side'''</p>
 
| <p>[74] '''Artificial Guard Uncovering the Right Side'''</p>
  
<p>This is another artificial guard, as you see, that uncovers all the right side, and the rest of the vita is completely covered so that the enemy cannot wound if not in your uncovered right shoulder. However, you can parry with the sword or dagger as you like and wound with a firm foot or else pass with your foot, as is convenient.</p>
+
<p>This is another artificial guard which, as you see, is completely uncovered on the right side. The rest of the ''vita'' is entirely covered so that the enemy cannot wound anywhere but your uncovered right shoulder. However, you can parry with the sword or dagger as you wish and wound with a firm foot, or instead pass with your foot, as is convenient.</p>
 
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| <p>[75] In this guard you can do many feints. These guards are good with those desirous to wound, who do not have patience to wait to throw with tempo and measure, and who as they see the enemy uncovered come toward him without considering that which he could still do, often finding themselves in danger. They are still good with those that know much, since you see your own work better. Making a feint at you, you will be able to parry it better than standing in a narrow guard, and the resolute thrusts are parried more easily still by carrying the vita back, and parrying, turning the body, according to how quick and long the thrusts will be.</p>
+
| <p>[75] In this guard you can perform many feints. These guards are good with those desirous to wound, who do not have the patience to wait to throw with ''tempo'' and measure, and who, when they see the enemy uncovered, come upon him without considering what he is yet able to do, often finding themselves in danger. They are also good with those who know much, since you see your actions better. This is because, him performing a feint at you, you will be able to parry it better than standing in a narrow guard, and the resolute thrusts are defended against even more easily by bringing the ''vita'' back or parrying, turning the ''vita'', according to how quick and long the thrusts are.</p>
 
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| <p>[76] '''Artificial Guard Uncovering the Chest'''</p>
 
| <p>[76] '''Artificial Guard Uncovering the Chest'''</p>
  
<p>In this other guard, where the chest is uncovered, it is<ref>The chest is uncovered.</ref> because your enemy cannot wound you either on the side of the sword or on that of the dagger, because coming in order to wound you he will throw at your rib cage, that being the only thing uncovered. While he throws, parry and wound in the same tempo, either in the right shoulder or the face, these being closest to you. You can also perform feints in this guard, pass with your foot, and all that you have learned in the other guards. It is also good with the choleric, who throw resolutely and do not perform feints. With those that have tempo and measure and know well how to throw a resolute thrust and a feint it is not to be used. Instead, bind with the weapons and seek to cover the enemy sword with yours outside of measure where you can parry and wound safely according to the occasion.</p>
+
<p>The chest is uncovered in this other guard so that your enemy cannot wound you on either the side of the sword or that of the dagger, because coming to wound you he will throw at your ribcage, that being the only thing uncovered. While he throws, parry and wound in the same ''tempo'', either in the right shoulder or the face, these being closest to you. In this guard you can also perform feints, pass with your foot, or anything that you have learned in other guards. It is also good with the choleric, who throw resolutely and do not perform feints. It is not to be used with those who have ''tempo'' and measure and know well how to throw a resolute thrust and a feint. Instead, bind with the weapons and seek to cover the enemy’s sword with yours outside of measure, where you can safely parry and wound according to the occasion.</p>
 
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| rowspan="2" | [[File:Giganti 33.png|400x400px|center|Figure 33]]
 
| rowspan="2" | [[File:Giganti 33.png|400x400px|center|Figure 33]]
| <p>[77] '''Feint with Sword and Dagger''' in Order to Wound Over the Dagger</p>
+
| <p>[77] '''The Feint with Sword and Dagger''' in Order to Wound Over the Dagger</p>
  
<p>Just as the understanding of tempo and measure are the principal foundation of fencing, so the disengage and feint are the ornament of it. The disengage consists entirely in the wrist. The feint is showing the doing of one thing and not doing it. It is not possible to do the feint without the disengage.</p>
+
<p>Just as the understanding of ''tempo'' and measure is the principal foundation of fencing, so the disengage and feint are its ornament. The disengage consists entirely in the wrist. The feint is showing the doing of one thing and not doing it. It is not possible to perform the feint without the disengage.</p>
 
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| <p>[79] I cannot discuss the feint without including the disengage. The feint is a deadly deception, almost irreparable to persons of valour and professors of this science, and hardly to those without understanding. This is done in this way. At times in order to give a stoccata over the dagger in the chest or face of the enemy it is necessary to do it like so: bind him with the sword low under the dagger, holding your dagger to the guard of his sword. When you find yourself at measure, throw a resolute stoccata and then return backward, and if you run at him nothing else will happen, but if he parries, return to bind and when you are at measure, throw the thrust without extending your step, standing with the vita firm underneath the dagger. And while the enemy goes to parry it, in his lowering of the dagger raise the point of the sword with a turn of your hand then, extending your step and vita, wound him either in the chest or face, which he will certainly not perceive, as you see in the figure. To have the effect it needs to be done with great speed so that he will not know if it is resolute or a feint. Be advised that in approaching with the point of the sword over the enemy’s dagger you must proceed with the disengage so that it has disengaged and wounded in the same tempo. Then return outside of measure, as above, securing yourself from the enemy’s sword.</p>
+
| <p>[79] I cannot discuss the feint without including the disengage. The feint is a deadly deception, almost unstoppable to persons of valour and experts of this science, dropping the “almost” with those of no understanding. It is performed in this way: At times, in order to strike with a ''stoccata'' over the dagger in the chest or face of the enemy, it is necessary to bind him with the sword low under the dagger, keeping your dagger guarding against his sword, and when you are at measure, throw a resolute ''stoccata'' and then return backward. Nothing more is required if you rush at him, but if he parries, bind him again and when you are at measure throw the thrust without extending your step, staying with the ''vita'' firm underneath the dagger. While the enemy moves to parry it, in his lowering of the dagger raise the point of your sword with a turn of your wrist and then, extending your step and ''vita'', wound him in the chest or face, which he will certainly not perceive, as you see in the figure. To have the effect it needs to be done with great speed so that he will not know if it is resolute or feigned. Be advised that in going with the point of the sword above the enemy’s dagger you must advance with the disengage so that you have disengaged and wounded in the same ''tempo''. Then, return outside of measure, as above, securing yourself from the enemy’s sword.</p>
 
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| [[File:Giganti 34.png|400x400px|center|Figure 34]]
 
| [[File:Giganti 34.png|400x400px|center|Figure 34]]
| <p>[80] '''Feint With Sword and Dagger''' in Order to Wound in the Chest</p>
+
| <p>[80] '''The Feint With Sword and Dagger''' in Order to Wound in the Chest</p>
  
<p>This feint is no different from the last, except that wounds over the dagger and this underneath. One does this with the same rule as the other. In this you have to hold the sword high, and when you have the enemy close throw a thrust at him over the dagger, raising your sword arm a little more. This method of wounding is called “Cutting the Dagger’s Throat”.<ref>''“Scannare”'' – to slaughter or cut the throat of.</ref> If he does not parry nothing else will happen, but if he parries, you must present the point to him, not more or less, standing with your pace and foot firm, and while he goes to the parry, running with the point of the sword under the hilt of the dagger, turning your wrist and extending your pace, wound him in the chest so that he will not perceive it. Then return backward outside of measure, securing yourself as above.</p>
+
<p>This feint is no different from the last, except that wounds over the dagger and this underneath. It is done with the same rule as the other. In this, you must hold the sword high and, when you have bound the enemy, throw a thrust at him over the dagger, raising your sword arm a little more. This method of wounding is called “Cutting the Dagger’s Throat”.<ref>''Scannare''—to slaughter or cut the throat of. </ref> No more is required if he does not parry, but if he does, you must present the point to him, no more or less, standing with your pace and foot firm, and while attempts to parry, running with the point of the sword under the hilt of the dagger, turning your wrist and extending your pace, wound him in the chest, which he will not perceive. Then, return backward outside of measure, securing yourself as above.</p>
 
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| [[File:Giganti 35.png|400x400px|center|Figure 35]]
 
| [[File:Giganti 35.png|400x400px|center|Figure 35]]
| <p>[81] '''Feint with Sword and Dagger at the Face''' Disengaging the sword over the point of the dagger<br/><br/></p>
+
| <p>[81] '''The Feint with Sword and Dagger at the Face''' ''Disengaging the sword over the point of the dagger''<br/><br/></p>
  
<p>To give a stoccata at the outset to your enemy’s face, it is necessary to do this feint which, just as it is the most difficult, is yet the most beautiful. It is necessary therefore to bind the enemy from the sword side, holding the point to his face from the right side, in order to wait for if he wants to wound, or rather if he wants to stand in guard in order to parry. If he is in guard, feint a thrust at his face and as he goes with the dagger to obedience turn the point of the sword over the enemy dagger with your wrist and wound him so that he will not perceive it, since in parrying he will completely uncover himself. The thrust being given, do as above.</p>
+
<p>To strike your enemy’s face with a ''stoccata'' at the onset, it is necessary to perform this feint which, as it is the most difficult, thus it is also the most beautiful. It is therefore necessary to bind the enemy on the sword side, holding the point toward his face on the right side, in order to see if he wants to wound or if he instead wishes to stand in guard in order to parry. If he is in guard, feign a thrust at his face, and as he goes into obedience with the dagger, turn the point of the sword over the enemy’s dagger with your wrist and wound him, which he will not perceive, since in parrying he will completely uncover himself. Having struck with the thrust, do as above.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|101|lbl=81}}
 
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| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/93|1|lbl=50}}
 
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|-  
 
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| [[File:Giganti 36.png|400x400px|center|Figure 36]]
 
| [[File:Giganti 36.png|400x400px|center|Figure 36]]
| <p>[82] '''Parrying the Long Stoccata with the Sword by Bringing''' the vita back</p>
+
| <p>[82] '''Parrying the Long ''Stoccata'' with the Sword by Bringing''' the ''vita'' back</p>
  
<p>It is such a necessity to be good at parrying that I hold that understanding parrying well is the most important thing in this profession. Now I want to teach you three ways to defend yourself from long stoccate. Stand in guard in the above way with the sword and vita forward, holding the chest a little uncovered, and stand either at measure or outside of measure, but not inside the measure. Being at measure when you see the stoccata being thrown at you, carry your vita backward and parry with the sword as you see in the figure. In the same tempo (because throwing yourself backward you escape from the thrust of the enemy’s sword, a little far, so that it does not reach you), dropping down with the vita he puts himself into disorder and it will be difficult for him to parry, whence you can lengthen your step, wounding him, and escape from him as above, taking care to stand strongly over your feet while you parry or return backward.</p>
+
<p>It is such a necessity to be good at parrying that I hold knowing how to do so well to be the most important thing in this profession. Now I wish to teach you three ways to defend yourself from long ''stoccate''. Stand in guard in the above way with the sword and ''vita'' forward, keeping the chest slightly uncovered, and stand either at measure or outside of measure, but not inside measure. Being at measure, when you see the ''stoccata'' being thrown at you, bring your ''vita'' backward and parry with the sword as you see in the figure. In the same ''tempo'' (because, pulling yourself backward, you escape away from the thrust of the enemy’s sword slightly so that it does not reach you), he puts himself into disorder falling downward with his ''vita'' and it will be difficult for him to parry, whence you can lengthen your step to wound him and escape from him as above, taking care to stand strongly over your feet while you parry or return backward.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|103|lbl=83}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|103|lbl=83}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/95|1|lbl=51}}
 
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|-  
 
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| [[File:Giganti 37.png|400x400px|center|Figure 37]]
 
| [[File:Giganti 37.png|400x400px|center|Figure 37]]
| <p>[83] '''Parrying With The Dagger,''' Bringing The Vita Back<br/><br/></p>
+
| <p>[83] '''Parrying with the Dagger,''' Bringing the ''Vita'' Back<br/><br/></p>
  
<p>Stand in the same guard as above, with the vita forward with artifice, holding the dagger to the guard of the enemy’s sword. When you are at measure and you see that he throws the thrust at you, parry with the dagger in the same tempo and bring the vita back with a withdrawal of your forward leg and the sword holding ready to wound, as you see in the figure where standing with the feet strong and the sword free you can do many things before he returns to guard, since throwing long and falling with his vita he will give you opportunity to do them.</p>
+
<p>Stand in the same guard as above, with the ''vita'' artificially forward, keeping the dagger guarding against the enemy’s sword. When you are at measure and you see him throw the thrust at you, in the same ''tempo'' parry with the dagger and bring the ''vita'' back with a withdrawal of your forward leg, keeping the sword ready to wound, as you see in the figure. Standing with the feet strong and the sword free, you can do many things before he returns to guard, since he gives you an opportunity to do them by throwing long and falling with his ''vita''.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|105|lbl=85}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|105|lbl=85}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/97|1|lbl=52}}
 
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|-  
 
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| [[File:Giganti 38.png|400x400px|center|Figure 38]]
 
| [[File:Giganti 38.png|400x400px|center|Figure 38]]
| <p>[84] '''Parrying with the Dagger, Carrying the Vita Back,''' and wounding with the sword in the same tempo</p>
+
| <p>[84] '''Parrying with the Dagger, Carrying the ''Vita'' Back,''' ''and wounding with the sword in the same tempo''</p>
  
<p>In the previous two figures one parried with the dagger, carrying the vita backward and then wounding. These show two tempi: one in the parrying and the other in the wounding. With this other figure you are shown how to parry and wounds in one tempo. The reason for this carrying back of the vita is that you disconcert the enemy and better see your work. Now, therefore, put yourself in the same guard as above, with sword, dagger, and vita forward, leaning your body. When you are at measure forgo throwing, and when he throws at you you must do three things in one tempo. That is, parrying with the dagger, bringing the vita backward, and pulling your front foot even with the rear, ending up curved with the body, your arm lengthened, and throwing the thrust at his chest. This method of parrying and wounding so deceives the enemy that it is impossible for him to defend himself. After this return outside of measure and secure yourself as has been said.</p>
+
<p>Given that the previous two figures parried with the dagger, bringing the ''vita'' backward and then wounding, they show two ''tempi'': One in parrying and the other in wounding. Therefore, I show you how to parry and wound in one ''tempo'' with this other figure of mine. The reason for bringing back the ''vita'' is that you disconcert the enemy and see your action better. Now then, place yourself in the same sword and dagger guard as above, with the ''vita'' bending your body forward. Forgo throwing when you are at measure, and when he throws at you it is necessary to do three things in one ''tempo''—that is, parrying with the dagger, bringing the ''vita'' backward while pulling your front foot even with the rear, ending up curved with the body, and extending your arm, throwing the thrust at his chest. This method of parrying and wounding so deceives the enemy that it is impossible for him to defend himself. After this, return outside of measure and secure yourself as has been said.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|107|lbl=87}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|107|lbl=87}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/99|1|lbl=53}}
 
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| <p>[85] '''The Thrust at the Face Parrying with the Sword'''<br/><br/></p>
 
| <p>[85] '''The Thrust at the Face Parrying with the Sword'''<br/><br/></p>
  
<p>Demonstrated in this figure is a very useful thrust of the firm foot, beautiful to those that know how to put it into work and who practise it. It is done in this way. If your enemy wishes to throw an imbroccata at your face, or rather a straight thrust, parrying with your sword straighten the point in the same tempo to the enemy’s face so that, you throwing in the same tempo that he does, he will not be able to parry with the dagger in the same tempo, because if he attempts to parry with the dagger he will bash his sword with it and you will end up with the point in his face.</p>
+
<p>Demonstrated in this figure is a thrust of the firm foot that is very useful and beautiful to those that know how to employ it and practise doing so. It is done in this way: If your enemy attempts to throw an ''imbroccata'' at your face, or a straight thrust instead, parrying with your sword, direct the point to the enemy’s face in the same ''tempo'' so that, you throwing in the same ''tempo'' that he does, he will not be able to parry with the dagger in the same ''tempo''. If he wishes to parry with the dagger, he will bash it into his sword and end up with the thrust in his face.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/109|1|lbl=89}}
 
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| <p>[86] This lesson only teaches how to wound him in the face - if you wished to throw at his chest he would be able to parry it with the dagger. If you want to do it more artificially so that you deceive even the knowledgeable, it is necessary to uncover your left side and hold the dagger low, giving the enemy occasion to throw either at your face or over the dagger, so that he believes you will parry with the dagger. In the same tempo you will parry with the forte of your sword and increase with your right foot, holding the point of your sword toward his face. If he attempts to parry he bumps into his own sword and cannot parry or wound, as in the figure. The thrust thrown, return backward outside of measure as above.</p>
+
| <p>[86] This lesson only teaches how to wound him in the face—if you attempted to throw at his chest, he would be able to parry it with the dagger. To perform it with greater artifice so that you deceive even the knowledgeable, it is necessary to uncover your left side and hold the dagger low, giving the enemy an opportunity so that he throws either at your face or over the dagger, which he will believe you will parry with the dagger. In the same ''tempo'', parry with the ''forte'' of your sword and extend with your right foot, keeping the point of your sword toward his face, because if he attempts to parry, he bumps into his own sword and is unable to parry or wound, as in the figure. The thrust thrown, return backward outside of measure as above.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/109|2|lbl=-}}
 
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| <p>[87] '''The Pass with Sword and Dagger in Order to Come to Grips''' and wound with the dagger in the face</p>
 
| <p>[87] '''The Pass with Sword and Dagger in Order to Come to Grips''' and wound with the dagger in the face</p>
  
<p> The approach to the grips and wounding with the dagger is done in many ways according to the occasions in which the enemy is found. Many that come to the grips cannot do otherwise, as is the case when the enemy is furious in the passing. Others who do not have patience in judging the thrust of the sword pass from cholera. Others pass with artifice in order to wound with the dagger. In my first book I will only write a pass with artifice in order to wound safely with the dagger so that your enemy will not be able to offend you with either the sword or dagger. This pass is done in this way. It is necessary to place yourself in guard in a way that you end up with all your right parts uncovered and give occasion to the enemy, who throws resolutely, namely by thrust or cut. You then parry with your sword, passing with your foot, strongly affront his sword with yours and place your sword in his dagger arm, as you see in the figure, for the reason that your enemy will not be able to move either the sword or the dagger and you will be able to give him as many dagger wounds as you like. This lesson is very safe to those who have practised.</p>
+
<p> Coming to grips and wounding with the dagger is done in many ways and according to the situations in which a person finds himself. Many who come to grips cannot do otherwise, as is the case when the enemy is furious in passing. Others, who do not have patience in playing at the point of the sword, pass out of choler. Others pass with artifice in order to wound with the dagger. In this, my first book, I will write on only one artificial pass for wounding safely with the dagger so that your enemy will not be able to offend you with either the sword or dagger. The pass is performed in this way: It is necessary to arrange yourself in guard in a way that you end up with your entire right side uncovered and give the enemy an opportunity so that he throws resolutely, either by thrust or cut. You will then parry with your sword, passing with your foot, strongly affront his sword with yours, and put your sword inside his dagger arm, as you see in the figure, for the reason that your enemy will not be able to move either the sword or the dagger and you will be able to give him as many dagger wounds as you like. This lesson will be very safe for someone who has practised it.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|111|lbl=91}}
 
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| <p>[88] '''The Thrust with the Sword and Dagger Thrown on the Side''' of the right shoulder</p>
 
| <p>[88] '''The Thrust with the Sword and Dagger Thrown on the Side''' of the right shoulder</p>
  
<p>Someone in this profession who wishes to be a valiant man will never place himself in guard, but will stand well outside of measure, consider the guard of the enemy, approach to bind him little by little at his uncovered place and when he is at measure will throw according to the method of the present figure, in which the right shoulder<ref>Of the enemy.</ref> is uncovered, taking care to approach to bind him from the side of the sword. If he<ref>Our fencer.</ref> sees that he<ref name="the enemy"/> stands in guard in order to wait, he will throw the stoccata strongly in the described way, turning his wrist on the side of the enemy’s sword, as is seen. After the stoccata is thrown, return outside of measure as above.</p>
+
<p>Someone who wishes to be a valiant man in this profession will never place himself in guard but, standing well outside of measure instead, will consider the enemy’s guard and approach to bind him little by little where he is uncovered. When he is at measure, he will throw according to the method of the present figure in which the enemy’s right shoulder is uncovered, taking care to approach to bind him on the side of the sword. If he sees that the enemy stands in guard in order to wait, he will throw the ''stoccata'' strongly in the described way, turning the wrist on the side of the enemy’s sword, as seen. After the ''stoccata'' is thrown, return outside of measure as above.</p>
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|113|lbl=93}}
 
| {{pagetb|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|113|lbl=93}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/105|1|lbl=56}}
 
| {{section|Page:Escrime Novvelle ou Theatre (Nicoletto Giganti) Book 1 1619.pdf/105|1|lbl=56}}
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| <p>[89] '''Passing with the Foot with Sword''' and Dagger</p>
 
| <p>[89] '''Passing with the Foot with Sword''' and Dagger</p>
  
<p>This figure does not serve as a demonstration of what I did in my first book, but of the others that I will, God willing, bring to light. I will discuss the passes of sword and dagger, that is, passing with the foot, since in this book more than the firm foot were not discussed because all that one does with firm foot, if one knows how to take the tempo, one can do with a pass of the foot.</p>
+
<p>In my first book, this figure serves as nothing more than a demonstration. In others that I will publish, God willing, I will discuss passes of sword and dagger—that is, passing with the foot—since in this only firm-footed was discussed. This is because, if one knows how to take the ''tempo'', all that is done firm-footed can be done with a pass of the foot.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/115|1|lbl=95}}
 
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| <p>[90] The pass done then, it is necessary to know how to disengage the sword and then escape as you see in this figure, where it is seen that he passed, has disengaged the sword, and can safely give as many stoccate as he likes, holding the enemy’s sword with his dagger.</p>
+
| <p>[90] After the pass is done, it is necessary to know how to disengage the sword and then escape, as you see in this figure where he passed, disengaged the sword, and can safely give the enemy as many ''stoccate'' as he likes, holding the enemy’s sword with his dagger.</p>
 
| {{section|Page:Scola, overo teatro (Nicoletto Giganti) 1606.pdf/115|2|lbl=-}}
 
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| class="noline" |  
 
| class="noline" |  
| class="noline" | <p>[91] If the enemy were to disengage the sword it would be necessary to follow it with the dagger and then wound with the sword, and when you have given the stoccate that you wish return backward outside of measure. If one knows how to take the tempo well and passes with the foot but does not know how to disengage the sword, it must be said that he knows nothing since in passing, although he wounds, he finds himself in danger in regard to the enemy who still will attempt to make his blow. This is because those courageous are found that even wounded still want to avenge themselves. Thus infuriated, they throw in the worst way possible, so that you can still end up wounded and dead. Even if in passing the enemy were to parry the stoccata you would find yourself in huge danger if you did not know how to disengage the sword and were you to not know how to fight at half-sword, as you see in the figure, and be able to return backward and escape as I, God willing, will discuss in my other books, My Lord.</p>
+
| class="noline" | <p>[91] If the enemy were to disengage the sword, it would be necessary to follow it with the dagger while wounding with the sword and, when you have given the ''stoccate'' that you wish, return backward outside of measure. Someone who knows how to take the ''tempo'' well and pass with the foot but does not know how to disengage the sword can be said to know nothing since, in passing, even though he wounds, he finds himself in danger with respect to the enemy, who still will attempt to perform his blow. This is because courageous ones are found who, though wounded, yet wish to avenge themselves. Thus infuriated, they throw in the worst possible way, and you can still end up wounded or dead. Even if, in passing, your enemy were to parry the ''stoccata'', you would find yourself in very great danger if you did not know how to disengage the sword and were you not to know how to fight at half-sword,96 as you see in the figure, and return backward and escape as I, Our Lord God willing, will discuss in my other books.</p>
 
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| class="noline" | <p>'''THE END'''</p>
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| class="noline" | <p>'''''The End'''''</p>
 
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{{master begin
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| title = Second Book
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{{master subsection begin
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| title = Dedication
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}}
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{| class="master"
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|-
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! <p>Illustrations<br/>from the 1608</p>
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! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
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! <p>[[Libro secondo (Nicoletto Giganti)|First Edition]] (1608){{edit index|Libro secondo (Nicoletto Giganti) 1608.pdf}}<br/>Transcribed by [[Benjamin Keiller]]</p>
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|-
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| rowspan="4" | [[File:Libro secondo di Niccoletto Giganti.png|400x400px|center|Title Page]]
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| class="noline" | <p>'''Second Book of Nicoletto Giganti, Venetian''' Master of Arms of the Most Illustrious Lord Knights of the Sacred Religion of Saint '''Stephen'''</p>
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| class="noline" | {{section|Page:Libro secondo di Niccoletto Giganti.png|1|lbl=Ttl}}
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|-
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| class="noline" | <p><small>''Wherein are presented various manners and methods of defending and wounding. With the Sword and Dagger. With the Single Sword. With Sword and Rotella. With Sword and Targa. With Sword and Buckler. With Sword and Cape, and with the Dagger Alone.'' Wherein every studious person will be able to exercise and become practised in the profession of Arms.</small></p>
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| class="noline" | {{section|Page:Libro secondo di Niccoletto Giganti.png|2|lbl=-}}
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|-
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| class="noline" | <p>Dedicated to the Very Famous and Reverend Lord {{sc|Brother Christofano Chigi}}, Senese Gentleman, Jerusalemite Knight, and Knight Commander of Saint Mark in Fano</p>
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| class="noline" | {{section|Page:Libro secondo di Niccoletto Giganti.png|3|lbl=-}}
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|-
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| <p>In '''Pisa''', printed by Giovanni Fontani, with license from the Superiors, 1608</p>
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| {{section|Page:Libro secondo di Niccoletto Giganti.png|4|lbl=-}}
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|-
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| class="noline" | <p style="text-align: center;"><br/><br/><br/><br/>[Heraldric achievement]</p>
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| class="noline" | <p>'''Most Illustrious and Much Reverend Lord Commander, My Most Respected Patron'''</p>
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<p>If, by universal consensus, those who scorn manmade laws are considered worthy of dishonour and punishment, those who transgress and show contempt for the laws of Nature must be castigated and abhorred even more, these being written not by human knowledge or power on paper and tablets, but sweetly impressed by Her with praiseworthy characters of love in the hearts of Her sons. Among the many of those worthy of inviolable observance, it seems to me that what is called the law of gratitude is to be safeguarded and observed, so as to not take the glory from benefactors who, conducting themselves well, deserve to acquire it.</p>
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<p>This has made me understand that, given that I am infinitely indebted to Your Lordship due to the distinguished courtesies and favours I receive from You daily, being therefore unable to repay You for these, I would endanger this by not at least expressing thanks to You, which I will do at all times and places, Fortune notwithstanding. For, if She was able to make me scarce of intelligence, She will not, however, be able to deprive me of the virtue that I have gained in the course of many years and with much labour, and whence it will be quite easy by means of the press for me to tell the world how much I am indebted to Your Lordship.</p>
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<p>The present book of arms will produce especially clear testimony of it, composed in the lowness and obscurity of my position at the gentle urging of the law of gratitude, brought to light under the glorious name of my singular benefactor, You. Therefore, take it as something rightly owed to You. Just as I gained much in acquiring service with Your Lordship, thus by means of this book that I will no longer call mine, but Yours, the world will learn the art of defence from the same, and take Your Lordship as an example to raise itself to glory with wings of courtesy and nobility. Humbly making reverences, I continue praying for Your further greatness from the Almighty. In Pisa. May 25, 1608.</p>
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|2|lbl=i|p=1}} {{section|Page:Libro secondo (Nicoletto Giganti) 1608.pdf/3|1|lbl=ii|p=1}}
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|-
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| class="noline" |
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:Of Your Very Illustrious Lordship
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::A Most Humble and Devoted Servant
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:::Nicoletto Giganti, Master of Arms
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{{master subsection begin
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| title = Introduction
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{| class="master"
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|-
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! <p>Illustrations<br/>from the 1608</p>
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! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
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! <p>[[Libro secondo (Nicoletto Giganti)|First Edition]] (1608){{edit index|Libro secondo (Nicoletto Giganti) 1608.pdf}}<br/>Transcribed by [[Benjamin Keiller]]</p>
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|-
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| <p style="text-align: center;"><br/><br/><br/><br/>[Portrait of Nicoletto Giganti]</p>
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| <p>'''Preface to the Lord Readers'''</p>
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<p>''It being the case that in my first book I discussed throwing the firm-footed thrust, and feints, and taught to defend against all the ''stoccate'', in this, my second, I thought to be more universal, intending to teach you additional types of weapons and, more importantly, how all sorts of cuts are defended against and how they must be thrown, the method of passing with the foot, and everything in accordance with what I promised you in my First Book.''<p>
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<p>''It is necessary that someone who wishes to become perfect in the profession of arms not only know how to throw a thrust well, perform a beautiful feint, and pass well with both the right and left foot, but also that he know the counter to all these things—that is, how to gracefully defend against them. That given, someone who knows how to throw a thrust well and how to perform a pass but is then lacking in knowledge of how to defend can be said to know nothing, because if he disputes with another who knows how to throw a thrust as he does, both will be wounded. Thus, it is good to know how to throw a thrust and perform a pass but much better to know how to defend against it, as we will discuss in this book.''</p>
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<p>''Additionally, someone who is a valiant man in throwing a thrust and passing and also knows how to defend against all kinds of passes and feints but is lacking in throwing and defending against cuts is understood to know nothing. This is because if he contends with someone who does not know how to fence with the sword, as one mostly finds these days, he will have to know how to parry cuts, since the instincts of these such who have no knowledge naturally throw many cuts. Even though someone who knows how to throw a thrust who contends with someone who does not will strike him with a ''stoccata'', in the same tempo that other person throws a cut at him, whence both will be struck. As many thrusts as the person who knows how to throw a thrust throws at him, that many cuts the other will throw at his head or legs, trained thus by nature. Given that, both would be in danger, and for this reason knowing how to throw a ''stoccata'' is not sufficient. Knowing how to parry cuts is very useful, though. Therefore, I encourage everyone who wishes to learn this virtue of fencing to learn to throw everything, thrust and cut, and further, to learn to defend against thrusts and cuts of all kinds well.''</p>
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<p>''Three kinds of cuts are thrown.''</p>
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<p>''The first are concerted cuts, which are learned from masters.''</p>
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<p>''The second are the natural cuts of those men who know nothing of this profession and throw certain bizarre blows that cannot be defended against but by those who have much practice in this virtue. Wishing to learn to defend against these natural cuts, it is necessary after you have learned to throw thrusts and cuts well that you recognize tempo and measure and that you know how to fence with those who do not know of them. Begin to practise with those who know nothing and let them throw at you in their own way. Parrying with the sword and dagger according to what you see he throws at you, throw at him on the side he uncovers. Fencing with various men, you will learn how to parry natural cuts. It is for this reason that it is no wonder that some good fencers, contending with those with no knowledge, are quite often struck—that is, because they are unpractised with those who know nothing, they therefore do not know how to parry natural cuts.''</p>
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<p>''The third type of cut are artificial. These are learned in many ways, such as making a show of throwing a cut at one place and then throwing it at another, or even arranging oneself in some artificial and uncovered guard so that the enemy throws and then throwing either a thrust or a cut.''</p>
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<p>''We will discuss all these kinds in this book.''</p>
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{{master subsection begin
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| title = Rapier and Dagger
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{| class="master"
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|-
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! <p>Illustrations<br/>from the 1608</p>
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! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
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! <p>[[Libro secondo (Nicoletto Giganti)|First Edition]] (1608){{edit index|Libro secondo (Nicoletto Giganti) 1608.pdf}}<br/>Transcribed by [[Benjamin Keiller]]</p>
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|-
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| [[File:Giganti 1608 01.png|400px|center|border]]
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| <p>[1] '''The Proper Method of Parrying the Cut with the Sword'''</p>
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<p>In accordance with what I promised you in the preface, I wish to teach you how to defend yourself from cuts. Know, therefore, that the cut can be defended against in three ways. The first is with the sword. The second is with the sword and dagger. The third is by voiding the vita. I discussed parrying cuts with the dagger in my First Book, to which I refer the reader.</p>
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<p>Now, this first figure shows you that if your enemy were to throw a cut at your head, you would have to parry with the edge and forte of your sword and in the same tempo throw a riverso at his leg, putting the dagger under the enemy’s sword as the figure shows you, and immediately return backward outside of measure. If you prefer not to throw at the leg, you can throw a riverso at his head and return backward outside of measure with the weapons ready to parry and wound.</p>
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| [[File:Giganti 1608 02.png|400px|center|border]]
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| <p>[2] '''The Method of Parrying the ''Riverso'' with the Sword'''</p>
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<p>If your adversary happens to throw a ''riverso'' at your head, parry with the edge and ''forte'' of your sword and immediately throw a cut at his leg, putting your dagger under the enemy’s sword as you see in the figure. Then immediately return backward outside of measure as above. When you have parried the ''riverso'', you will also be able to throw the cut at his head and return backward according to the above method.</p>
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| <p>[3] '''The Proper Method of Parrying Cuts''' with the Sword and Dagger Crossed</p>
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<p>If an unarmoured gentleman with only sword and dagger were by chance [attacked] by an armoured enemy with a heavy sword, attempting to parry with the dagger would be dangerous. This is because without gauntlets there is no doubt that if the hand catches it, the dagger will be thrown to the ground or, instead, the dagger will not withstand the great blow. Attempting to parry with the sword works well, but he will not be able to wound his adversary without notable danger because someone who is armoured has more courage than someone who is not, and more daringly drives himself forward and redoubles the cuts, which would endanger someone who is unarmoured. It can therefore be done in this way.</p>
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<p>When the enemy throws the cut at your head, parry with the sword and dagger crossed as the figure shows, the dagger above and the sword below. In the same tempo, disengage the sword from under that of the enemy and throw a ''stoccata'' at his face, and return backward outside of measure. Parry and throw ''stoccate'' at his face in this way as many times as the adversary throws. A hundred cuts can be parried in this way and it is easy to wound him in the face because, throwing the cut, he comes forward with his face and head much more as the gentleman throws the ''stoccata'' as an ''imbroccata'', extending the foot and then withdrawing outside of measure.</p>
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| <p>[4] '''The Method of Parrying with the Sword and Dagger Crossed and Throwing a ''Riverso'' at the Leg'''</p>
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<p>It is also quite safe to parry cuts in this way: When your enemy throws the cut at you parry in the above way, and in the same instant let a ''riverso'' go toward his leg so that he cannot parry it and keep his sword in your dagger. Most importantly, parrying, throwing the ''riverso'', and withdrawing outside of measure are done in the same tempo. You can parry in this manner as many times as he throws at you and throw the ''riverso'' at his leg or thrust at his face as above.
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</p>
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| rowspan="2" | [[File:Giganti 1608 04.png|400px|center|border]]
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| <p>[5] '''The Method of Defending Against Cuts by Voiding the ''Vita'''''</p>
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<p>This figure shows you that if your enemy throws a cut at your head, you must pull your ''vita'' backward in the same tempo, as the figure shows you, let the cut fall in vain, in the same instant throw a ''stoccata'' where you see the adversary is most uncovered, and return immediately outside of measure. The ''stoccata'' will be safe because the more strongly your enemy throws, the more he uncovers himself, and he then recovers with greater difficulty. You can also throw this thrust if your enemy were to throw a ''riverso'' at your head. While he throws the ''riverso'', bring your ''vita'' back and throw the ''stoccata'' as above, and quickly return backward outside of measure.</p>
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| {{section|Page:Libro secondo (Nicoletto Giganti) 1608.pdf/16|1|lbl=13.1}}
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|-
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| <p>[6] '''The Method of Defending Against Cuts by Voiding the ''Vita'' and Throwing the Cut at the Leg'''</p>
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<p>Further, it is good and safe in this way: We suppose that your enemy throws a cut at your head, your ''vita'' brought back in the above way, and, while the cut passes by, you throw a ''riverso'' at his leg, which will strike him safely so that he cannot defend from it. The harder he throws, the worse it is for him. If he were to throw a ''riverso'' at you, bringing your ''vita'' backward, give him a ''mandritto'' to the leg because when someone throws a ''mandritto'', the ''riverso'' is eluded by the ''mandritto''. Given that, if your enemy throws a ''riverso'', you must throw a ''mandritto'', and if he throws a ''mandritto'' at you, you must throw a ''riverso'', taking care to keep your sword high and that your blow travels in the same tempo that the adversary’s sword passes by, so that he will therefore have no tempo to parry it. As soon as you have thrown, return outside of measure with your weapons ready to parry and wound.</p>
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|-
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| [[File:Giganti 1608 05.png|400px|center|border]]
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| <p>[7] '''The Method with which Cuts to the Leg are Defended Against'''</p>
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<p>We have shown how cuts to the head are defended against. Now the ordering requires that we teach how cuts toward the leg are defended against. Therefore, this figure shows you that if your enemy were to come to throw you a cut at your leg, in the same tempo you parry with the edge, or rather, ''forte'', of your sword and immediately throw a ''riverso'' at his face, because only a ''riverso'' can be extracted from parrying according to the method in the figure. Then, immediately return backward outside of measure.</p>
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| <p>[8] '''Another Method of Defending with the Sword Against Cuts to the Leg'''</p>
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<p>Cuts toward the leg can also be parried with the sword in this other way, if need be. If you were to throw a ''stoccata'' at your enemy and he parries it and in the same tempo throws a cut at your leg, it is necessary to parry it with the sword as the figure shows. As soon as you have parried, it is necessary that you throw a thrust at your enemy’s face because if he throws at your leg he must lower his head, whence it will be easy for you to catch his face and wound him. Then, immediately return from it backward outside of measure in the above way.</p>
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|-
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| [[File:Giganti 1608 07.png|400px|center|border]]
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| <p>[9] '''The Method of Defending With the Sword Against the ''Riverso'' to the Leg'''</p>
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<p>This is a safe way of parrying a ''riverso'' at the leg. While your enemy throws this ''riverso'' at you, parry with the edge of the sword, turning your wrist, and immediately throw a thrust by way of ''imbroccata'' at his face. It can occur that when you throw a ''stoccata'', your enemy parries it. In the instant he throws a ''riverso'' at your leg, parry with your sword in the above way, throw the ''stoccata'' at his face, and immediately return outside of measure.</p>
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|-
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|
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| <p>[10] '''Preface on the Properties of Cuts to the Lord Readers'''<br/><br/></p>
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<p>In this, my Second Book, I did not intend to discuss cuts further because it would produce too large a volume if I wished to put all the ways they can be performed into figures. I will only briefly touch on all the ways that one can wound with cuts and how they must be defended against. Then, in another book that I will shortly publish, if it pleases the Lord, I will discuss the trickeries and deceptions that can be performed in throwing cuts. Therefore, I will say only this: In contending with or playing at arms, be advised not to throw both in the same tempo, but wait until the adversary’s cut to your leg or head has been defended from and then wound safely as said above. If the same enemy waits in guard for you to throw, however, you must throw at the part that appears most uncovered, taking care that your dagger or sword guards against the adversary’s sword while you throw, so that if he were also to throw in the same tempo you are able to parry and return outside of measure. I wish to teach you to defend yourself with cuts against two or three people in cases of necessity. If you are assaulted by two people, it often happens that if you throw a ''mandritto'' at one, the other throws at you in that tempo, and if you throw a ''stoccata'' at the other, you encounter a ''stoccata'' from the first. You would thus quickly find yourself dead, as has happened to many. Therefore, in order to defend yourself and offend, I want you to hold the sword high as if to throw a ''mandritto''. If both were to throw a ''stoccata'' at you in the same instant, throw a ''mandritto'' and then a ''riverso'' onto the swords. The ''mandritto'' must be thrown in this way: So that it almost wounds the enemy’s neck and arrives at your left side to wound again. This manner of ''mandritto'' produces two effects: it wounds and parries in the same tempo. The ''mandritto'' thrown, the ''vita'' and foot can be drawn back along with putting the sword under the left arm in order to throw the ''riverso''. Then immediately throw the ''riverso'' in this way: So that it begins wounding the adversary’s neck and arrives to wound anew at your right flank—which is to say the ''mandritto'' and ''riverso'' wound in the form of a cross. One parries and wounds in this way because your sword must necessarily find the enemies’ weapons, taking care that such ''mandritti'' and ''riversi'' must be thrown long, strong, quick, and wide, and must never stop at all. Rather, as soon as the ''mandritto'' is thrown it is necessary that the ''riverso'' occurs, and thus, on the contrary, as soon as the ''riverso'' is thrown do not delay at all in throwing the ''mandritto''. In conclusion, all must be performed like a wheel.</p>
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<p>To throw this kind of cut, it is necessary to practise throwing ''mandritti'' and ''riversi'' in order to prepare the arm and quicken and invigorate the leg by throwing two or three hundred cuts and, likewise, ''riversi'', without ever stopping. Everyone will thus also be able to parry all the ''stoccate'' of three or four, both wounding and keeping their enemies at a sword’s length by throwing long, quick, strong, and wide. This kind of cut has this property: If a gentleman were to find himself unarmoured with only a sword and is assaulted by his enemy, fully armoured and with sword and dagger who comes at him with ''stoccate'' and ''imbroccate'', he will be able to defend his body in this way: He holds his sword as I said above, high as if to throw a cut, and while his enemy throws a cut he throws a ''mandritto'' at the enemy’s sword and immediately throws a ''riverso'' at his head or legs, then immediately returns backward outside of measure. This is for the reason that, throwing a ''mandritto'' onto the sword while the enemy throws the ''stoccata'', his sword will be thrown to the ground, and before [the enemy] recovers [the gentleman] will be able to throw not a single ''riverso'', but two or three, then return backward. If the enemy were to throw a hundred ''stoccate'' in a row at him, [the gentleman] will parry them all safely and be able to wound his enemy with the ''riverso'' to the face or leg. Furthermore,  the cut thrown in this manner also has this property: That if an adversary were to throw said ''imbroccata'' or ''stoccata'', throwing a ''mandritto'' to parry it and finding the enemy’s arm weakened from having thrown the ''stoccata'', it will be easy to make the sword fall from his hand. Therefore, I urge everyone to practise this method of throwing cuts because it defends and wounds safely and other [methods] do not, as they only wound but do not defend if the enemy were to throw in the same tempo.</p>
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| <p>[11] '''The Method of Parrying a ''Stoccata'' that Comes''' at the Face on the Outside</p>
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<p>In my first book I promised you that I would discuss how one passes with the foot in order to attempt to wound, being that in it I only spoke of the firm-foot, with which someone knows how to play well and recognize the tempo. He will do those same things when passing. Therefore, I ready myself to keep the promise. If your enemy were to throw at you, whatever blow he wishes, either thrust or cut, you can pass with the foot, knowing how to take the tempo. When you have passed, disengage the sword, throw two or three ''stoccate'' , and immediately return backward outside of measure, as you will learn in this figure, which shows you that, being in guard with your right foot forward, if your enemy were to throw a thrust on the outside of your dagger, in the same tempo you parry with the dagger, pass your left foot forward, and throw the ''stoccata'' in the same tempo, as the figure shows. Once you have thrown the ''stoccata'', it is necessary to withdraw the ''vita'', disengage the sword, keep the dagger firm on your enemy’s sword, throw two or three ''stoccate'', and withdraw outside of measure. Take care in leaping backward, however, to secure yourself with your sword on his so that in returning outside of measure your adversary does not throw you a ''stoccata'' where you are most uncovered, thus wounding you both, as often occurs. If in returning backward you place your sword over his, however, he will not be able to wound you. Therefore, I urge you in all passes you perform to keep your sword over the enemy’s until you are outside of measure again, because someone who knows how to perform a pass but does not know how to then disengage the sword and wound again or to escape from the enemy’s weapons can be said to be ignorant of this profession. This is for the reason that if they pass with the foot they come to grips and both end up in no small amount of danger if they do not know the method of doing so. Performing these kinds of passes, then, is not for everyone. Rather, it is only for those who are strong and dexterous, who know how to play from a firm foot well so that they recognize the tempo and measure, and who are well-practised, because it cannot be said that I wish to pass at the onset. First it is necessary to see what the enemy does, the tempo and occasion must be taken according to this, recognizing when it is time to throw from a firm foot, when from a pass, when with a ''stoccata'', and when with a cut.</p>
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| [[File:Giganti 1608 09.png|400px|center|border]]
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| <p>[12] '''The Method of Performing a Pass with the Foot when the Enemy''' Throws a Thrust on the Inside at the Face</p>
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<p>This figure shows you that if you are in guard with your right foot forward and your enemy throws a thrust at your face, you must parry with the dagger and in the same tempo pass with the left foot and throw a ''stoccata'' at the flank, as the figure shows, and immediately secure yourself well over your feet and disengage your sword and throw two or three ''stoccate'' while holding your dagger firm over your enemy’s sword. If he were to try to disengage it in order to throw additional blows, it is necessary that you follow it with the dagger while continuing to throw ''stoccate'' and return backward outside of measure, securing yourself with your sword over his.</p>
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| [[File:Giganti 1608 10.png|400px|center|border]]
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| <p>[13] '''The Method of Performing a Pass with the Foot, Throwing a Thrust at the Enemy’s Chest'''</p>
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<p>This figure shows you that if your enemy were to throw a thrust at your chest, you parry it with the dagger and in the same tempo pass with the foot and wound with a thrust, as the figure shows you. The ''stoccata'' thrown, disengage the sword and return outside of measure, securing yourself with your sword over his and keeping the weapons ready to parry and wound.</p>
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| <p>[14] '''The Method of Passing Onto the Enemy, Him Standing in Guard Uncovered on the Right Side'''</p>
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<p>Given that one can pass when the adversary throws whatever blow he wishes, thrust or cut, the enemy standing in whatever guard he wishes, you are able to pass, taking heed of what guard he places himself in, considering where he is most uncovered and what side to assail him on, taking care to watch where the enemy’s sword is so that you are able to impede it while you pass so he does not wound and offend you. This figure shows that if your enemy were to stand in a guard that was uncovered on the right side, it would be necessary to bind him on the outside and when you are at measure, if he stays still in guard, it is necessary to throw the ''stoccata'', pass with the foot, and place your dagger over the enemy’s sword. These things must be done in the same tempo. In the case that the enemy were to disengage in order to wound you while you put your dagger on his sword, follow it while you wound. The first ''stoccata'' thrown, disengage the sword, pull yourself outside of measure, and secure yourself in the above way. Adding here that if the enemy parries your first ''stoccata'', you would be in parity.</p>
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| <p>[15] '''The Proper Method of Passing with the Foot and Wounding Over the Dagger'''</p>
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<p>I believe you will recognize that this figure shows you how to wound over the dagger. That given, as you can see, your enemy is in a guard with his dagger low, with the sword however he wishes—high or low does not matter because your dagger must always guard against his sword, and where you see it you must always go and bind him little by little to guard against it. When you are at measure, if he stands in guard to wait for you, throw the ''stoccata'' strongly, passing with the foot with your dagger on the enemy’s sword, as you see in the figure. To perform these passes most perfectly, it is necessary that when you are at measure you throw the arm first and then pass with the foot, which strikes him with the ''stoccata'' so quickly that he does not perceive it, as I fully demonstrated in my First Book. Take care that when your enemy stands in whatever guard he wishes that you go to bind him, and when you are at measure intending to pass you watch that he does not throw at you in that tempo. If you see that he wishes to throw, however, be careful to parry his ''stoccata'' first, then pass as we said above.</p>
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| <p>[16] '''The Method of Passing When the Enemy has Uncovered His Chest'''</p>
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<p>If your enemy has uncovered his chest, his sword high or low, and stands in guard in order to wait for you, in a narrow guard with the sword inside go to bind him little by little until you are at measure. When you are at the designated point, pass in the above way, first throwing the sword arm where he is most uncovered, then passing with the foot, securing yourself from the enemy sword with your dagger as above, throwing the same ''stoccate'' and escaping in the same way. In this Second Book I did not wish to produce more than these three lessons for wounding when the enemy is in guard waiting for you, which, if I am not mistaken, will illuminate for you how to understand proceeding to pass in all guards that the enemy can produce by making use of the said method.</p>
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| <p>[17] '''The Method of Parrying the Cut at the Head and Passing with the Foot, Crossing the Sword and Dagger'''</p>
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<p>This figure shows you that if your enemy were to throw a cut at your head, you must parry crossed, pass with the foot, give him a ''riverso'' to the leg along with three or four ''stoccate'', and escape. It is done in this way: Standing in guard with the right foot forward, forward so that your enemy throws a cut at your head, cross the sword and dagger and go to meet the ''mandritto'', passing with your left foot as you see in the figure, and immediately throw the ''riverso'' at his leg along with pulling back the ''vita'', so that the adversary’s sword will remain on your dagger, throw three or four ''stoccate'', and return outside of measure, securing your sword over his in the above way.</p>
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[[File:Giganti 1608 16.png|400px|center|border]]
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| <p>[18] '''The Method of Proceeding against all Guards and Wounding in Many Ways While the Enemy Disengages the Sword'''</p>
 +
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<p>In these four figures I want to show you how one proceeds against every kind of guard. Two figures show you how one binds, the others how one wounds, because a valiant man who is a good and practised fencer will never endanger himself, but will be alert to what the enemy does and see to binding him against his guard.  Advancing against the guards is done in this way: Finding the adversary in whatever guard he wishes, high or low or with the sword extended, cover the enemy’s sword with yours but in a way that he cannot wound if he does not disengage the sword, like you see with the two figures. After you have gone to cover the sword so that he cannot offend you if he does not disengage you are safe from every offence, since in disengaging it he can end up wounded in many manners, as you will learn. Finding your enemy with his sword forward, go to bind him with your sword on his like you see in the first figure. If your enemy were to disengage the sword in order to wound you, turn your wrist and parry strongly with your arm extended until the adversary’s sword is on the ground, as you see in the figure. In the same tempo, pass with the foot, place the dagger on the enemy’s sword and, throwing two or three ''stoccate'' at him, escape in the above way, securing yourself with your sword on his. This manner of wounding is performed when the enemy is in guard with the sword forward: Go to bind him with your sword on his, and if you see that he does not wish to disengage his sword and stays firm in guard, then disengage yours narrowly, parrying strongly with your arm, and pass with your left foot until the enemy’s sword is on the ground. Then you can place your dagger on his sword, throw some ''stoccate'', and escape in the described way. Many things can be done when proceeding to bind your enemy in the way of the first two figures. If your enemy disengages the sword yet stays still in guard, go to bind him gently and when you are at measure throw with a firm foot where he is most uncovered and escape. You can pass with artifices you have learned. You can also do this: As you advance to bind your enemy, if the adversary disengages the sword in order to wound your face when you are at measure, parry in the same tempo with the dagger and, passing with the foot, throw your ''stoccata'' at his chest, keeping in mind that you must perform all three of these things in one same tempo—that is, while your enemy throws the thrust at your face, you must parry with the dagger, pass with the foot, and throw the ''stoccata''. Otherwise, the pass would not succeed. After, withdraw the ''vita'', throw two or three ''stoccate'', and escape in the above way.</p>
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|
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|45|lbl=42|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|46|lbl=43|p=1}}
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|-
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| [[File:Giganti 1608 17.png|400px|center|border]]
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| <p>[19] '''The Method of Throwing the ''Punta Riversa'' at the Face'''</p>
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<p>This is another kind of wound called a “''punta''”, which is performed in many ways. I will speak to you about this artifice alone. If your enemy were found in guard with the right foot forward and is desirous to wound you, also place yourself with your right foot forward and uncover your chest in order to give him an opportunity to throw at you. Hold the point of your sword toward his left flank so that the enemy guards against your sword with his dagger, and as the adversary throws the ''stoccata'', parry with the dagger and pass with your left foot, throwing the ''stoccata'' on the outside of his sword at his face as you see the figure. This manner of wounding greatly deceives the enemy because, holding the sword toward his left side, he will watch to parry it with the dagger, imagining that when you have parried you will throw the straight ''stoccata'' like he threw his. Whence, he is surprised to find the sword in his face. Having thrown the ''stoccata'', disengage the sword, withdraw your ''vita'', place your dagger on his sword, throw some ''stoccate'', and escape in the above way.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|48|lbl=45}}
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|-
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| [[File:Giganti 1608 18.png|400px|center|border]]
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[[File:Giganti 1608 19.png|400px|center|border]]
 +
| <p>[20] '''Artificial Guard for Defending Against Furious Passes of the Left or Right Foot'''</p>
 +
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<p>After you have learned to perform all kinds of passes it is necessary to learn how they must be defended against. If by chance someone knew fencing as well as or better than you and was stronger and more dexterous, it would be necessary to make use of the arts of deception, for the reason that it is not enough to know how to throw a graceful thrust, a feint, or a pass, but one must also make use of trickeries and deceptions, and to know from those how to be watchful in occasions, because the flower of this science boils down to trickery and deception. I will demonstrate that such is true thus: If two masters play, they do not make use of either thrusts or cuts, but of the usefulness of new trickeries and deceptions. These figures show you that if your enemy were with his left foot forward due to wishing to pass onto you, when he approaches binding you, place yourself in a guard with the right foot forward, artfully uncover your chest, and give him an opportunity to throw at your chest as you see with the first figures. Be careful that you do not let him come inside measure, and when you see that your enemy wishes to pass, parry with your dagger in the same tempo and bring back your right foot, ending up with your left foot forward as the second figure shows you. The enemy having passed and become similarly disconcerted, having parried his ''stoccata'' you will find it easy to give him as many ''stoccate'' as you wish. Give him the first thrust while he passes, parrying in the same tempo, bringing your ''vita'' and step backward and wounding. Then you can immediately disengage the sword again and, when you have thrown the ''stoccate'' you wish, return backward outside of measure and escape in the way mentioned above.</p>
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|
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|51|lbl=48|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|52|lbl=49|p=1}}
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|-
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| [[File:Giganti 1608 20.png|400px|center|border]]
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 +
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[[File:Giganti 1608 21.png|400px|center|border]]
 +
| <p>[21] '''Another Method of Artificial Guards for Deceiving the Enemy''' When He Wishes to Pass with his Right or Left Foot</p>
 +
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<p>These figures are another way of deceiving the enemy when he wishes to pass onto you with either the right or left foot because even though these figures are seen with the left foot forward, they can nevertheless be defended against in the same way as the passes with the right foot forward. If you see your enemy wishes to come upon you with their left or right foot forward, place yourself in guard with the right foot forward, uncover your chest, and give him an opportunity to move to wound you. In that instant, in the same tempo he throws the ''stoccata'', parry with the sword, bring your foot and ''vita'' back, and wound like the figure. Immediately place your dagger on your enemy’s sword, throw the ''stoccate'' you wish, and return backward outside of measure and escape in the way repeatedly described.</p>
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|
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|55|lbl=52|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|56|lbl=53|p=1}}
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|}
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{{master subsection end}}
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{{master subsection begin
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| title = Rapier
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| width = 90em
 +
}}
 +
{| class="master"
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|-
 +
! <p>Illustrations<br/>from the 1608</p>
 +
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 +
! <p>[[Libro secondo (Nicoletto Giganti)|First Edition]] (1608){{edit index|Libro secondo (Nicoletto Giganti) 1608.pdf}}<br/>Transcribed by [[Benjamin Keiller]]</p>
 +
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|-
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| [[File:Giganti 1608 22.png|400px|center|border]]
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| <p>[22] '''An Artificial Method of Parrying with the Single Sword'''</p>
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<p>In my First Book I showed how one must proceed with the single sword to bind the enemy, covering his sword, and, while he disengages his sword, wound him. This figure now shows you another way of wounding with artifice. It is this: Your enemy seen in a guard with the sword forward, go to bind him with yours over his in the way of the first figures of my First Book and, your enemy wishing to wound you, it is necessary that he disengage his sword. While he disengages the sword, lift your fist and drop your ''vita'' and the point of your sword so that you strike him in the flank, which he will be unable to parry because he believes you must parry with your fist low and point high. Doing it as I have said, you strike him unexpectedly. The ''stoccata'' thrown, return backward outside of measure, securing yourself by placing your sword over his.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|58|lbl=55}}
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|-
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| [[File:Giganti 1608 23.png|400px|center|border]]
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| <p>[23] '''Another Artificial Method of Wounding, Going to Bind''' the Enemy on the Outside of His Sword</p>
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<p>The previous figure went to bind the enemy on the inside of the sword and wounded on the outside. The current [figure] is of going to bind on the outside of the sword. It is done in this way: Go to bind the enemy on the outside of the sword, with your sword over his, and give him occasion to disengage the sword in order to wound you. While he disengages the sword, you parry, lifting your wrist and lowering your ''vita'' and the point of the sword, as you seen in the figure, which will deceive him. The ''stoccata'' thrown, return backward outside of measure in the said way.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|60|lbl=57}}
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|-
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| [[File:Giganti 1608 24.png|400px|center|border]]
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| <p>[24] '''The Proper Method of Defending from the ''Inquartata'' With the Void of the ''Vita'''''</p>
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<p>Everyone who desires to become perfect in this profession, in addition to knowing how to carry the ''vita'' well, parry well, and control the the sword, also needs to know how to void ''stoccate'' with the ''vita'' because it is not always possible to parry with the sword, and in case of necessity, recognizing the danger, one must void the ''vita''. I want to teach you two ways to defend from ''stoccate'' by voiding the ''vita'' and wounding the enemy. It is done in this way: Go to bind your enemy on the outside with your sword over his, stand with your ''vita'' straight, and give him occasion to wound you by ''inquartata''. In the tempo that he disengages his sword to wound you, quickly lower your ''vita'' so that his ''stoccata'' will miss and in the same tempo disengage the sword under the enemy’s sword hand so that you wound him in the flank, as you see the figure. Immediately place your left hand on the hilt of the enemy’s sword and disengage your sword so that you can wound with two or three ''stoccate'' and return immediately outside of measure, as usual.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|62|lbl=59}}
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|-
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| [[File:Giganti 1608 25.png|400px|center|border]]
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| <p>[25] '''The Method of Defending from the ''Stoccata'' by Voiding the ''Vita'', Going to''' Bind the Enemy on the Inside</p>
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<p>This other figure shows you that if you bind the adversary on the inside of the sword, with your sword over his and your ''vita'' straight, if he wishes to wound you it is necessary that he disengage the sword and turn his wrist in order to secure himself from your sword. Whence you, as soon as he disengages the sword to wound you in the face, disengage your sword under his and lower your ''vita'' so that you strike him in the flank and his ''stoccata'' misses, and immediately place your left hand over the furnishings of his sword, wound, and escape as above.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|64|lbl=61}}
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|-
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| [[File:Giganti 1608 26.png|400px|center|border]]
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| <p>[26] '''A Method Which Can Parry and Give a ''Riverso''''' or Thrust to the Face</p>
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<p>This figure shows you an artificial method of parrying and giving a ''riverso'' or, instead, a safe thrust, to the face in this way: If your enemy were eager to wound with a thrust and you stood in a guard with the sword forward, uncover your chest a little so that he comes to throw a ''stoccata''. Parry with the ''forte'' of your sword and extend with the right foot, going to meet his sword and taking it to the ground with your extended arm, the ''forte'' of your sword, and your ''vita'', as you see the figure, so that the enemy’s face is completely uncovered. Whence you can immediately give him a ''riverso'' to the face and return outside of measure, being aware that while the adversary throws the ''stoccata'' at you it is necessary that you parry in the above way and go forward, and while you throw the ''riverso'' you return backward, and you do these two things in the same tempo. Parrying in this manner, you can wound with a thrust and return backward outside of measure.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|66|lbl=63}}
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|-
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| [[File:Giganti 1608 27.png|400px|center|border]]
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| <p>[27] '''An Artificial Way to Parrying and Giving a ''Mandritto''''' or Thrust to the Face</p>
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<p>This figure shows you how to strike with a ''mandritto'' or thrust in the face. It is done in this way: It is necessary to place yourself in a guard and uncover your right side a little in order to embolden the enemy so that he throws at that uncovered side with a thrust. Alternatively, if you see that the adversary is in guard with the sword forward, bind him on the inside with your sword and, while he disengages his sword, parry in the above way. While he disengages the sword, extend with your foot and, with your arm extended and the strength of your shoulder and your entire ''vita'', take the enemy’s sword to the ground as the figure shows, whence his face will then be uncovered and you will therefore be able to throw a ''mandritto'' or, instead, a thrust at his face and then return backward outside of measure, taking care to do these things in the same tempo.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|68|lbl=65}}
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|-
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| [[File:Giganti 1608 28.png|400px|center|border]]
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[[File:Giganti 1608 29.png|400px|center|border]]
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| <p>[28] '''The Method of Defending from the Pass of the Left Foot at a Distance''' with the Counterdisengage</p>
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<p>These figures that you see, one with his left foot forward in order to pass, the other with his right foot forward in order to defend and wound, are very useful, as you will learn. If the enemy were to place himself with his left foot forward in order to wound you and comes to bind you in order to seize the tempo to pass, place yourself in guard with your right foot forward and your sword forward, uncover your right shoulder, and give him a tempo so that he passes because he thinks that you will parry with the edge of your sword and trusts the quickness of throwing a ''stoccata''—that is, that his ''stoccate'' will arrive before you have time to parry. He will succeed every time he is at or inside measure, hence be careful not to let him come inside measure, and when you see he wishes to pass, in the same tempo disengage your sword under his hilt and withdraw the ''vita'' slightly, accompanied by the sword, so that you parry and wound in the same tempo as you see the figure has, and immediately return backward outside of measure with your sword over his.</p>
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|
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|71|lbl=68|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|72|lbl=69|p=1}}
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|-
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| [[File:Giganti 1608 30.png|400px|center|border]]
 +
| <p>[29] '''The Method of Safely Wounding the Leg with the Single Sword'''</p>
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<p>The safe wound to the leg is performed in many ways, which is to say, feigning throwing a cut to the head and while the enemy moves to parry, throwing at the leg. It is necessary that you do not throw at the leg if the enemy’s sword is not seen to pass your ''vita''. Otherwise, you would both strike each other or, if your enemy were to throw over your leg in that tempo, he would strike you in the face and escape, as I said in my First Book. Wishing to safely strike the leg with a ''mandritto'' or ''riverso'', it is necessary to feign throwing naturally at the head with a ''mandritto'' or thrust. If you see that he does not parry resolutely, throwing additional blows to either the leg or elsewhere does not transpire. If you see that he parries, however, let his sword pass your ''vita'' with its point and immediately throw at his leg as you see the figure has, taking care that the feint of either thrust or cut, wounding, and returning backward and escaping are done in the same instant. One can feign in the same way on the outside of the sword and throw a ''riverso''.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|74|lbl=71}}
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|-
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| [[File:Giganti 1608 31.png|400px|center|border]]
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| <p>[30] '''The Method of Coming to Grips and Wounding the Chest with a Thrust'''</p>
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<p>We have shown many ways of parrying and wounding with the single sword, in my First just as in this Second Book. It is necessary that we show in what way one fights, coming to grips, and how a man must escape. In this, my Second Book, I wish to teach you only four methods, from which intelligent men can extract many. The proper and safe method of passing at the enemy in order to come to grips is passing, to the inside or outside of the sword, or via the ''inquartata'', as I mentioned in my First Book. By passing on the outside you can come to grips when you like, as you know well, I said in my First Book how to throw a firm-footed thrust on the inside and, as your enemy parries it, disengage the sword to the outside at the enemy’s chest and pass with the left foot in the same tempo. If your enemy is a valiant man he will parry it and you will therefore be with your weapons equal. Whence, I advise you to immediately disengage the sword under the furnishings of his sword while withdrawing your ''vita'' slightly and wound in the chest, as you see the figure has. Holding the enemy’s arm in place with your hand, you can withdraw your ''vita'', disengage your sword, wound two or three times, and return backward outside of measure, securing yourself with your sword over his.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|76|lbl=73}}
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|-
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| [[File:Giganti 1608 32.png|400px|center|border]]
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| <p>[31] '''A Method of Coming to Grips''' and Giving a Cut to the Head</p>
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<p>This grip you see is similar to the previous as far as passing, because this is also done with the same pass. After you have passed, then, and you are both with your swords equal, place your left hand on the furnishings of the enemy’s sword, pressing his sword arm with your hand as the present figure shows you, and in the same tempo strike him with a cut to the head that he will doubtless be unable to parry. Give two or three cuts, withdrawing your ''vita'', holding the enemy’s arm in place with your hand. You can give two or three ''stoccate'' and then return backward outside of measure in the above way. Performing these grips consists in knowing well how to seize the tempo to pass safely. It can be seized in many ways, such as uncovering the right side, giving the enemy an opportunity to throw a thrust, and immediately parrying with the ''forte'' of the sword, passing with the foot, straightening the point of the sword at the enemy’s face which, if he does not parry it, will land a thrust on his face and thus nothing further is done. Even if he parries it, though, you will be with your swords equal, and you will come to grips so that the furnishings of your sword make contact with his. Then you will be able to perform all four kinds of grips that I placed in this book. You can also go to bind your enemy on the outside of his sword and pass with the foot, seizing the tempo in the said way, since as long as you have your swords equal you perform one of these four grips—whichever most pleases you. You can also pass safely in this other manner: Go to bind your enemy on the inside with your sword over his and give him occasion to disengage in order to wound you. Then, while he disengages the sword, parry the enemy’s sword with the ''forte'' of your weapons and pass with the foot. Thus, if he does not defend from it, you strike him in the face, and, if he parries, you will be with your weapons equal. Given that, therefore, I said performing these grips consists in knowing how to choose the tempo to pass safely.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|78|lbl=75}}
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|-
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| [[File:Giganti 1608 33.png|400px|center|border]]
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| <p>[32] '''A Method of Grip for Taking the Sword with the Left Hand''' and Striking with a Thrust in the Face</p>
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 +
<p>This figure shows you that, having seized the safe tempo in any of the mentioned ways, come to grips, and passed with the foot, being with the weapons equal you must disengage the sword under the furnishings and place your left hand on the inside of the furnishings, turning your arm and hand, seizing the furnishings of your enemy’s sword with your hand as the figure shows. Turning your arm toward his necessitates him to let go of the sword, because while you turn his arm you give him a ''stoccata'' in the face, as you see the figure has, and he loses the strength of his arm from the fear of your sword, whence he is forced to let go of his sword.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|80|lbl=77}}
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|-
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| [[File:Giganti 1608 34.png|400px|center|border]]
 +
| <p>[33] '''A Method of Grip for Taking the Enemy’s Sword''' and Striking him with the Pommel in the Face</p>
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<p>Having come to grips with the weapons equal, wishing to seize the sword from the enemy’s hand and strike him with the pommel in the face, you must do thus: Disengage the sword under the hilt of the enemy’s sword and in the same tempo pull your left arm inside the enemy’s sword and place your left hand on its furnishings, turning your arm toward the enemy’s sword under the left flank as you see the figure has. In the same tempo, strike him with the pommel in the face and, holding the enemy’s sword strongly with your arm, immediately turn your ''vita'' to the right so that the force necessitates him to let go of his sword or have his hand broken, because the force of turning the ''vita'' is very great. For this reason, if your enemy were to have twice your strength, you would take the sword from his hand. These four kinds of grips are only useful to someone who has practised them well, nor should anyone who has only known how to play for a month or two attempt to perform them, because they would not be successful and they would then say that they are not good. I say that these grips are good for those who know how to play firm-footed and with the pass, who recognize tempo and measure, and who are practised with these grips.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|82|lbl=79}}
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|-
 +
|
 +
| <p>[34] '''Preface to the Lord Readers'''<p>
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<p>In this Second Book, I do not wish to discuss cuts that can be performed with the single sword any further, but you are able to make use of the cuts described for the sword and dagger, such as parrying a cut that comes at the head with the sword and throwing a ''riverso'' at the head or instead at the leg. You can also parry a ''riverso'' to the head and throw a ''mandritto'' at the head or leg. You can even defend against these cuts by voiding the ''vita'', letting the cut pass, and then throwing a thrust or cut, as described in the lessons of the sword and dagger. In contentions with the single sword, it is very safe and good to do it in this way: One stands in a guard with the sword high as if to throw a ''mandritto''. While the adversary throws a ''stoccata'', it is necessary to throw a ''mandritto'' at his sword, and his ''stoccata'' parried thus, it is necessary to immediately throw a ''mandritto'' at his head or leg and return backward outside of measure. It is necessary to parry strongly and then throw as many times as the adversary throws a thrust, so that he is therefore unable to offend. I wish to teach you to throw a ''stoccata'', ''mandritto'', or ''riverso'' with resolute thrusts. It is done in this way: If your enemy were in guard waiting for you, go to bind him where he is uncovered until you are at measure and throw a ''stoccata'', turning your wrist toward the enemy’s sword in order to secure yourself, and if your enemy parries this thrust, throw a ''mandritto'' or ''riverso'' according to how you find yourself—if you throw the ''stoccata'' on the inside, a ''riverso'' will emerge, if you throw on the outside, a ''mandritto''. It is necessary to throw the thrust so that your enemy parries it and throw the ''mandritto'' or ''riverso'' according to how you find yourself in one tempo, because in throwing quickly you will wound, parry, and escape by going out of measure.</p>
 +
| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|83|lbl=80}}
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|}
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{{master subsection end}}
 +
 +
{{master subsection begin
 +
| title = Rapier and Other Weapons
 +
| width = 90em
 +
}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations<br/>from the 1608</p>
 +
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 +
! <p>[[Libro secondo (Nicoletto Giganti)|First Edition]] (1608){{edit index|Libro secondo (Nicoletto Giganti) 1608.pdf}}<br/>Transcribed by [[Benjamin Keiller]]</p>
 +
 +
|-
 +
|
 +
| <p>[35] '''Preface to the Lord Readers'''</p>
 +
 +
<p>All men who know how to play with the single sword and sword and dagger or, rather, who have learned from a good master to carry their ''vita'' and control the sword, and know what tempo and measure are, also know how to play with all types of arms that are in this book, because there is no difference aside from knowing how they are held in the hand and becoming practised with them. Rather, all those things that are done with the sword and the dagger, both thrust and cut, can be very easily performed with sword and rotella, sword and targa, and sword and buckler. As I have said, having learned the single sword is useful for understanding how to defend with the sword. Therefore, I want to show you how these kinds of arms are held in the hand and what properties those who hold them have because, after all, as I said, all that you have learned with the sword the sword and dagger you can do with the sword and rotella, sword and targa, and sword and buckler.</p>
 +
| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|84|lbl=81}}
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|-
 +
| [[File:Giganti 1608 35.png|400px|center|border]]
 +
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[[File:Giganti 1608 36.png|400px|center|border]]
 +
| <p>[36] '''The Proper Method of Holding the Rotella'''</p>
 +
 +
<p>These four figures show you how the rotella must be held in the hand. The first two teach how one must stand in guard, and the other two show how one must defend and wound. The rotella is held with the fist upward, as you see in the figure, so that it burdens you less and so that you can more easily defend from all kinds of blows, either thrust or cut. If you were to hold the rotella with the arm extended, as many believe it must be held, you would tire your arm and be endangered. The rotella has wonderful characteristics for someone who knows how to hold it in hand and who is practised because, due to the great size of the rotella, it is easy to defend from both ''mandritto'' and ''riverso'' cuts with it. Every ''stoccata'' that touches it even slightly is defended from and, defended, it is then easy to wound. The ''mandritto'' is defended from with the surface of the rotella, the ''riverso'' with its edge, and the ''imbroccata'' with its surface. Other thrusts are defended against with its edge. As soon as one has defended, it is necessary to return to having the fist upward so that, while you defend on either the outside or inside, you partially watch your enemy to observe what he wishes to do. If you were to hold the rotella forward in parrying, you would be in danger because you would not see what your enemy is able to do. ''Stoccate'' that come underneath the rotella at the flank are parried with the sword, and then one wounds. I have produced these four figures: One stands in high guard and the other in low guard. The other two are he who is in high guard throwing ''imbroccata'', the other who defends with the rotella and wounds in the same tempo, as described with the sword and dagger. The rotella is good at night when assaulted by more than one.</p>
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|
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|87|lbl=84|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|88|lbl=85|p=1}}
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|-
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| [[File:Giganti 1608 37.png|400px|center|border]]
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[[File:Giganti 1608 38.png|400px|center|border]]
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| <p>[37] '''The Proper Method of Holding the Targa'''</p>
 +
 +
<p>The targa is an arm for defending which came from the Greeks, who still use it. Now it is in much use not only in Venice but in many cities in Lombardy, and it is quite useful in contentions because it easily defends from all ''mandritti'' and ''riversi''. Defending with the targa is little different from defending with the dagger because thrusts are defended with the edge of the targa which, due to having four sides, finds the enemies thrusts easily, and as soon as the sword is touched at all with the targa, they are defended. The targa is held in the way you see these first figures do. The ''mandritto'' and ''imbroccata'' are parried with the surface of the targa, and the ''stoccate'' that come on the inside or outside are parried with the edge, turning the targa as the dagger is. With the targa you can produce all guards and artifices that you learned to perform with the sword and dagger, but you must be experienced. These are four figures: Two in guard who teach you how the targa is held, while the other two show you how one parries and wounds. It may be positioned in many ways in parrying and wounding, but, as I said, those that you learned to do in sword and dagger can by done with sword and targa, although it is necessary to practise it.</p>
 +
|
 +
{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|91|lbl=88|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|92|lbl=89|p=1}}
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|-
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| [[File:Giganti 1608 39.png|400px|center|border]]
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[[File:Giganti 1608 40.png|400px|center|border]]
 +
| <p>[38] '''The Method of Holding the Buckler'''</p>
 +
 +
<p>The iron buckler is an arm very suited for defending and is quite common in some parts of Europe, particularly Spain, Italy, Sicily, and the Kingdom of Naples. Blows are defended in the same way as with the targa, but not as safely on account of those corners that stop the enemy’s sword. The buckler is round, and therefore you cannot stop the enemy’s sword well. The buckler is held as you see these first figures do. One stands with the sword forward in order to be able to make use of it in many ways. You hold the buckler to one side, nor will I ever advise you to hold it directly in front because you would be unable to see what your adversary does. As for the rest, all that you know how to do with sword and dagger you know how to do with sword and buckler. It is necessary to practise with it, however, and become experienced. Here I placed two guards with which you will learn to hold the buckler. The other two are: If your enemy were to throw a cut at your head, parry it with the buckler and in the same tempo throw a cut at his leg as the figure shows you. You could also throw a thrust as it is done in sword and dagger, but I made this one throwing at the leg for variety.</p>
 +
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|95|lbl=92|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|96|lbl=93|p=1}}
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|-
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| [[File:Giganti 1608 41.png|400px|center|border]]
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[[File:Giganti 1608 42.png|400px|center|border]]
 +
| <p>[39] '''Method of Holding the Cape, and the Method of Wounding'''</p>
 +
 +
<p>To contend safely using sword and cape, first it is necessary to know how to play with the single sword, being that all cuts, and likewise all ''stoccate'', are parried with the sword. Additionally, it is very useful to know how the cape must be held and what qualities it has, because there are many countries in which it is not permitted to carry the dagger and, therefore, everyone takes up the cape for defence. In occasions some are even found who, despite having the dagger at their side, by natural inclination deem it much better to take up the cape when suddenly attacked, and let the dagger be. There are many ways of holding the cape, just as there are men of many different temperaments. For brevity, in this Second Book I will teach you only two manners, being that it would produce two books if I wished to say all that can be said on this subject. From these two figures intelligent people will be able to learn many other manners. Firstly, to be well-made, the cape must be of cloth, given that if you had a cape of silk, you would receive harm in exchange for usefulness because you would not be able to defend against a cut at your head or legs as it approaches. Hence, I deem it better to make use of the single sword than the sword and silk cape. It should be of cloth, therefore. When you are attacked by the enemy, unfurl the cape with your left hand on the edge of the collar, let it fall over the arm to the elbow, and turn it once over the arm, as you see the two figures have, one with the right foot forward, the other with the left foot forward. After you have taken up the cape, it is necessary to position yourself forward with the sword rested on the cape as you see the figures do. In these guards you can defend against all types of blows that a man can throw. Being in a guard like you see, with the sword forward and either the right or left foot forward, if your enemy were to throw a thrust or ''imbroccata'' at you, go to parry with the sword, resting the cape hand on the sword so that you have greater strength in parrying the enemy’s ''stoccata'', then wound from a firm foot or with a pass, as you deem most convenient. When you have wounded, return backward outside of measure and escape, securing yourself with your sword of that of the enemy in the way mentioned above. If your enemy were to throw a cut at your head, you can defend in this way: While he throws the cut, go to parry with the sword, accompanied and fortified by the cape arm, so that you thus cause the enemy’s sword to fall, as you see in the figure. The blow thrown, return backward outside of measure in the above way. Being in a guard as you see, your cape draped down, your enemy throwing a cut at your leg, you can go to parry it with the cape and throw a thrust at his face, as I will describe below.</p>
 +
|
 +
{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|99|lbl=96|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|100|lbl=97|p=1}}
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|-
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| [[File:Giganti 1608 43.png|400px|center|border]]
 +
| <p>[40] '''Another Method of Holding the Cape, Turning it Twice Around the Arm'''</p>
 +
 +
<p>This is another way of holding the cape. It is seized in the same way as above and wrapped twice around the arm so that it can withstand the strikes of cuts. Because most people do not know how to play at arms, they throw many cuts. Therefore, this way of holding the cape is quite necessary. With it, it is possible to wound safely as you see the figure has, who has parried the cut and in the same tempo throws a thrust. Parrying the cut, you can do many things, like throw a ''mandritto'' at him, or a ''riverso'' at his leg, or, in short, everything you will have learned to do with the sword and dagger. The cuts toward the leg are defended against in the way described with the sword and dagger and the ''stoccate'' are parried with the sword, as the ''imbroccate'' also are. One wounds with cut or thrust, as appears most appropriate.</p>
 +
| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|102|lbl=99}}
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|-
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| [[File:Giganti 1608 44.png|400px|center|border]]
 +
| <p>[41] '''The Method of Defending Against [Cuts] to the Leg with the Cape'''</p>
 +
 +
<p>This is the third manner of holding the cape that I promised to teach you, and in this way it is possible to defend against cuts toward the leg. The cape is seized by the collar and held suspended, as you see. If your enemy throws a thrust or cut at your head it is necessary to parry with the sword and wound, as described with the sword and dagger. Fighting with your enemy and knowing how to play with the single sword well, you will be able to do this: Parry ''stoccate'' and cuts with the sword and, while you parry, throw the cape at the adversary’s weapons or face so that you will obstruct it a way that it will be easy to then strike him where he is most uncovered before the cape has fallen from his weapons. The figure you see is two men desirous to throw at the leg. Hence, fighting with your enemy, when you stand with the sword advanced in order to parry and wound and the enemy throws a cut at your leg, go to meet your enemy’s cut with your cape so that in the same tempo you remove the strength from the and strike him in the face with a thrust, as you see the figure has, because while he throws at your leg it is necessary that he come forward, whence, you throwing at his face, it will be easy for you to wound it. The ''stoccata'' thrown, return backward outside of measure as usual.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|104|lbl=101}}
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|}
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{{master subsection end}}
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{{master subsection begin
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| title = Dagger
 +
| width = 90em
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}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations<br/>from the 1608</p>
 +
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 +
! <p>[[Libro secondo (Nicoletto Giganti)|First Edition]] (1608){{edit index|Libro secondo (Nicoletto Giganti) 1608.pdf}}<br/>Transcribed by [[Benjamin Keiller]]</p>
 +
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|-
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|
 +
| <p>[42] '''Preface to the Lord Readers'''</p>
 +
 +
<p>I cannot imagine why playing with the dagger alone is not done every day. Perhaps such occurs due to masters who do not know how to teach it, or rather, who do not wish to teach it, or it occurs due to the negligence of men who, ignorant of the importance of playing with the dagger alone, skip learning it. I am of the opinion that it is just as necessary for a gentleman to know playing with the dagger alone as every other kind of weapon, and the reason is this: Most great men and captains are murdered with the dagger or other equivalent weapon. Furthermore, in countries where it is permitted to carry the dagger, if a gentleman were to have words with some enemy of his that has another dagger, if he does not know how to defend and wound with a dagger, he will be in great danger, as will his adversary. Additionally, if an enemy of yours were to come to murder you with a dagger and you found yourself without one, in what way can you save yourself if you do not know how to defend yourself from a dagger? Given that, I urge every gentleman that he should seek to learn the unaccompanied dagger. In this book I will speak a little on how the dagger must be held in the hand against another dagger, and show in what way you can defend yourself and end up superior if you were to have a single dagger and are assaulted by your enemy who has sword and dagger or a polearm. Next year, if it pleases the Lord, I will publish a book dedicated to the single dagger against many kinds of weapon, which will be quite useful to all kinds of people.</p>
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|
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|105|lbl=102|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|106|lbl=103|p=1}}
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|-
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| [[File:Giganti 1608 45.png|400px|center|border]]
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[[File:Giganti 1608 46.png|400px|center|border]]
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[[File:Giganti 1608 47.png|400px|center|border]]
 +
| <p>[43] '''Method of Standing in Guard with the Dagger, and How One Must Defend with It'''</p>
 +
 +
<p>After you have drawn, it is held as you see the figures do—that is, advanced and guarding against the contrary’s dagger. Be advised, however, that the single dagger must never wound if the dagger of the enemy has not been acquired, as you see these three figures. The first stands in guard. The second shows how one parries. The third how one wounds, as you will learn. When you have the dagger in hand and see your enemy uncovered somewhere, it is necessary that you not throw if you have not first gained the enemy’s dagger, given that you would both be struck because everyone would attempt to perform his blow. Gaining the dagger is done in this way: When you are in guard with your dagger advanced and the enemy throws a thrust at your face or chest, parry with the edge of your dagger and immediately strongly affront his furnishings with yours. Affront them strongly so that the force strikes him in the face with a thrust if he does not also affront strongly. If he also affronts strongly, you can place your left hand over the furnishings of his dagger as you see in the third figure, because it is not possible to do less than strike his face with a thrust when you have affronted furnishings to furnishings.</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|110|lbl=107}}
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|-
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| [[File:Giganti 1608 48.png|400px|center|border]]
 +
| <p>[44] '''A Method of Safely Defending with the Dagger against the Dagger'''</p>
 +
 +
<p>The present figure teaches you to defend safely with the dagger against the dagger in another manner. It is done in this way: It is necessary to hold the dagger as if to throw a ''mandritto'' and uncover the chest a little in order to give the enemy occasion to throw at either your chest or face. In the same tempo that he throws, throw a ''mandritto'' at his hand as you see the figure has. If your enemy has a glove of mail, however, parry the thrust and in the same tempo throw a thrust at his face. Then return outside of measure in the above way. Thus, it is easy to strike him in the face with your dagger because, him throwing a thrust, it is necessary that he come forward with his head, whence it comes to meet your dagger, with which you parried the enemy’s thrust. If your enemy’s hand were bare, though, you will doubtless cut it and cast his dagger to the ground. Without throwing at his hand, in this way you can safely parry as many thrusts as your enemy can throw, throwing at his dagger blade while he throws the thrust and immediately [throwing] the thrust at his face, then returning outside of measure as usual.</p>
 +
| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|112|lbl=109}}
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|-
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| [[File:Giganti 1608 49.png|400px|center|border]]
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[[File:Giganti 1608 50.png|400px|center|border]]
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| <p>[45] '''Method of Defending with the Single Dagger against Sword and Dagger'''</p>
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<p>If, by chance, someone with only a dagger were attacked by someone who had sword and dagger, he would doubtless find himself dead if he did not know how to take action to defend himself. Now, for understanding how to defend oneself, I produced the present figure. If your enemy were to attack you, you must draw your dagger, and if he throws a thrust or cut, parry with your dagger, withdrawing slightly and making a show of being afraid so that he comes forward more boldly and, therefore, more disconcertedly. If you stilled yourself in order to wait for him and get within measure, you would not succeed because he is alert and would hold you at the length of his sword and not throw while he saw you collected. Parrying and making a show of being afraid as I said, however, he would pursue you with thrusts and cuts because, being at such an advantage of arms, he will come resolutely, believing you unable to do anything. Then, when you have parried four or six ''stoccate'', place yourself in guard as you see the figure has, uncover your right side and, when your enemy throws at you resolutely and disconcertedly, parry with the dagger, throw your ''vita'' to the left side, pass with the foot, and place your hand on the hilt of his sword, so that your enemy cannot wound you with either sword or dagger. Whence, you can stab him as many times as you wish. All lies in knowing how to seize the tempo to pass and giving the enemy an opportunity to throw resolutely. The more strongly he throws, the worse for him.</p>
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|115|lbl=112|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|116|lbl=113|p=1}}
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|-
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| [[File:Giganti 1608 51.png|400px|center|border]]
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[[File:Giganti 1608 52.png|400px|center|border]]
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| <p>[47] '''The Method of Defending Against Polearms with the Dagger Alone'''</p>
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<p>These two figures show you that if you were to find yourself with a dagger and are attacked by your enemy with a long weapon—that is, with a corseque or polearm—you must employ the deception used against the sword and dagger: When your enemy throws a thrust, parry with the dagger and withdraw a step backward. When he comes forward resolutely, place yourself in guard as you see the in the figure, uncovered on the right side, and when your enemy throws at you, parry with the dagger and pass with the foot, putting your left hand on the haft as you see the figure has, and you will be able to stab him as many times as you wish. Be aware that these things I write are to be learned in case of necessity, and that in order to do them it is necessary to be bold of heart and not to fear the enemy at all. If you were to lose spirit they would not be successful for you. These things are useful to those who know how to play at sword, dagger, and other kinds of weapons, and who are skilled and know how to recognize tempo and measure, and when the tempo to pass is.</p>
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|
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{{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|119|lbl=116|p=1}} {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|120|lbl=117|p=1}}
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|}
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{{master subsection end}}
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{{master subsection begin
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| title = Conclusion
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| width = 90em
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}}
 +
{| class="master"
 +
|-
 +
! <p>Illustrations<br/>from the 1608</p>
 +
! <p>{{rating|C}}<br/>by [[Jeff Vansteenkiste]]</p>
 +
! <p>[[Libro secondo (Nicoletto Giganti)|First Edition]] (1608){{edit index|Libro secondo (Nicoletto Giganti) 1608.pdf}}<br/>Transcribed by [[Benjamin Keiller]]</p>
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|-
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| [[File:Giganti 1608 53.png|400px|center|border]]
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| <p>[48] This last figure shows that I wish to produce, if it pleases the Lord, an entire book on the left foot forward, because all that can be done with the right foot forward can be done with the left foot forward, firm-footed as well as passes and cuts. The firm-footed ''stoccata'' standing with the right foot forward is just as long as that with the left foot, and they are no different other than in practice—because some are practised with one foot, and some the other, as I will discuss in other books I plan to publish, if it pleases the Lord.</p>
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<p>'''The End'''</p>
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| {{pagetb|Page:Libro secondo (Nicoletto Giganti) 1608.pdf|122|lbl=119}}
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|}
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{{master subsection end}}
 
{{master end}}
 
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<section begin="sourcebox"/>{{sourcebox header}}
 
{{sourcebox
 
{{sourcebox
  | work        = Images
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  | work        = Illustrations
  | authors    = [[Nicoletto Giganti]]
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  | authors    = [[Odoarco Fialetti]]
  | source link = http://www.internetculturale.it/opencms/opencms/it/viewItemMag.jsp?case=&id=oai%3Awww.internetculturale.sbn.it%2FTeca%3A20%3ANT0000%3ARMLE040288&hits=0
+
  | source link = http://resolver.libis.be/IE12993121/representation
  | source title= Italian Digital Library
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  | source title= Corble Collection
 
  | license    = public domain
 
  | license    = public domain
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
 
  | work        = Translation
 
  | work        = Translation
  | authors    = [[Jeff Vansteenkiste]]
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  | authors    = [[translator::Jeff Vansteenkiste]]
  | source link = https://labirinto.ca/wp-content/uploads/2020/07/Giganti-Nicoletto-Scola-overo-teatro-1606-and-Marginalia-rev-2020-07-17.pdf
+
  | source link = https://labirinto.ca/wp-content/uploads/2022/08/Giganti-Nicoletto-Scola-overo-teatro-1606-and-Marginalia-rev-2022-08-15.pdf
 
  | source title= Il labirinto
 
  | source title= Il labirinto
 
  | license    = noncommercial
 
  | license    = noncommercial
 
}}
 
}}
 
{{sourcebox
 
{{sourcebox
  | work        = Italian Transcription (1606)
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  | work        = Transcription (1606)
 
  | authors    = [[Jeff Vansteenkiste]]
 
  | authors    = [[Jeff Vansteenkiste]]
 
  | source link =  
 
  | source link =  
 
  | source title= [[Index:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|Index:Scola, overo teatro (Nicoletto Giganti)]]
 
  | source title= [[Index:Scola, overo teatro (Nicoletto Giganti) 1606.pdf|Index:Scola, overo teatro (Nicoletto Giganti)]]
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| license    = noncommercial
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}}
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{{sourcebox
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| work        = Transcription (1608)
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| authors    = [[Benjamin Keiller]]
 +
| source link =
 +
| source title= [[Index:Libro secondo (Nicoletto Giganti) 1608.pdf|Index:Libro secondo (Nicoletto Giganti)]]
 
  | license    = noncommercial
 
  | license    = noncommercial
 
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== Additional Resources ==
 
== Additional Resources ==
  
* Leoni, Tom. ''Venetian Rapier: The School, or Salle. Nicoletto Giganti's 1606 Rapier Fencing Curriculum.'' Wheaton, IL: [[Freelance Academy Press]], 2010. ISBN 978-0-9825911-2-3
+
{{bibliography}}
* Mediema, Aaron Taylor. ''Nicoletto Giganti's the School of the Sword: A New Translation by Aaron Taylor Miedema.'' Legacy Books Press, 2014. ISBN 978-1927537077
 
* [[Piermarco Terminiello|Terminiello, Piermarco]] and Pendragon, Joshua. ''The 'Lost' Second Book of Nicoletto Giganti (1608): A Rapier Fencing Treatise''. Vulpes, 2013. ISBN 978-1909348318
 
  
 
== References ==
 
== References ==

Latest revision as of 23:04, 30 May 2024

Nicoletto Giganti
Born 1550s-60s
Fossombrone, Italy
Died date of death unknown
Occupation
Nationality Italian
Citizenship Republic of Venice
Patron
  • Cosimo II de' Medici
  • Christofano Chigi
Influenced Bondì di Mazo (?)
Genres Fencing manual
Language Italian
Notable work(s)
First printed
english edition
Leoni, 2010
Concordance by Michael Chidester

Nicoletto Giganti (Niccoletto, Nicolat) was an Italian soldier and fencing master around the turn of the 17th century. He was likely born to a noble family in Fossombrone in central Italy,[1] and only later became a citizen of Venice.[2] Little is known of Giganti’s life, but in the dedication to his 1606 treatise he claims 27 years of professional experience, meaning that his career began in 1579 (possibly referring to service in the Venetian military, a long tradition of the Giganti family).[1] Additionally, the preface to his 1608 treatise describes him as a Master of Arms to the Order of Santo Stefano in Pisa, a powerful military order founded by Cosimo I de' Medici, giving some further clues to his career.

In 1606, Giganti published a treatise on the use of the rapier (both single and with the dagger) titled Scola, overo teatro ("School, or Theater"). It is dedicated to Cosimo II de' Medici. This treatise is structured as a series of progressively more complex lessons, and Tom Leoni opines that this treatise is the best pedagogical work on rapier fencing of the early 17th century.[3] It is also the first treatise to fully articulate the principle of the lunge. Giganti also promised in this book that he would publish a second volume, a pledge he made good on in 1608.[4] Titled Libro secondo di Niccoletto Giganti ("Second Book of Niccoletto Giganti"), it is dedicated to Christofano Chigi, a Knight of Malta, and covers the same weapons as the first as well as rapier and buckler, rapier and cloak, rapier and shield, single dagger, and mixed weapon encounters. This text in turn promises additional writings on the dagger and on cutting with the rapier, but there is no record of further books by Giganti ever being published.

While Giganti's second book quickly disappeared from history, his first seems to have been quite popular: reprints, mostly unauthorized, sprang up many times over the subsequent decades, both in the original Italian and, beginning in 1619, in French and German translations. The 1622 edition of this unauthorized dual-language edition also included book 2 of Salvator Fabris' 1606 treatise Lo Schermo, overo Scienza d’Arme[5] which, coupled with the loss of Giganti's true second book, is probably what has lead many later bibliographers to accuse Giganti himself of plagiarism.[6]

Treatise

Giganti, like many 17th century authors, had a tendency to write incredibly long, multi-page paragraphs which quickly become hard to follow. Jacob de Zeter's 1619 dual-language edition often breaks these up into more manageable chunks, and in this concordance his paragraph breaks have also been applied to the Italian and English.

A copy of the 1628 printing of the first book which now resides in the Österreichische Nationalbibliothek was extensively annotated by a contemporary reader. Its annotations are beyond the scope of this concordance, but they have been transcribed by Julian Schrattenecker and Florian Fortner, and incorporated into Jeff Vansteenkiste's translation in a separate document.

Additional Resources

The following is a list of publications containing scans, transcriptions, and translations relevant to this article, as well as published peer-reviewed research.

References

  1. 1.0 1.1 Giganti 2013, p 9.
  2. That he eventually became a Venetian citizen is indicated on the title page of his 1606 treatise.
  3. Giganti 2010, p xi.
  4. This treatise was considered lost for centuries, and as early as 1673 the Sicilian master Giuseppe Morsicato Pallavicini stated that this second book was never published at all. See La seconda parte della scherma illustrata. Palermo, 1673. p V.
  5. It's possible that the 1619 did as well, but there are no surviving copies that include it so we have to assume it didn't.
  6. This accusation was first made by Johann Joachim Hynitzsch, who attributed the edition to Giganti rather than Zeter and was incensed that he gave no credit to Fabris.
  7. Although the plates depicting the guards and counterguards are somewhat less than clear, we know from this chapter that Figure 2 depicts binding the enemy’s sword on the inside.
  8. Figure 3, which we know from the description of this chapter’s action depicts binding the enemy’s sword on the outside.
  9. Reading the text, Figures 6 and 7 appear to be swapped, meaning this lesson’s text refers to Figure 7. Interestingly, the plate order does not appear to be corrected in subsequent printings, even in Jakob de Zeter’s German/French version (1619), which uses entirely new plates created by a different artist.
  10. This lesson’s text refers to Figure 6.
  11. The two fencers.
  12. The placeholder was never replaced with the proper figure number reference when the book went to print, and it remains missing in Paolo Frambotto’s 1628 reprint. Jakob de Zeter’s 1619 German/French version refers to Figure 7.
  13. This is the second manner mentioned at the beginning of the lesson, rather than an action that follows from the first.
  14. Camillo Agrippa (1553), for example, recommends turning the face away.
  15. The two preceding figures.
  16. The original text is “vorreste”, or “you would like”. As our fencer’s opponent is the one with the dagger, it is likely that this is a mistake in the text.
  17. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 21.
  18. 18.0 18.1 18.2 Figure 21.
  19. The guard Giganti refers to here is unclear.
  20. 20.0 20.1 Figures 21–26.
  21. The original text uses the words “in varia”, or “in varying”. This is likely an error in the text which should read “in aria”, or “in the air”, and has been corrected here.
  22. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version also omits a figure reference. The anonymous notes in the Vienna copy state that it is the 21st figure.
  23. The figure number is missing in both the 1606 and 1628 printings. Jakob de Zeter’s 1619 German/French version refers to Figure 27.
  24. Scannare—to slaughter or cut the throat of.
  25. en or on